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Page 66
Miguel de los Santos �lvarez (1818-1892) was a friend and imitator of
Espronceda and the last surviving member of his school. He was one of
several who attempted the vain task of completing the "Diablo Mundo."
He was a guest of honor with Espronceda at the first reading of "El
Estudiante de Salamanca" at Granada in 1837. His verse is mediocre,
and he is best known for the _Cuento en prosa_ here quoted. This
Fitzmaurice-Kelly terms "a charming tale," and Pi�eyro praises it
for the grace and naturalness of its irony. Rub�n Dar�o gives some
interesting reminiscences of Santos �lvarez in his old age, "La vida
de Rub�n Dar�o escrita por �l mismo", Barcelona, n.d., chap. xxvii.
Apparently Santos �lvarez never outgrew the bohemianism of his youth.
The second quotation is from Mark xiv, 38: "The spirit truly is ready,
but the flesh is weak."
=693.= The narrative begun in Part First is now resumed at the point
where it was interrupted. We now know that it was Don Diego Pastrana who
lost his life in the duel described in the opening lines.
=717.= The omission of the usual accent of =impio= is intentional and
indicates how the word should be stressed in this verse. =Imp�o= is a
"word of double accentuation". See Introduction.
=729.= Notice how the absolute phrase =Los ojos fijos= is broken by the
insertion of the proper name. Poets depart from the usual word-order
with the utmost freedom.
=737. n�ctar jerezano:= sherry wine.
=738, 740. bastara, intentara=: to be translated as pluperfects.
=766.= It is necessary to supply a =que= to serve as the object of
=achaca=. This is readily to be inferred from the =que= in the verse
before, which is, however, used as a subject.
=793.= In this speech of Don Felix's there is rapid alternation between
direct address, in the second person, and side remarks in the third
person about the person addressed.
=800. tengo de=: we would have he de in modern prose.
=811.= The =que= in this verse is the =que= regularly following oaths
and asseverations. Cf. Tobler, "Vermischte Beitr�ge zur franz�sischen
Grammatik," Leipzig, 1912, Article 17, pp. 57 f. Tobler gives the
following example from Calder�n: =�Vive Dios! que no he salido.= ("El
M�gico Prodigioso," Act III, v. 387.) In these examples, the =�vive
dios!= is hardly more than an emphatic =digo=, and is followed by =que=
just as =digo= would be. Verse 810 is parenthetical.
=828. del=: construe with =mar=.
=833.= For the conclusion of the sentence here begun it is necessary to
turn to line 883. We have to do with a sentence of 54 lines.
=840.= The 1840 edition lacks the third =su=.
=853. fueron=: 'are past and gone.'
=861. del=: the later editions read =el=. Ditto in lines 862, 863, 866.
=De= is also omitted in 865.
=868. jam�s=: I restore the 1840 reading. Later editions read =y no=.
=916. que=: a conjunction introducing a clause, the verb of which
(=pese=) has to be supplied.
=921.= The usual accent is intentionally omitted from =veame=. To read
this verse correctly the second syllable, and not the first, must
bear the stress. The bad prosody of this verse is discussed in the
Introduction.
=943.= The Dance of Death begins.
=1012. misteriosa=: late editors wrongly change to =misterioso=.
Espronceda is using =gu�a= as a feminine.
=1040. Dale=, etc.: 'plague take the tolling of the passing bell and
these towers dancing in tangled confusion to the measure of such a
concert.'
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