FAREWELL.
Strange and wonderful to tell! Nela, who had never in her life had a
room, nor clothes, nor shoes, nor food, nor sympathy, nor relations,
nor any earthly thing of her own, not even a name--was buried in
a style which caused no small amount of envy among the living in
Socartes. This posthumous splendor was the bitterest irony ever known
in these metalliferous regions. Señorita Florentina, acting on her
generous impulses, consoled herself for the disappointment of not
having been able to help Nela alive, by the satisfaction of doing honor
to her hapless remains after death. Some hard-hearted materialists
criticised her severely; but, for our part, we regarded it as an
additional proof of her refined kind-heartedness.
When Nela was carried to the grave, the curious who came to gaze at
her, thought her almost pretty--wonderful to say! At least so they
said. It was the first time a compliment had ever been paid her. The
funeral was magnificent, and the priests of Villamojada opened their
mouths wide in astonishment when they found themselves receiving money
to pray for the soul of La Canela’s daughter. It was bewildering,
amazing, to think that a being whose social importance had been about
equal to that of a worm or a fly, should prove the occasion of so much
burning of tapers, of so much hanging of drapery, and of making so many
choristers and sacristans hoarse. Nay, it was so astounding as to be
positively amusing; nothing else was talked of for at least six weeks.
The surprise, and indeed--to be frank--the indignation of this worthy
little world, culminated one day when two waggons, loaded with enormous
blocks of fine white stone, were descried approaching by the high-road.
In Señana’s mind, particularly, a hideous subversion of ideas took
place, a cataclysm resulting in mental chaos, when she brought herself
to believe that those fine white stones were to build Nela’s tomb. If
an ox had taken to flying or her husband to making speeches, it could
not have roused her from her stupefaction.
The parish registers of Villamojada were searched, for of course it
was indispensable that she should have a name now she was dead, though
she had done without one during her life; as is proved by this very
history, where she has borne various names. And this indispensable
requisite having been found, and duly placed on the records of the
dead, the magnificent tomb, which stood up proudly among the rustic
crosses of the graveyard at Aldeacorba, had this epitaph engraved on it:
R. I. P.
MARÍA MANUELA TELLEZ.
RECALLED TO HEAVEN
October the 12th, 186 ...
And a wreath of flowers prettily carved in the marble, crowned the
inscription. Many months later, when Florentina and Pablo Penáguilas
had been some time married and no one--to tell the truth, for truth is
the first consideration--no one in Aldeacorba de Suso remembered Nela
any longer, some travellers of the tourist genus, in crossing that part
of the country, happened to observe the grand marble sepulchre erected
in the cemetery by the piety and affection of an exemplary friend,
and were struck with admiration. Without more ado they proceeded to
write down in their note-book these remarks, which were subsequently
published under the title of “Sketches from Cantábria,” in an English
newspaper.
“The most remarkable object to be seen at Aldeacorba is a magnificent
monument, erected in the cemetery over the grave of a young lady of
rank, famous in that part of the country for her beauty. Doña Mariquita
Manuela Tellez belonged to one of the noblest and wealthiest families
in Cantábria, that of Tellez Giron y de Trastamara. Witty, romantic,
and capricious, she took a fancy to wander about the roads, playing
the guitar and singing Calderon’s odes, and she would dress herself up
in rags to enable her to mix with the herd of beggars, pick-pockets,
troubadours, bull-fighters, friars, _hidalgos_, gypsies, and muleteers,
which at the great _kermesas_, constitute that motley scene of Spanish
low life which still exists and always must exist, independent and
picturesque, in spite of the railways and newspapers which have begun
to force their way into the Spanish Peninsula.
“The _abad_[6] of Villamojada wept as he told us of the whims, the
virtues, and the beauty of this wealthy gentlewoman, who, whenever
she appeared at the balls, banquets, or _cañas_ of Madrid, was
distinguished for her aristocratic deportment. The number of
_romanceros_, sonnets and madrigals composed in honor of this noble
damsel by all the Spanish poets, is beyond all calculation.”[7]
On reading this I saw at once that the worthy reporters had dreamed
dreams. I determined to tell the truth, and the truth, as I have told
it, has resulted in this book.
* * * * *
We must now bid farewell forever to this tomb. We will fix our eyes on
another object, seek out another figure--searching diligently, for he
whom we want is but a small personage, a minute insect, as it were, no
larger on the face of the earth than the Phylloxera on the vine. But we
have found him--there he is, tiny, squalid, a mere atomy. But he lives
and breathes, and will grow great in time. Listen to his story, for it
is an interesting one I promise you.
Well, Sir....
But no; it does not belong to this book. If you like the history of
Marianela, in good time you shall hear that of Celipin.
THE END.
Footnotes:
[1] “Es tan linda su boca que no pide.”
[2] A Spanish silver coin, equal in value to the U. S. dollar.
[3] A silver coin containing two reales.
[4] The copper piece is a _cuarto_. A _real_ contains 34 _maravedis_
and is worth about the same as the U. S. dime. The smallest Spanish
coin is the _maravedi_. Four _maravedis_ make a _cuarto_.
[5] Trunkmaker’s street.
[6] In some provinces the rector of a parish.
[7] The point of this passage in the original is the misuse of Spanish
words and the introduction of others which are not Spanish. Thus
_Hidalgo_ means a nobleman; and _Kermesas_, Fr., _Kermesse_, Dutch,
_Kermis_, is a name for a fair peculiar to Holland and Belgium.
ADVERTISEMENTS.
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GLORIA
A NOVEL
BY
B. PEREZ GALDÓS
From the Spanish by CLARA BELL.
“Señor Perez Galdós is one of the new lights of Spanish literature.
He comes very near to being a great novelist; and he certainly is a
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do, is shown to English readers in his ‘Gloria,’ translated by Clara
Bell. This story is a presentation of existing social, religious and
political conditions in Spain; and as a photograph it is a brilliant
success.”--_Phila. Times, April 30, 1882._
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Panza, and the spirit of Cervantes is visible in his description of the
sacred images in the Chapel.”--_The Press, Phila., April 11, 1882._
“The literary style of the book is worthy of study. The character
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exuberance of diction and a richness of simile and comparison that is
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QUINTUS CLAUDIUS
_A ROMANCE OF IMPERIAL ROME_
BY
Ernst Eckstein
From the German by CLARA BELL
=Containing nearly 600 Historical Notes and References.=
“We owe to Eckstein the brilliant romance of ‘Quintus Claudius,’ which
Clara Bell has done well to translate for us, for it is worthy of place
beside the Emperor of Ebers and the Aspasia of Hamerling. It is a
story of Rome in the reign of Domitian, and the most noted characters
of the time figure in its pages, which are a series of picturesque
descriptions of Roman life and manners in the imperial city, and in
those luxurious retreats at Baiae and elsewhere to which the wealthy
Romans used to retreat from the heats of summer. It is full of stirring
scenes in the streets, in the palaces, in the temples, and in the
amphitheatre, and the actors therein represent every phase of Roman
character, from the treacherous and cowardly Domitian and the vile
Domitia down to the secret gatherings of the new sect and their exit
from life in the blood-soaked sands of the arena, where they were torn
in pieces by the beasts of the desert. The life and the manners of all
classes at this period were never painted with a bolder pencil than by
Eckstein in this masterly romance, which displays as much scholarship
as invention._--Mail and Express, N. Y., Dec. 1, 1882._
“_A new Romance of Ancient Times!_ The success of Ernst Eckstein’s
new novel, ‘Quintus Claudius,’ which recently appeared in Vienna, may
fairly be called phenomenal, critics and the public unite in praising
the work.”--_Grazer Morgenpost._
“‘Quintus Claudius’ is a finished work of art, capable of bearing any
analysis, a literary production teeming with instruction and interest,
full of plastic forms, and rich in the most dramatic changes of
mood.”--_Pester Lloyd._
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ASPASIA
A ROMANCE
_OF ART AND LOVE IN ANCIENT HELLAS_
BY
ROBERT HAMERLING
From the German by MARY J. SAFFORD
OPINIONS OF THE PRESS IN GERMANY.
“‘Aspasia’ is a poem, which seems to have been accidentally clad in
the garb of prose. Every portion of it is permeated and transfigured
by the loftiest ideas of humanity. Yet what we particularly admire
in this brilliant work is the great skill with which the Greek local
coloring is reproduced. Hamerling, in this, his latest creation, proves
himself to be a delineator of mankind par excellence. The description
of characters is as truthful as it is interesting. ‘Aspasia’ is a
historical picture; for the incidents and persons within the limits
of the story are in the main historical, only the minor accessories
being imaginary. The whole action revolves about the central figure
of ‘Aspasia,’ who stands forth with majestic grandeur. No reader will
be able to escape the lofty, poetic charm of the book.”--_Europa_,
(Leipsic).
“It is one of the great excellencies of this romance, this lofty song
of the genius of the Greeks, that it is composed with perfect artistic
symmetry in the treatment of the different parts, and from the first
word to the last is thoroughly harmonious in tone and coloring.
Therefore, in ‘Aspasia,’ we are given a book, which could only proceed
from the union of an artistic nature and a thoughtful mind--a book
that does not depict fiery passions in dramatic conflict, but with
dignified composure, leads the conflict therein described to the final
catastrophe.”--_Allgemeine Zeitung._ (Augsburg).
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ANTINOUS
_A ROMANCE OF ANCIENT ROME_
BY
GEORGE TAYLOR
From the German by MARY J. Safford.
“Antinous, a Romance of Ancient Rome, from the German of George Taylor,
by Mary J. Safford, is one of those faithful reproductions of ancient
manners, customs and scenery which German authors are so fond of
writing, and in which they are so wonderfully successful. The story
deals with the old age of the Emperor Hadrian and with his favorite
Antinous. The recital is full of power, and is extraordinary in its
vividly realistic drawing of character. Though a minutely close study
of historical detail, it is spirited in the telling and of absorbing
interest in the plot and descriptions. The era and the personages
stand out with stereoscopic clearness. Nothing could be finer than
the portrait of the melancholy Hadrian and its beautifully-contrasted
fellow picture, the sorrowful Antinous. The book is one that appeals to
every cultivated taste, and overflows with interest of the most refined
description.”--_Saturday Evening Gazette, Boston, July 1, 1882._
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ELIANE
BY
M^{ME} AUGUSTUS CRAVEN
FROM THE FRENCH BY
LADY GEORGIANA FULLERTON
“We have before us an excellent specimen of the better class of French
novels. It is ‘Eliane,’ by Madame Augustus Craven. It illustrates in a
very charming way the various results of the French system of making
courtships and marriages. The book is a very charming one, which we
have read with pleasure.”--_The Mail, Toronto, Aug. 11, 1882._
“It is not only pure, but is, we believe, a trustworthy description of
the dignified French life of which it is a picture. ‘Eliane’ is one of
the very best novels we have read for one or two seasons past.”--_The
American Lit. Churchman, Baltimore, August 1, 1882._
“‘Eliane’ is interesting, not only because it is such a record of the
best kind of French life and manners as could only have been written
by a person thoroughly at home in the subject, but also because of the
delicate drawing of character which it contains. The book is quiet in
tone, and may fail to please readers who care for nothing but incident;
but there are, it may be hoped, still many readers to whom its grace
and fine style will recommend it.”--_London Sat. Review, June 3, 1882._
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The Eleventh Commandment
A ROMANCE
BY
ANTON GIULIO BARRILI
From the Italian by Clara Bell
“It is an attractive little novel, spirited in plot, and marked by
a charming grace in the telling. It is at once bright, witty and
delicate, is simple in design, but has a marked dramatic interest. The
characters are brilliantly sketched, the dialogue is spirited, and
there is an unconventionality in the work as a whole that makes it
thoroughly delightful reading.”--_Boston Saturday Evening Gazette, May
28, 1882._
“There is more to the work than appears on the surface, many passages
being fruitful subjects for psychological meditation. The characters
are all well drawn, especially those of the serious-minded prior, the
obese and tractable uncle, and the grandiloquent sub-prefect. The
author is an unusually good painter of human nature, and the ease and
naturalness of his style is refreshing. No fault is to be found with
the translation.”--_Boston Evening Transcript, May 20, 1882._
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A Whimsical Wooing
BY
ANTON GIULIO BARRILI Author of “The Eleventh Commandment.”
FROM THE ITALIAN BY CLARA BELL
“Some months ago we had occasion to praise a pleasant novel of modern
Italian life by the author of the above story. The present is not
less deserving of praise. It is just the very thing to play as an
afterpiece. Cast into purely dramatic form indeed, without any change
at all--it would form a sparkling little comedietta for a private
theatrical party. The little volume is most charming; it is very brief,
but every line sparkles; and we find it all too short.”--_Toronto Mail._
“‘A Whimsical Wooing’ is the richly-expressive title under which ‘Clara
Bell’ introduces a cleverly-narrated episode by Anton Guilio Barrili
to American readers. It is a sketch of Italian life, at once rich and
strong, but nevertheless discreet in sentiment and graceful in diction.
It is the old story of the fallacy of trusting to a proxy in love
matters.”--_Boston Post._
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“A ROMANCE OF A SOUL.”
ERNESTINE
_A NOVEL_
BY
WILHELMINE von HILLERN
From the German by S. BARING-GOULD.
“‘Ernestine’ is a work of positive genius. An English critic has
likened the conception of the heroine in her childhood to George
Eliot’s Maggie Tulliver, and truly there is a certain resemblance; but
there is in the piece a much stronger suggestion of George Eliot’s
calm mastery of the secret springs of human action, and George Eliot’s
gift of laying bare the life of a human soul, than of likeness between
particulars, characters or situations here and those with which we are
familiar in George Eliot’s work.”--_New York Evening Post, Feb. 17,
1881._
“Ernestine in her childhood somewhat reminds us of Maggie Tulliver
in the Mill on the Floss, and in her maidenhood of Mr. Tennyson’s
Princess. For many a year as child and woman she grieved that she had
not been born a man. In fact, she was a downright and fearless champion
of woman’s rights. But in the end she yields, and as we take leave of
her, we hear her saying to her husband, ‘I thank God that I am a woman
and that I am yours.’ Very pretty, though perhaps too sad, are the
opening scenes in which we first make her acquaintance.”
“There are many humorous touches throughout the work which afford a
pleasant relief to the more pathetic portions.”
“In fact, in many places as we read the story, we saw that it would
easily adapt itself to the purposes of the dramatist.”--_London Saturday
Review._
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THE HOUR WILL COME
_A TALE OF AN ALPINE CLOISTER_
BY
WILHELMINE VON HILLERN
From the German by CLARA BELL.
“_The Hour Will Come: A Tale of an Alpine Cloister_, by Wilhelmine von
Hillern, is a charming story, perhaps somewhat old-fashioned in regard
to plot, but gracefully and thoughtfully written, and full of interest
in its admirable painting of character. It has a fine local color, and
its descriptions are strikingly vivid and picturesque. It belongs to
the best class of modern German fiction, and will be read with pleasure
and satisfaction by every person of taste. The translation, by Clara
Bell, may be warmly praised for its spirit and its easy flow.”--_Boston
Saturday Evening Gazette, Oct. 9, 1880._
“_The Hour Will Come_” is the title of a translation by Miss Clara Bell
from the German original of Wilhelmine von Hillern, author of that
beautiful romance “Geier-Wally.” “The Hour Will Come” is hardly less
interesting, its plot being one of the strongest and most pathetic
that could well be imagined. The time is the Middle Ages, and Miss Von
Hillern has achieved a remarkable success in reproducing the rudeness,
the picturesqueness and the sombre coloring of those days. Those who
take up “The Hour Will Come” will not care to lay it down again until
they have read it through.--_Baltimore Gazette, Wednesday, October 13,
1880._
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HIGHER THAN THE CHURCH
_AN ART LEGEND OF ANCIENT TIMES_
BY
WILHELMINE von HILLERN
From the German by MARY J. SAFFORD
“Mary J. Safford translates acceptably a very charming short story
from the German of Wilhelmine von Hillern. If it was not told by the
sacristan of Breisach, it deserves to have been. It has the full flavor
of old German and English love tales, such as have been crystallized
in the old ballads. The Emperor, the gifted boy, his struggles with
the stupidity of his townsmen, his apparently hopeless love above him;
these form the old delightful scene, set in a Düreresque border. There
are touches here and there which refer to the present. The sixteenth
century tale has a political moral that will appeal to Germans who
believe that Alsatia, once German in heart as well as in tongue, ought
to be held by force to the Fatherland till she forgets her beloved
France.”--_N. Y. Times, Dec. 4th, 1881._
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RANTHORPE
A NOVEL
BY
GEORGE HENRY LEWES
It is not difficult to explain why “Ranthorpe” was not a success in the
ordinary sense of a popular novel; but the explanation will probably
give the reason why it has been since recalled to the attention of the
reading world. It was of too didactic a quality to suit the tastes of
novel-readers in search of mere sensation. It is full of moralizings,
and, although the topics are secular enough, it is rather preachy.
But there is a good deal of wisdom in it that is not without its use.
The hero of the book runs a literary career, goes first into poetry
and fails, then into the drama, and his tragedy is d----d. The main
interest of the volume is in the copious side discussions on the causes
of failure in literary adventure, and we have a vivid and readable
illustration of ideas which the author subsequently developed in his
review articles on “The Principles of Success in Literature.” From this
point of view the book is instructive, while the plot keeps up the
reader’s interest in the usual way.--_The Popular Science Monthly._
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A PRACTICAL METHOD
FOR
Learning Spanish
BY
A. RAMOS DIAZ DE VILLEGAS
“Spanish is not under any circumstances a difficult language to
learn. It has in its construction and pronunciation an encouraging
directness very unlike the grammatical involutions of German and the
delicate sound-shadings of French. Working in accordance with the
rules of almost any ‘system,’ a diligent student can in a very little
while acquire a fair mastery of the language; though it is true that
some of the ‘systems’ are much more difficult than others. One of the
simplest and best of them all is ‘A Practical Method for Learning
Spanish,’ by Señor A. Ramos Diaz de Villegas, just now published by
William S. Gottsberger, New York. The ‘method’ of Señor de Villegas
comprehends a collection of anecdotes arranged in short lines with an
English translation, similarly arranged, on the corresponding opposite
page; familiar phrases, with idiomatic renderings in English in
parallel columns; a vocabulary of words in common use, and a complete
list of the Spanish irregular verbs. It will be observed that this
method hardly can be called original; that it is more or less that of
Morales, of Velazquez, of Prendergast, and that some of its features
are found in Ollendorff and in Ahn; but in simplicity of arrangement
and directness of purpose it is superior to all of these--Prendergast
possibly excepted. It certainly is what it is called--a practical
method for learning Spanish. With a relatively small outlay of mental
exertion it produces exceptionally good results.”--_Philadelphia Times,
June 24, 1882._
One Vol., 12mo.--Price 75 Cents.
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* * * * *
Transcriber’s Notes
Spelling and hyphenation have been retained as in the original
publication, except as follows:
Obvious punctuation errors and typos repaired:
Page 1, “a sleepy world died gently away” replaced by “a sleepy world
died gently away.”
Page 4, “What am I to do? out there” replaced by “What am I to do? Out
there”
Page 5, “What have we here?....” replaced by “What have we here? ...”
Page 6, “wait a minute!....” replaced by “wait a minute! ...”
Page 7, “Choto, Choto!....” replaced by “Choto, Choto!...”
Page 16, “the infinite sepulchre of the ocean” replaced by “the
infinite sepulchre of the ocean.”
Page 17, “your throat?....” replaced by “your throat?...”
Page 43, ‘!--Oh dear, oh dear!”...’ replaced by ‘!--Oh dear, oh
dear!” ...’
Page 44, “I....no.” replaced by “I ... no.”
Page 57, “and as she eat” replaced by “and as she ate”
Page 70, “Those lovely things....?” replaced by “Those lovely things...?”
Page 95, “very, very dearly..” replaced by “very, very dearly....”
Page 115, removed new paragraph between “But what is this?” and “Blood?”
Page 135, “Well, if....?” replaced by “Well, if...?”
Page 138, “Ah....! Look here the” replaced by “Ah...! Look here the”
Page 141, ‘“Good, good!” cried Nela, delighted, “But’ replaced by
’“Good, good!” cried Nela, delighted. “But’
Page 182, “respected woman!....” replaced by “respected woman!...”
Page 183, “Centenc’s house” replaced by “Centeno’s house”
Page 213, “make you promises?....” replaced by “make you promises?...”
Page 224, “All good kind souls!....” replaced by “All good kind
souls!...”
Page 246, “‘And it cannot hurt me” replaced by ‘“And it cannot hurt me’
Page 253, “you are a charlatan!....” replaced by “you are a
charlatan!...”
Page 258, ‘“It is fled!’’ replaced by ’“It is fled!”’
Page 262, “October the 12th, 186...” replaced by “October the 12th,
186....”
Advertisement: QUINTUS CLAUDIUS “--Grazer Morgenpost,” replaced by
“--Grazer Morgenpost.”
Advertisement ERNESTINE ‘purposes of the dramatist’ replaced by
‘purposes of the dramatist”’
Advertisement: A TALE OF AN ALPINE CLOISTER “The Hour Will Come;”
replaced by “The Hour Will Come:”
“they have read it through” replaced by “they have read it through.”
Advertisement: AN ART LEGEND OF ANCIENT TIMES “25 cents,” replaced by
“25 cents.”
“WILLIAM S GOTTSBERGER” replaced by “WILLIAM S. GOTTSBERGER”
Advertisement: RANTHORPE “Bet there is” replaced by “But there is”
“40 cents,” replaced by “40 cents.”
Words written in two different ways:
birdlike/bird-like; “bird-like” was regularized to “birdlike”.
tramway/tram-way; “tramway” was regularized to “tram-way”.
_La terrible_/La terrible; “_La terrible_” was regularized to “La
Terrible” -no italics-.
Carlos/Cárlos; “Carlos” was regularized to “Cárlos”.
Maria/María; “Maria” was regularized to “María”.
Socarte/Socartes; “Socarte” was regularized to “Socartes”.
ONE VOLUME./ONE VOLUME; “ONE VOLUME.” was regularized to “ONE VOLUME”.
TWO VOLUMES./TWO VOLUMES; “TWO VOLUMES.” was regularized to “TWO
VOLUMES”.