El Capitán Veneno Pedro Antonio de Alarcón

 El Capitán Veneno Pedro Antonio de Alarcón

EL CAPITÁN VENENOPOR
PEDRO ANTONIO DE ALARCÓN
EDITED BY
PERCY BENTLEY BURNET, A.M.
formerly director of foreign languagesmanual training high schoolkansas city, mo.

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with original drawings by
ÁNGEL CABRERA LATORRE
BENJ. H. SANBORN & CO.CHICAGO NEW YORK BOSTON1928Copyright, 1920, byBENJ. H. SANBORN & CO.
Norwood PressJ. S. Cushing Co.—Berwick & Smith Co.Norwood, Mass. U.S.A
PrefaceParte primeraI, II, III, IV, V, VI, VII, VIII, IX, XParte segundaI, II, III, IV, V, VI, VIIParte terceraI, II, III, IV, V, VI, VIIParte cuartaI, II, IIIQuestions For ConversationExercise 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25Exercises For Translation Into SpanishExercise 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20VocabularyNotesPREFACEI. Explanation and Acknowledgment
The charming and popular story of El Capitán Veneno, the fire-eater, has been well edited several times, but, after using the text in classes many times, the present editor believes that there is still room for personal preferences as to what should be emphasized.
The logical text to follow was the 10th Rivadeneyra edition of 1913. But the edition was very faulty, many passages apparently having never been proofread at all. So I have corrected manifest errors by earlier editions. These changes are pointed out in the notes. The text is given entire. The vocabulary does not try to be more delicate and dainty than the author's own words; and several words have been given literally enough to show the real basis for their use, e.g. muleta, mocosilla, resoplido, ramillete de dulces. The students always have to ask about such words in class anyway.
There are exercises for Spanish, in Spanish and in English, based on the text, and not meant to be very much easier than the text. There are many questions in the exercises that can be answered by Sí and No. In these the student should, in his answer, involve the words of the question, or repeat the question rapidly. Speed is useful and encourages the learner with confidence and satisfaction, for he can see his own improvement and measure it by the ease he acquires in utterance. A sentence that comes hard for the tongue is just the one to practice on for speed. It is gymnastics for the tongue and for the mind.
In the notes, as to what to comment on, I have been guided largely by my experience with classes that read the story.
In the accent marks and the alphabetical order of ll and rr I have followed the 14th edition of the Academy's dictionary, 1914.
I owe thanks to several persons for various help and interest: Miss Helen Greer, a former student of mine, worked on the vocabulary; my colleague F. L. Phillips, a seasoned Spanish scholar, gave me several helpful ideas; Principal E. L. C. Morse, of Chicago, a long-standing lover of Spanish and traveler in Spanish countries, made several suggestions that were useful; Professor Frank La Motte, of Milwaukee, helped with intense interest; and Dr. Homero Serís, of the University of Illinois, worked on the Spanish exercises and the vocabulary.
II. Pedro Antonio de Alarcón (1833-1891)
Our author began at fifteen writing for publication, and as a young man was already well known and popular. His great ambition at first was to write plays, and he tried a dozen without making any worth while. So nowadays the plays have all disappeared and are no longer offered for sale among his works. But in the plays he learned to make dialogue, and the novels are well filled with that variety of narration. His poems had a fate like that of the plays.
Alarcón's style is largely colored by his newspaper training in his earlier years. He is rapid, clever, often slangy, often frivolous, quotes Latin badly several times, likes the sensational, forgets and contradicts previous statements sometimes (just as Cervantes did), has an eye out for funny things. He became a great story-teller, entertaining, amusing, and enlightening. He often takes too much pains to make fiction look like exact truth (para tomar
como cierto lo fingido) and history.

DATES AND WORKS
Alarcón's birth 1833Wrote first El Descubrimiento y Paso del Cabo de Buena Esperanza 1848El Final de Norma 1850Editor of El Látigo 1853First drama, El Hijo Pródigo 1857First great success, El Diario de un Testigo de la Guerra de África, 2 vols. 1851De Madrid a Nápoles, 2 vols. 1869Alarcón was in politics 1863 to 1874Appointed minister plenipotentiary to Norway and Sweden 1868Short stories and novels appeared all through this period from 1864 to 1874Poems 1870La Alpujarra 1874El Sombrero de Tres Picos 1874El Escándalo 1875Admitted to the Academy 1877El Niño de la Bola 1880La Pródiga 1881El Capitán Veneno 1881Alarcón's death 1891
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