El sombrero de tres picos. Pedro Antonio de Alarcón

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СКАЧАТЬ General (Vol. 2, p. 409), Alarcón in his preface acknowledges his indebtedness. The other ballad seems from language and form to be younger; the content of the two is almost identical. It is not my purpose in the present place to enlarge on Bonilla's article, though I suspect that the theme in its cruder forms is considerably older than Boccaccio; he has given us all that served as the first-hand sources of our story, and more, and he seems to me beyond any doubt to be in the right in holding that the differences to be noted between these sources and the novel are Alarcón's own, not the product of some other model, to him (Bonilla) unknown. To my mind this conclusion should be more strongly put. In his preface Alarcón tells us where he found the story, and makes direct reference to the Durán Romancero; had he had another, more strictly decorous, version at hand, one in short better suited to his need, he had surely mentioned it. Bonilla seems to me to take far too seriously the closing lines of the preface, which, to one without the pale, seem simply a graceful confession of faith in the basic decency of Spain. For the sources of the book, then, Alarcón's preface and Bonilla's essay must seem a sufficient guide.

      The text here printed is that of the thirteenth Spanish edition. Two passages have been omitted; one (after page 6, line 28 of this text) touching taxes and imposts, as being unduly difficult, and of no help to the story: the curious may find it in the notes. The other, a bare two lines, had too much local color for dignified appearance in the American classroom. The only other changes the editor has allowed himself are occasional deviations from the somewhat arbitrary system of capitalization followed in the model.

      My friend Professor De Haan, of Bryn Mawr College, did me the favor of making a collation of this text with that of the first edition in book form, which, as it appeared so promptly after the other, is probably to all intents and purposes identical with that of the serial. The differences to be noted between the first and thirteenth editions are altogether matters of style, except in the preface, where, as noted, the end is very different in the two. As I have not had access to all the editions, I cannot say with certainty when the revision was made: it is likely that it came when Alarcón prepared the definitive edition of his works for the Colección de Escritores Castellanos: in which case the first revised edition would be the eighth or ninth. The changes are often interesting as showing the working of the better second thought;—here the flow of the syntax is made a little smoother, there a harsh word has been suppressed. In general the text has gained by the author's later attention, though there is an occasional spot where the style seems fresher and more vigorous in the older form.

      El Sombrero de tres picos has been much translated and has been used as material for at least four comic operas. Alarcón mentions two, one French, one Belgian, in Historia de mis Libros (page 247); I have been unable, so far, to find out anything about these. A third, by M. Giró, is spoken of by Albert Soubies, Histoire de la Musique, Espagne, XIX siècle, Paris, 1900, page 54. The title of this one is El Sombrero de tres picos, and it was brought out at Madrid. The fourth, Der Korregidor, music by Hugo Wolff, libretto by Rosa Mayreder, was first given at Mannheim in 1896.

      IV. Bibliographical Note

      The biographical matter of this introduction is taken from two short lives of Alarcón, one by José Calvo y Teruel, prefixed to the 1870 edition of Poesías serias y humorísticas; and the other by Mariano Catalina, written after Alarcón's death (1905) and published with volume I (Cuentos Amatorios) of the Novelas Cortas.

      Of serious critical matter concerning Alarcón, I have seen, besides what is in the usual histories of Spanish Literature, only the essay on El Sombrero de tres picos by Luis Alfonso, prefixed to the book, in the Colección de Escritores Castellanos, and what is given by Padre Francisco Blanco García, in his Literatura Española en el Siglo XIX, 2d edition, Madrid, 1903, vol. II, pp. 452-467. Both seem unscientific, and not useful, though both have very good will; and Luis Alfonso's essay has a certain value as an historical document. [p. xvii]

      AL SEÑOR

D. JOSÉ SALVADOR DE SALVADOR

       Índice

      Dedico esta obra.

      P. A. de Alarcón.

      Julio de 1874.

PREFACIO DEL AUTOR

       Índice

      Pocos españoles, aun contando a los menos sabios y

       leídos, desconocerán la historieta vulgar que sirve de

       fundamento a la presente obrilla.

      Un zafio pastor de cabras, que nunca había salido de

       la escondida Cortijada en que nació, fue el primero a 1-5

       quien nosotros se la oímos referir.—Era el tal uno de

       aquellos rústicos sin ningunas letras, pero naturalmente

       ladinos y bufones, que tanto papel hacen en nuestra

       literatura nacional con el dictado de pícaros. Siempre que en la Cortijada había fiesta, con motivo de boda o 1-10 bautizo, o de solemne visita de los amos, tocábale a él poner los juegos de chasco y pantomima, hacer las payasadas y recitar los romances y relaciones;—y precisamente en una ocasión de éstas hace ya casi toda una vida..., es decir, (hace ya más de treinta y 1-15 cinco años), tuvo a bien deslumbrar y embelesar cierta noche nuestra inocencia (relativa) con el cuento en verso de El Corregidor y la Molinera, o sea de El Molinero y la Corregidora, que hoy ofrecemos nosotros al público bajo el nombre más trascendental y filosófico 1-20 (pues así lo requiere la gravedad de estos tiempos) de El Sombrero de tres picos.

      Recordamos, por señas, que cuando el pastor nos

       dio tan buen rato, las muchachas casaderas allí reunidas se pusieron muy coloradas, de donde sus madres dedujeron que la historia era algo verde, por lo cual pusieron ellas al pastor de oro y azul; pero el pobre Repela (así se llamaba el pastor) no se mordió la lengua, y contestó diciendo: que no había por qué escandalizarse 2-5 de aquel modo, pues nada resultaba de su relación que no supiesen hasta las monjas y hasta las niñas de cuatro años....

      —Y si no, vamos a ver (preguntó el cabrero): ¿qué

       se saca en claro de la historia de El Corregidor y la 2-10 Molinera? ¡Que los casados duermen juntos, y que a ningún marido le acomoda que otro hombre duerma con su mujer!—¡Me parece que la noticia!...

      —¡Pues es verdad!—respondieron las madres,

       oyendo las carcajadas de sus hijas. 2-15

      —La prueba de que el tío Repela tiene razón (observó

       en esto el padre del novio), es que todos los

       chicos y grandes aquí presentes se han enterado ya de

       que esta noche, así que se acabe el baile, Juanete y

       Manolilla estrenarán esa hermosa cama de matrimonio 2-20

       que la tía Gabriela acaba de enseñar a nuestras hijas

       para que admiren los bordados de los almohadones....

      —¡Hay СКАЧАТЬ