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Tres Comedias Modernas en un Acto y en Prosa

Galdos's novels), and, in the longer novels,complication
and elaboration of plot, are obstacles in the way of
thestudent's appreciation of the real beauties of this
literature.
The language of these prose comedies, slightly
embellished as allliterary expression must be, is that used
in conversation by theSpaniard of to-day, and on that
account should prove valuable infurnishing the student
with those living idioms and constructions thatare rarely
found in the longer novels.
In deference to American propriety, an occasional word
or two, and intwo cases entire scenes, have been omitted.
In La Muela del Juicio onescene has been omitted and
another shortened on account of the presenceof dialect;
elsewhere, with a few exceptions, dialect forms have
beengiven their Castilian equivalents. These changes have
in no wiseaffected the plot or general interest of the plays.
It has not been thought necessary to furnish biographical
sketches ofthe authors. With the exception of Ramos
Carrión, who has attained anational reputation as a writer
of comedies in prose and verse, theyhave not distinguished
themselves from the many facile playwrights whoentertain
the public of Madrid.
The editor wishes to acknowledge his indebtedness to Dr.
J. A. Ray, whowas originally associated with him in the
undertaking, but was compelledto withdraw from it at an
early stage. About a third of the vocabularyis to be credited
to him.
F. W. M.
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