vida, que a estos muñecos como a los humanos, muévenlos cordelillos
groseros, que son los intereses, las pasioncillas, los engaños y todas
las miserias de su condición: tiran unos de sus pies y los llevan a
tristes andanzas; tiran otros de sus manos, que trabajan con pena,
luchan con rabia, hurtan con astucia, matan con violencia. Pero entre
todos ellos, desciende a veces del cielo al corazón un hilo sutil, como
tejido con luz de sol y con luz de luna, el hilo del amor, que a los
humanos, como a estos muñecos que semejan humanos, les hace parecer
divinos, y trae a nuestra frente resplandores de aurora, y pone alas en
nuestro corazón y nos dice que no todo es farsa en la farsa, que hay
algo divino en nuestra vida que es verdad y es eterno y no puede acabar
cuando la farsa acaba.
NOTES
With few exceptions the Notes contain only words and locutions that
require more than translation or a word or two of simple explanation;
for other forms see vocabulary.
Grammatical references, when not given in full, are as follows:
Ramsey = M. M. Ramsey, _A Text Book of Modern Spanish_, New York, 1894.
Bello-Cuervo = Andrés Bello, _Gramática de la lengua castellana... con
extensas notas y un copioso índice alfabético de D. Rufino José Cuervo_,
Paris, 1908.
SIN QUERER
This one-act comedy illustrates Benavente's fondness for ironical and
surprising situations. It is characteristic of the time when he was wont
to make fun of the aristocratic circles of Madrid. The ostensible
purpose of the play is to ridicule the traditional manner of arranging
marriages in Spain. Joined to this is the more simple idea of amusing
the audience. It is interesting to note that Benavente himself acted the
part of Pepe in the first production of the piece, thereby demonstrating
his close relationship with the practical side of the theater. The
Teatro de la Comedia, where the sketch was first shown, is on the Calle
del Príncipe, near the Puerta del Sol, in Madrid. It is devoted to
high-class comedy. Press notices attest that _Sin querer_ was well
received by the public.
[3.1] =con que= 'provided,' 'if only.' The meaning of this conjunction
varies according to whether it is followed by the indicative or the
subjunctive. See vocabulary, under =con=.
[3.2] =que pase= 'let him come in.' Here que introduces the imperative of
the third person; the different uses of =que= must be carefully
distinguished in the three plays of this volume.
[3.3] =nos avisas.= The present indicative, instead of the future or
imperative, for greater vividness.
[3.4] =Porque me haya usted oído= 'Because you may have heard me.' =Porque=
does not influence the mood of =haya=; the subjunctive is governed by an
idea of possibility not expressed, but which might be indicated by =es
posible= or by =se puede=.
[3.5] =una.= An indefinite subject, indicated in English by 'one,' 'we,'
'you,' 'they,' 'people,' etc., is usually expressed in Spanish by the
reflexive. The pronoun =uno= or =una= may, however, replace =se= and it tends
to make the subject less vague.
[3.6] =Tratándose de usted= 'When you are concerned.' Participial
constructions (whether the participle be present or past) are frequently
best translated by dependent clauses.
[3.7] =al pasar= 'in passing,' 'when you pass.' The common use of =al= with
the infinitive, where English has a dependent clause or the present
participle governed usually by 'in,' 'on,' 'upon,' 'while,' etc.
[4.1] =hombre.= A common form of emphatic address, sometimes to be
translated and sometimes to be omitted according to the English context;
=mujer= is similarly employed.
[4.2] =Ya supondrás= 'Of course you must suppose' (or 'imagine'). The
future tense denoting probability is especially prominent in
conversation and therefore in the drama, and must be watched closely. It
may be translated by 'must' or 'can,' or by such words as 'probably,'
'quite,' 'of course.' =Ya= frequently accompanies it.
[4.3] =nuestro corazón.= When reference is made to a part of the body
common to two or more individuals of a group, or to an object possessed
by each one of them, Spanish, unlike English, generally employs a
singular noun.
[4.4] =de... a.= Correlative prepositions equivalent to 'between... and.'
[4.5] =hemos de= 'should.' Perhaps no Spanish locution assumes so many
shades of meaning as =haber de=. It may be rendered by any of the large
number of English words and phrases that denote a mild obligation. When
it occurs in this text, the list of meanings in the vocabulary should
be consulted and the most appropriate one chosen. Moreover, the reader
has ample opportunity, in particular cases, to improve upon any given
list of meanings.
[5.1] =habrá dicho= 'must have told.' The future perfect of probability;
cf. page 4, note 2.
[5.2] =es hora de que= 'it is time that.' Many verbs, adjectives, and
nouns require a preposition before an infinitive in Spanish and in
English. Thus, =es hora de comer= means 'it is time _to_ eat.' But whereas
in English this preposition is omitted before a dependent clause
introduced by 'that,' in Spanish it is usually retained.
[5.3] =Real= (el). A theater in Madrid on the Plaza de Oriente near the
Royal Palace; it is subsidized by the government and is devoted to
opera.
[5.4] =Lo que es= 'As for.' A peculiar use of =lo que= with =ser=, to be
distinguished from its ordinary meanings and from its meanings in
exclamations.
[5.5] =tercer turno.= A term designating one of the sections of season
ticket holders at the Teatro Real. One group holds tickets of =primer
turno=, another of =segundo turno=, and a third of =tercer turno=. Each group
attends only the performances belonging to its turn or section. The
terms do not give much satisfaction if translated literally.
[5.6] =no le importaría= 'he wouldn't mind.' Impersonal verbs occur much
more frequently in Spanish than in English, and it is often wise, in
translating, to change to the personal construction (cf. translation of
=tratándose=, page 3, note 6). However, the impersonal form may well be
retained, if appropriate. In this book consideration is to be given to
such verbs as =antojarse=, =bastar=, =constar=, =convenir=, =gustar=,
=importar=, =pasar=, =pesar=, =placer=, =sentar=, =sobrar=, =suceder=,
=tardarse=, =tratarse=, etc. The vocabulary suggests various
translations.
[5.7] =desde muy niña= 'since you were very young.' Here =muy= is correct
because, in this context, =niña= is virtually an adjective; cf. =muy
hombre=, =muy maestro=, and the English 'very much a man.'
[6.1] =¡Ay, si lo sé!= 'Indeed I do know it,' 'Of course I know it.' It
is not unusual to find =si= after interjections; cf. =¡vaya si lo sé!= Here
=si=, meaning 'whether,' may be regarded as grammatically dependent upon
some verb of asking understood.
[6.2] =no estás para= 'you are not in a position to.' The idiom here has a
different meaning from the usual 'be about to.'
[6.3] =que.= Here elliptical and emphatic; =que= often occurs at the
beginning of a clause, and serves to call attention to what follows,
thereby intensifying the statement; such a =que= cannot be translated. To
understand it we may supply some such word as =parece=, =hay=, =sucede=, etc.
[6.4] =nosotros.= Note the emphatic position of this word, stressed by the
insertion of =se puede decir que=.
[6.5] =¿Cómo había de importarme?= 'How could I have cared?' See page 4,
note 5.
[6.6] =Estaba seguro de que= 'I was sure that.' See page 5, note 2.
[6.7] =enamoradilla= 'slightly in love.' The exact force of certain
Spanish augmentatives and diminutives cannot readily be given in
English. An effort has been made in the vocabulary to suggest suitable
translations wherever a fair degree of accuracy seems attainable.
[6.8] =no se diga= 'there's no denying it,' 'there's no use talking.'
=Decir= is used in several exclamatory or semi-exclamatory expressions
where a different verb would often be employed in English. Attention
will be called to other examples.
[7.1] =Fulanito... Menganito.= =Fulano= regularly corresponds to So-and-So,
John Doe, etc. If a second name is desired, =Mengano= or =Zutano= is used.
The diminutive can scarcely be translated.
[7.2] =cómo se va avispando= 'how clever he is getting.' In progressive
tenses, =ir= emphasizes, more strongly than =estar=, continuity of action.
[7.3] =tonterías.= Contrary to English usage, abstract nouns are often put
in the plural. Translations of such forms are suggested in various ways
in the vocabulary.
[7.4] =¿Qué iba yo a cambiar...?= 'What was I going to change in a saint
[if I married one]?' _i.e._ 'What could I change?' The conditional of
=poder= would be an obvious conventional form, but the imperfect
indicative and the verb =ir= add strength to the question; cf. the English
'What are you going to do about it?'
[7.5] =de gran espectáculo, con mutaciones.= Pepe borrows from theatrical
language to describe vividly the kind of husband for whom Luisa
professes admiration.
[7.6] =me parece.= See page 5, note 6.
[7.7] =Si yo no tengo secretos= 'Why, I haven't any secrets.' =Si= is often
to be translated by 'why,' 'well,' or 'of course,' expressive of
surprise or expostulation. A clause is suppressed for brevity. The full
form would be something like this--=Si yo no tengo secretos... ¿cómo
quieres que te lo diga?=
[7.8] =formal.= Used by Luisa to mean 'real,' 'genuine'; Pepe pretends to
take it in its sense of 'serious' or 'sensible.'
[7.9] =Digo= 'I mean.' See page 6, note 8.
[8.1] =pareció.= According to strict rule, the preterit tense may indicate
any definite past action, even if it took place only a moment ago.
However, for actions so recent that they almost touch the present, the
perfect (_e.g._ =ha parecido=) is the common tense. The preterit, when
sparingly and skilfully applied, adds variety and vigor to the phrase.
It is especially preferred in describing something inevitable. The
English translation requires the perfect (_e.g._ 'has appeared') or
(occasionally) even the present.
[8.2] =quieras que no= 'whether you like it or not.' The full form is =que
quieras o que no quieras=; =que quieras que no= and =quieras o no quieras=
are also found. Ramsey, § 940, says: "The alternative expressions made
by the subjunctive used independently may be regarded as modifications
of the imperative, in which the thing commanded is so indeterminate that
they are mere general permissions." See also, §§ 941, 942.
[8.3] =orejita.= See page 6, note 7.
[8.4] =la tienes.= A frequent conversational substitute for =estar=, which
here would give =está cantando=.
[9.1] =podía.= The imperfect indicative sometimes replaces the conditional
or the =-ra= form of the imperfect subjunctive in the conclusion of a
conditional sentence contrary to fact. Cf. Bello-Cuervo, § 695: "This
use of the imperfect indicative does not occur often; but when properly
used it is emphatic and elegant." See page 7, note 4.
[9.2] =quien.= Note the singular form with a plural antecedent, still
found occasionally; =quien= (from the Latin _quem_) had no plural until
the sixteenth century; see Menéndez Pidal, _Gramática histórica
española_, § 101.
[9.3] =que todo se quede en casa= 'that it should all remain a family
matter.'
[10.1] =que lo envolvía todo= 'that enveloped it all.' See page 15, note
3.
[10.2] =Sí.= The affirmative adverb =sí= is much used to intensify
statements, or to repeat the idea contained in a preceding statement. It
is equivalent to 'indeed,' 'surely,' 'of course,' etc., or to the
English auxiliary verbs used in repetitions; for instance in "I have not
gone to town but he has," the verb 'has' may be rendered by =sí=.
[10.3] =en lo único que= 'the only thing in which.' The word order,
although not strictly logical, is correct and even elegant. In
expressions containing =lo que=, prepositions which logically govern =que=
are often placed before =lo=.
[11.1] =serían.= Following =me atrevo=, present, we should expect =serán=, but
=serían= exemplifies the occasional inaccuracy of everyday speech. Luisa
is narrating past happenings, and is therefore influenced by the
standpoint of the past.
[11.2] =está.= Supply =diciendo=.
[11.3] =que= is elliptical; see page 6, note 3.
[11.4] =cariñosa.= A predicate adjective modifying the subject; English
uses an adverb modifying the verb.
[11.5] =que en qué cosas me fijo.= This =que=, not translatable, is required
to connect =dirás= with the following indirect question, and very often
joins =decir= to succeeding words or statements; cf. =decir que sí= etc.
[12.1] =por complacer.= Before an infinitive =por= ordinarily expresses
cause or reason; when substituted for =para= to indicate purpose, as here,
it implies that the attainment of the object is uncertain; =por que= is
sometimes similarly used instead of =para que=.
[12.2] =porque a ellos les conviniera= 'because it might suit _them_.' See
page 3, note 4.
[12.3] =nunca lo hubiera habido= 'there never would have been any.' =Lo=
refers to a preceding word, phrase, or idea (in this case to =desaire=),
and is translated (if at all) by 'one,' 'some,' 'any,' or 'so.' =Hubiera
habido= is the pluperfect subjunctive of =haber= in the impersonal sense.
[12.4] =por no contrariar.= See page 12, note 1.
[12.5] =pero.= Used to reinforce the repetition; cf. _mais_ in French, and
the occasional use in English of the word 'and,' which is not unsuitable
here.
[13.1] =sales.= See page 3, note 3.
[14.1] =¿A qué ha venido?= 'For what has he come?' 'Why has he come?' This
use of =a= is parallel to its use before an infinitive after =venir= and
other intransitive verbs of motion. In this case =a= expresses purpose.
[15.1] =se.= Ethical dative, best omitted in translation; analysis shows
that the pronoun contains an idea of advantage, or at least of
reference, to the subject.
[15.2] =del botarate de su hijo= 'of his madcap of a son.' In Spanish, as
in English, the preposition merely denotes that what follows is
appositive. There is no change of identity. In Spanish, this
construction is more comprehensive than in English: =el bueno de Juan=.
Note =la ciudad de Madrid= 'the city of Madrid.'
[15.3] =todo lo.= When =todo= precedes a verb of which it is the object, =lo=
also must be used. When =todo= follows the verb, =lo= may be used, but is
not required. See page 10, note 1.
[15.4] =sin contar... con.= See vocabulary under =contar=, and see page 21,
note 1.
DE PEQUEÑAS CAUSAS
_De pequeñas causas_... illustrates Benavente's satirical vein. It seems
to have been written chiefly to amuse; but the plot amply allows for
character study. The pettiness of the reason that finally induces Manuel
to remain in the ministry reminds the listener or reader of the author's
delight in details and in ironical situations. The Teatro de la
Princesa, where the comedy was first performed, is on the Calle de
Tamayo near the Paseo de Recoletos in Madrid. This theater is devoted to
the production of high-class comedy. Contemporary press reports state
that _De pequeñas causas_... was well received. The implication in the
title is that from small causes proceed great results.
[19.1] =está.= Supply =en casa=.
[19.2] =para mí sí= 'for me he _is_'; cf. page 10, note 2.
[19.3] =Nada.= Incomplete in itself; here we might translate: 'Don't say
anything,' 'There's no use talking,' 'Not a word.'
[19.4] =guste.= The personal use of =gustar=; see vocabulary.
[20.1] =señor... señor.= The first =señor= refers to Manuel, and illustrates
a conventional way in which servants address their masters; the second
refers to González. On the stage the servant would make his reference
clear by gestures.
[21.1] =cuenta usted con= 'you have at your disposal.' The idiom =contar
con= assumes many shades of meaning that are developed from the literal
meaning 'count with' or 'reckon with.' When =contar con= occurs in this
book, the list of translations in the vocabulary should be consulted,
and the most suitable one chosen.
[21.2] =¿a qué?= The personal =a= is used for clearness and emphasis. Cf.
Ramsey, § 1318: "Verbs of naming, calling, considering, etc., may take
two direct objects--the true object and the predicate or thing asserted.
The true object takes the distinctive =a=."
[21.3] =pasar por.= Distinguish here between the two meanings 'pass
through' (_i.e._ 'go through with,' 'put up with') and 'pass for' or 'be
regarded as.' Here =pasar por= means 'put up with.'
[22.1] =Me basto.= Personal use of =bastar=; see vocabulary.
[22.2] =Mire usted que= 'Look out' or 'Bear in mind that.' =Mirar= sometimes
assumes peculiar meanings in exclamatory or semi-exclamatory
expressions; note the translation of =que=.
[23.1] =hacer saber= 'make known.' One of the most common formations in
Spanish, and yet frequently hard to translate; =hacer= with the infinitive
is variously rendered by 'make,' 'have,' 'get,' 'cause to,' or 'let'
with the passive.
[24.1] =el señor ministro.= Before a title or before the name of a
relative of the person addressed, =señor= should not be translated unless
the use of 'Mr.' is natural, as in a few cases of direct address; cf.
'Mr. President,' 'Mr. Secretary.'
[24.2] =Si acaso= 'Well perhaps.' If a clause is supplied the meaning of
this expression will be clear; we might say--'If by chance I read any, I
read....'
[24.3] =créditos extraordinarios.= Several terms in this and the
succeeding speech are borrowed by Emilia from financial and ministerial
language; the effect is ironical.
[25.1] =creación.= A gallicism used in Spain as the word 'creation' is
used in England or America in speaking, for instance, of a woman's gown
or hat.
[25.2] =el chic.= A French word, used as a substantive and as an adjective
both in French and in Spanish, which borrows the word.
[26.1] =Si no me ha dicho nada=, etc. Translate =si= by 'why'; see page 7,
note 7.
[26.2] =tomarme.= An ethical dative expressing advantage; hardly
translatable; see page 15, note 1.
[27.1] =Que la acepten o no la acepten= expresses an alternative:
'Whether... or not.' See page 8, note 2.
[27.2] =pero sí= 'but you _have_ seen in me.' See page 10, note 2. In this
case =sí= takes the place of several words.
[28.1] =diputado.= After this word a few lines spoken by Emilia and Manuel
are omitted; it is not believed that their absence obscures seriously
the progress of the plot.
[28.2] =mundo.= Five words spoken by Manuel are omitted.
[28.3] =Lo que ha de ser.= An unfinished statement, easily completed by
adding something to repeat the idea expressed by =ha de ser.= Cf. the
English 'What is to be, must be.'
[29.1] =¡Que no tendrás ocasión!= 'As if you won't have the chance.' Note
the numerous possible translations of =que=.
[29.2] =No es de baile= 'It isn't meant for a ball.' Distinguish between
=ser de= 'belong to' or 'be meant for' and =ser de= 'become of.'
[30.1] =No me explico= 'I don't understand.' The pronoun is indirect
object.
[31.1] =¡Tendría que ver!= A forcible idiomatic expression denoting scorn;
the verb is in the third person; see vocabulary and cf. the English 'I'd
like to see myself [doing such a thing]!'
[31.2] =lo= refers to =sacrificio=. See page 12, note 3.
[31.3] =Sí que= 'Of course,' 'As if.' Sometimes =sí= is connected by =que=
with what follows; the statement is thereby emphasized.
[31.4] =a los hombres os parece= 'you men think.' When a noun is in
apposition with a personal pronoun, it is regularly preceded by the
article, because it is used in a general sense: 'to [all you] men.'
[31.5] =pasarás por= 'you will be regarded as.' See page 21, note 3.
[32.1] =Pepe.= Being put before =lo= (instead of after =deseando=),
=Pepe= seems to be left suspended; it is necessarily followed by a very
slight pause and is to be stressed.
[32.2] =No digas.= Supply =que no= or =nada=. The idea is that the speaker
rejects any contradiction or attempt at denial on the part of the
interlocutor. 'Don't contradict me.' Cf. page 6, note 8.
[32.3] =la toman.= The feminine of a pronoun is often used to indicate
something indefinite. Some feminine noun may be understood to explain
the gender; =cosa= is frequently suggested. Often we cannot know what noun
(if any) is to be supplied. See vocabulary under =tomar=.
[33.1] =donde... tenga=. Equivalent to a relative clause (=donde= = =en= +
relative pronoun) requiring the subjunctive because =tener= (=tenga=)
expresses not reality but an ideal yet to be fulfilled.
[33.2] =aguantaba.= See page 9, note 1. The sentence is ironical;
=cualquiera=, therefore, has the implication of _nobody_.
[34.1] =Y aun piden las mujeres que os concedan.= An abrupt change,
natural in conversation, from the third person to the second.
LOS INTERESES CREADOS
Hardly any of Benavente's plays has made a more favorable impression
than =Los intereses creados=. Not only were the first performances
enthusiastically received by the audiences, but they called forth
highly flattering criticisms. Praise was showered upon the author for
his simplicity and idealism, for the effective symbolism conveyed in the
characters, and for purity, clearness, and poetry of style. (See the
first note, on =el tinglado de la antigua farsa=, page 39, note 2.) So
great was the admiration that a banquet was given in honor of Benavente.
The first performance of the play was in the Teatro Lara, situated on
the Corredera Baja de San Pablo, considerably to the north of the Puerta
del Sol; the Teatro Lara is devoted to comedy and especially to short
productions.
Literally translated, the title is 'Created Interests'; in the course of
the play Crispín explains the application of the term.
_Los intereses creados_ is a product of enthusiasm. The author is glad
for once to turn away from modern themes and to indulge in the freedom
and gayety of the old Italian Comedy of Masks. The masterly prologue
explains to perfection the frame of mind in which Benavente approaches
the old farces, and it also shows wherein he differs from his models.
Attempts to classify this play with other works of Benavente are almost
useless. It can be connected with its fellow productions only by virtue
of fundamental qualities, such as clarity of style, irony, character
study, etc. It would be stretching a point if we called attention to the
nobility of Leandro's character and to the happy ending in order to
insert the play among those that show a serious moral purpose. A more
logical course would be to attribute _Los intereses creados_ to
Benavente's love of romance.
No explanatory or critical statements can rival the prologue. Whatever
critics may decide to call it, the characters live and move, and offer
amusement and food for thought to all classes of persons.
Admirers of _Los intereses creados_ may receive a shock when they turn
to the sequel, _La ciudad alegre y confiada_, in which a tone of
pessimism prevails. Crispín has risen to be the ruler of the city that
he had once entered as a servant, but in spite of his magnificence, his
life is not as joyous as of old. Leandro is not happy as the son-in-law
of Polichinela, nor even as the husband of Silvia. The protagonist of
the piece is El Desterrado, a man once exiled by Crispín, but later
permitted to return to the city. The play was greeted with enthusiasm,
but it does not seem quite to reach the standard of its predecessor. The
atmosphere is surcharged with impending disaster. In the prologue to
_Los intereses creados_ it is stated that the world has aged since the
days of the old farces; we may go further and state that in _La ciudad
alegre y confiada_ the world of _Los intereses creados_ has grown old.
Puppet performances go back to the Italian _commedia dell'arte_ (Comedy
of the Guild, Professional Comedy) which flourished especially in the
sixteenth, seventeenth, and eighteenth centuries. The Italian plays were
for the most part mere scenarios; the speeches were improvised by the
actors. This kind of performance was peculiarly suited to the histrionic
ability of the Italians, and to their genius for gestures. The _commedia
dell'arte_ was received with favor in many countries of Europe, and its
influence was felt by some of the greatest authors. The modern Punch and
Judy show is its direct descendant.