Heath's Modern Language Series: Mariucha

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Benito Pérez Galdós. Heath's Modern Language Series: Mariucha

PREFACE

INTRODUCTION

A. THE LIFE OF D. BENITO PÉREZ GALDÓS

B. BENITO PÉREZ GALDÓS AS A DRAMATIC WRITER

C. THE PLAYS OF PÉREZ GALDÓS

BIBLIOGRAPHICAL NOTE

MARIUCHA

PERSONAJES

MARIUCHA

ACTO PRIMERO

Escena Primera

Escena II

Escena III

Escena IV

Escena V

Escena VI

Escena VII

Escena VIII

Escena IX

Escena X

Escena XI

Escena XII

Escena XIII

Escena XIV

Escena XV

Escena XVI

Escena XVII

Escena XVIII

Escena XIX

ACTO SEGUNDO

Escena Primera

Escena II

Escena III

Escena IV

Escena V

Escena VI

ACTO TERCERO

Escena Primera

Escena II

Escena III

Escena IV

Escena V

Escena VI

Escena VII

Escena VIII

Escena IX

Escena X

Escena XI

ACTO CUARTO

Escena Primera

Escena II

Escena III

Escena IV

Escena V

Escena VI

Escena VII

ACTO QUINTO

Escena Primera

Escena II

Escena III

Escena IV

Escena V

Escena Última

NOTES

VOCABULARY

A

B

C

D

E

F

G

H

I

J

L

M

N

O

P

Q

R

S

T

U

V

Y

Z

Отрывок из книги

Benito Pérez Galdós was born May 10, 1843, in Las Palmas, Grand Canary Island. The first school he attended was kept by English people; hence perhaps his great admiration for the English. He showed an early and lasting talent for music and drawing. In 1864 or 1865 he went alone to Madrid to study law, which he disliked. He made slow progress, but completed the course in 1869. Latin was his favorite study, and he never practised law.

His first writing was done for Madrid newspapers; he reported sessions of the Cortes, and wrote all sorts of general articles. During this period he wrote two poetic dramas, never performed. His failure to gain the stage turned him to the novel, and he did not again attempt drama till 1892. Dickens and Balzac most influenced his conception of the novel. His first book, La fontana de oro, was published in 1870; the first of the Episodios nacionales, Trafalgar, in 1873. Since then the Episodios reached the number of forty-six; the Novelas de la primera época (those based on history rather than on observation), seven; the Novelas españolas contemporáneas (based on observation), twenty-four; dramas and comedies, twenty-one; opera, one.

.....

To a reader the play does not appear so bad as the event indicated. The first act is conceded to be a model; and, in spite of confused interests and some wildly romantic speeches, the whole presents a vivid picture of siege horrors, without melodrama or exaggeration. Possibly the failure was due to the fact that doctor Nomdedeu, the chief character, places his daughter's health ahead of patriotism, and to the final tableau, in which the defeated Spaniards lay down their arms before the French marshal.

4. La de San Quintín, comedia en tres actos. Madrid, Teatro de la Comedia, Jan. 27, 1894.—Aroused great enthusiasm, and received fifty consecutive performances in Madrid. Was given in Paris, in Spanish, in 1900 (?).

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