Don Francisco de Quevedo

Francisco de Quevedo, by Eulogio Florentino Sanz

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Title: Don Francisco de Quevedo Drama en Cuatro Actos
Author: Eulogio Florentino Sanz
Editor: R. Selden Rose
Release Date: November 17, 2006 [EBook #19847]
Language: Spanish
Character set encoding: ISO-8859-1
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DON FRANCISCO DE QUEVEDO
DRAMA EN CUATRO ACTOS
POR
EULOGIO FLORENTINO SANZ
EDITED BY R. SELDEN ROSE, PH.D.
INSTRUCTOR IN SPANISH IN THE UNIVERSITY OF CALIFORNIA
GINN AND COMPANY BOSTON--NEW YORK--CHICAGO--LONDON ATLANTA--DALLAS--COLUMBUS--SAN FRANCISCO COPYRIGHT, 1917, BY R. SELDEN ROSE ALL RIGHTS RESERVED =The Athen?um Press= GINN AND COMPANY--PROPRIETORS--BOSTON--U.S.A.
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PREFACE
The features of "Don Francisco de Quevedo" that led to its selection as a text for the use of students of the second or even first year are its historical background, its ease and purity of style, and the sustained interest of the plot. As regards the chief character, Quevedo, he is in a large measure the embodiment of the whole literary spirit of the first half of the seventeenth century and at the same time the champion of political reform. The play is written in Castilian of such simplicity that it presents almost no syntactical difficulties, and at the same time embodies a useful vocabulary. The development of the plot, the struggle between Olivares and Quevedo, is thoroughly logical and is aided by scenes so intensely dramatic that they hold the interest of the reader at all times. Some of these scenes, so characteristic of even the best plays of the Romantic School, to-day seem to verge on the melodramatic. For this reason the student should be reminded that the heroic thunder of this kind of play was most acceptable to the theater-goers of the middle of the last century. A sense of humor, then, should temper any critical attitude on the part of those who may be inclined to take our play's shortcomings or exaggerations too seriously.
The fact that Florentino Sanz is comparatively unknown will justify the detailed Biographical Sketch.
The text is a careful reproduction of that of the first edition, Madrid, 1848, except, of course, for frequent corrections in punctuation. Only the important stage directions have been retained; others that in great profusion specify the facial expression and tone of voice of the actors have been rejected in many places as more cumbersome than useful.
R.S.R.

CONTENTS
EULOGIO FLORENTINO SANZ HISTORICAL INTRODUCTION VERSIFICATION DON FRANCISCO DE QUEVEDO NOTES VOCABULARY

EULOGIO FLORENTINO SANZ
BIOGRAPHICAL SKETCH
The name of Eulogio Florentino Sanz is little known outside of Spain, where for more than seventy years it has been closely linked with his chief dramatic achievement, "Don Francisco de Quevedo," and with his translations from Heine. Now and then the plea that something be done toward bringing out an edition of his works has found expression but met with no response. To read his scattered verses it is necessary to search the pages of that wilderness of papers, dailies, weeklies, monthlies, and annuals, which appeared in Madrid between 1840 and 1870. Though we are told that he wrote much, it is none the less true that he published next to nothing. In 1848, at the age of twenty-seven he was freely spoken of as one of the most promising of his generation of poets and dramatists. Vanity and indolence at maturity prevented his fulfilling the promise.
His boyhood was spent in Ar��valo in the province of ��vila, where he was born March 11, 1821. The village priest taught him Latin, and later he may have been a student at the University of Valladolid. Of the years that passed before he came to Madrid we know little besides a few anecdotes. According to one of these Sanz paid youthful court to the daughter of a glazier whose ruin was threatened by lack of business. The daughter told young Florentino of her father's difficulties in the course of an evening interview, whereupon the ambitious lover quickly organized a band of followers and broke all the windows in Ar��valo.
Early in February of 1843 he was in Madrid, where he began to write for the newspapers. Two years later a few poems published in the Semanario Pintoresco, El Heraldo, and La Risa won him some recognition. He now identified himself with the group of romantic poets who held their meetings in the famous Caf�� del Pr��ncipe. His sonnet "La Discordia," published in the Semanario Pintoresco, February, 1843, furnishes indisputable evidence of his romantic tendencies. In it a waning moon, fratricide, corpses, "infernal sonrisa," and an agonized mother provide all the