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Jose Maria Eca de Queiros (1845-1900) was a Portuguese author in the realist style, whose work has been translated into 20 languages. The Count of Abranhos was published posthumously, and this is the first time it has been translated into English. Alipio Severo Abranhos, born to poor parents in a small town in the north of Portugal, goes off to spend his boyhood and adolescence with an aunt whose material well-being constitutes, for him, the lap of luxury. And he likes and becomes accustomed to luxury. As he follows a course of study for his bacharel at the University of Coimbra, certain negative character traits come to the fore, and upon completion of his degree he leaves behind a pregnant maid to take up residence in Lisbon. In the capital, he calculates-as a young man with neither position, nor fortune, nor social standing-how to get ahead in life. And the path is through marriage to a young woman of social status and promise of a sizable dowry, both of which can facilitate his rise in politics and government. Alipio's weapons, his means, are various modes of hypocrisy-social hypocrisy, religious hypocrisy, filial hypocrisy, and political hypocrisy, with dishonesty, cowardice, and a farcical duel thrown in for good measure. Eca, like all accomplished novelists, does not tell us what Alipio becomes, rather he lets us see what he becomes, for with his unerring sense of satire, of character portrayal, and plot movement he lets the Count of Abranhos, with his steps and missteps, inform us himself of what he becomes. And with his actions, Alipio Severo Abranhos emerges as the personification, the very epitome, of the grim state of politics in nineteenth-century Portugal, a state engendered by the dogged pursuit of power. And through the obsequious eyes of Alipio's biographer and the sycophantic hangers-on who wish to glory in his orbit, readers have a clear picture of the "great" man-a type who exhibits universal characteristics not confined to Eca de Queiros's native country, nor to his time.
(source: Nielsen Book Data)

• Introduction : which deals with Villabermeja, Don Juan Fresco, and illusions in general
• The illustrious house of López de Mendoza
• What is he good for?
• Doña Ana's plan
• Doña Costanza de Bobadilla
• First impression
• A letter from the doctor to his mother
• Preliminaries of love
• At the window grille
• Mysterious meeting
• Niña Araceli
• Diplomatic activity
• The Marquis of Guadalbarbo
• Examination of conscience
• Penance for the devil
• The tertulia of the three duos
• The earthly paradise
• Jealousy is more powerful than love
• Love pact
• The miracles of contempt
• The miracles continue
• Because of following a woman
• Rosita's revenge
• Joselito's confidences
• Sunt lacrimae rerum
• Mourning
• Lost illusions
• Loose ends
• The crisis
• Secret vengeance for a secret insult
• A sad marriage.

Juan Valera's "The Illusions of Doctor Faustino" (Las ilusiones del doctor Faustino) came out in 1875, one year after the resounding success of his "Pepita Jimenez". One of the author's contemporaries, the critic Manuel de la Revilla, considered it among the most important novels of his time and compared it to Flaubert's "L'Education" sentimentale on account of the negative influence of Romanticism on the protagonist's character and life.Don Faustino Lopez de Mendoza, scion of an illustrious but impoverished family of the highest nobility, believes himself destined for great accomplishments in the literary world, sees himself as a poet of the first rank, and immerses himself in grand, if not grandiose, illusions.While living in a provincial Andalusian town and dreaming of triumphing in Madrid's artistic circles, Faustino embarks on a discovery of love, anguishes over his impecunious state, and engages in endless self-analysis. Love - or, at all events, a monetarily advantageous marriage - seems to go hand in glove with turning his illusions and dreams into triumphs and realities.He falls for Costanza and is rejected by her; he falls for Maria and she eludes him; he thinks he falls for Rosita then callously scorns her after meeting up again with Maria, who flees from him after a night of lovemaking. Reduced to financial ruin by a revengeful Rosita, Faustino betakes himself to the Spanish capital. Many years later all three women, as well as his daughter Irene (by Maria), converge in Madrid, and how he extricates himself from each relationship and meets his sad end constitutes the denouement of this searching novel that depicts the deleterious effects of the Romantic malaise that swept through western Europe in the early part of the nineteenth century.
(source: Nielsen Book Data)

• Introduction : which deals with Villabermeja, Don Juan Fresco, and illusions in general
• The illustrious house of López de Mendoza
• What is he good for?
• Doña Ana's plan
• Doña Costanza de Bobadilla
• First impression
• A letter from the doctor to his mother
• Preliminaries of love
• At the window grille
• Mysterious meeting
• Niña Araceli
• Diplomatic activity
• The Marquis of Guadalbarbo
• Examination of conscience
• Penance for the devil
• The tertulia of the three duos
• The earthly paradise
• Jealousy is more powerful than love
• Love pact
• The miracles of contempt
• The miracles continue
• Because of following a woman
• Rosita's revenge
• Joselito's confidences
• Sunt lacrimae rerum
• Mourning
• Lost illusions
• Loose ends
• The crisis
• Secret vengeance for a secret insult
• A sad marriage.

"Juanita La Larga" (1896), the third of Juan Valera's eponymous novels with a female protagonist, unfolds in a small town in nineteenth-century Spain and tells the story of a young girl's romance with a wealthy widower many years her senior. In addition to their substantial difference in years and class, the lovers must contend with the indignation of his imperious married daughter, the public rebuke of a churchman, and the strictures of society. As the novel opens, readers are introduced to Juanita in the exuberance of youth. We witness her maturation into a young woman and along the way we watch as she learns to deal with humiliation, anger, jealousy, and a pride that makes for bittersweet moments. Juanita reveals a cunning personality that is complemented by a dogged determination and an iron will; once she realizes what she wants in life neither the fear of reprisal nor the prospect of ostracism deters her. Other well-conceived, well-delineated characters are Juana, Juanita's mother and village do-it-all; Dona Ines, the haughty, sanctimonious daughter of the widower Don Paco who falls head over heels in love with Juanita and wants to marry her; Don Alvaro Roldan, Dona Ines's dissolute husband; and Don Policarpo, the town druggist. This charming work appears here for the first time in English and is elegantly translated by Robert M. Fedorchek. "Juanita la Larga" gives Valera an opportunity to describe, in loving detail, life in an Andalusian hamlet: its social levels, political intrigues, religious observances, rustic amenities, and hearty fare. But above all it offers a vibrant picture of Juanita, a worthy sister to other Valera heroines like Pepita of "Pepita Jimenez" (1874) and Luz of "Dona Luz" (1879).
(source: Nielsen Book Data)

• Chapter 31
• Chapter 32
• Chapter 33
• Chapter 34
• Chapter 35
• Chapter 36
• Chapter 37
• Chapter 38
• Chapter 39
• Chapter 40
• Chapter 41
• Chapter 42
• Chapter 43
• Chapter 44
• Chapter 45
• Epilogue
• Selected Bibliography

Don Alvaro, or the Force of Fate by Angel de Saavedra, Duke of Rivas (1791-1865), premiered in 1835 in Madrid and changed the Spanish stage forever after. It was the benchmark Romantic play of early nineteenth-century Spain. In this English edition designed for either classroom use or performance, Robert Fedorchek presents a readable translation faithful to the tone and spirit of the original. Joyce Tolliver enhances the book with a rich introduction highlighting the work's lasting significance. The play tells of the torrid love of the mysterious Don Alvaro and the lovely Dona Leonor, and how fate intervenes - by way of Alvaro's role in the ""accidental"" death of Leonor's father - to bring about the extermination of Leonor's family at the hands of the man who loves her to distraction. Although chronologically not the first Spanish Romantic drama, Don Alvaro is generally considered the true exponent of the freedom of expression that Romanticism brought to the theater. It does away with all the Neoclassical rules: it exceeds twenty-four hours; the action takes place in two countries; it mixes high and low; prose alternates with verse; and the characters express, melodramatically and passionately, their innermost feelings. It is also generally considered the first play in the best trilogy, along with Antonio Garcia Gutierrez's El trovador (The troubadour, 1836) and Juan Eugenio Hartzenbusch's Los amantes de Teruel (The lovers of Teruel, 1837).
(source: Nielsen Book Data)

• CONTENTS
• Translatorâ€?s Preface
• Introduction by Joyce Tolliver
• DON Ã?LVARO, OR THE FORCE OF FATE
• Cast Of Characters
• Act 1
• Act 2
• Act 3
• Act 4
• Act 5
• Select Bibliography

Don Alvaro, or the Force of Fate by Angel de Saavedra, Duke of Rivas (1791-1865), premiered in 1835 in Madrid and changed the Spanish stage forever after. It was the benchmark Romantic play of early nineteenth-century Spain. In this English edition designed for either classroom use or performance, Robert Fedorchek presents a readable translation faithful to the tone and spirit of the original. Joyce Tolliver enhances the book with a rich introduction highlighting the work's lasting significance. The play tells of the torrid love of the mysterious Don Alvaro and the lovely Dona Leonor, and how fate intervenes - by way of Alvaro's role in the ""accidental"" death of Leonor's father - to bring about the extermination of Leonor's family at the hands of the man who loves her to distraction. Although chronologically not the first Spanish Romantic drama, Don Alvaro is generally considered the true exponent of the freedom of expression that Romanticism brought to the theater. It does away with all the Neoclassical rules: it exceeds twenty-four hours; the action takes place in two countries; it mixes high and low; prose alternates with verse; and the characters express, melodramatically and passionately, their innermost feelings. It is also generally considered the first play in the best trilogy, along with Antonio Garcia Gutierrez's El trovador (The troubadour, 1836) and Juan Eugenio Hartzenbusch's Los amantes de Teruel (The lovers of Teruel, 1837).
(source: Nielsen Book Data)

• We have the stars
• Blas's dream
• The country that had no birds
• The sparrow and the moon
• A mermaid and a magistrate, 500 neighbors, and a singing blackbird
• Matías the half-wit
• The year that fell into the sea
• The weaver of dreams
• The pirates of The terrible one
• Martolán, apprentice magus
• Barú and the giant
• The conceited buzzard
• The little girl and the sea
• Karlantán and Prince Atal's pearls
• The garden with seven gates.

This collection of fourteen stories and one minidrama features children protagonists, talking birds, and extraordinary occurrences. Like the tales of Charles Perrault and the brothers Grimm, they speak to fantasies and fears that are our constant companions in life, which means that although they are peopled with children protagonists, they are not for children alone. The introduction provides background on Concha Castroviejo and considers her production of juvenile literature in mid twentieth-century Spain and in relation to authors like Elizabeth Mulder and Maria Luisa Gefaell; it then takes up themes in the book and discusses them. The Spanish author Concha Castroviejo (1910-95) was born in the Galician city of Santiago de Compostela. After studies at the university there and in France, she fled to Mexico with her husband following the Spanish Civil War (1936-39) and did not return to Spain until 1950. She published two novels: Those Who Went Away (Los que se fueron, 1957) and Eve of Hate (Vispera del odio, 1959), both with the Spanish Civil War as background; two children's books: The Garden with Seven Gates (El jardin de las siete puertas, 1961) and Lina's Days (Los dias de Lina, 1971); and short fiction, literary criticism, and journalism in La Estafeta Literaria, Insula, Q. P., La hoja del Lunes, and Informaciones. Her writings received a number of literary prizes and her works have been translated into French, Slovak, and English.
(source: Nielsen Book Data)

'Dona Luz' tells the story of an impoverished and refined, but illegitimate young woman, Dona Luz, who has had to leave the aristocratic milieu of nineteenth-century Madrid for the rural Andalusian town of Villafria. This new English translation replaces the 1891 version that suffers from numerous, and sometimes lengthy, omissions and dated language.
(source: Nielsen Book Data)

This volume consists of seventeen stories by nine of nineteenth-century Spain's most well-known authors, and demonstrates convinvingly that, although it had no Charles Perrault and no brothers Grimm, it maintained a rich oral vein of folktales and fostered stories in written form that are in keeping with the European tradition.
(source: Nielsen Book Data)

• The two boxes
• Doña Berta
• The lord
• A day laborer
• Change of light
• The golden rose
• Queen Margaret
• Torso
• The burial of the sardine
• Two scholars.

• The nun
• Captain Poison
• Moors and Christians
• The tall woman.

Stories by nineteenth-century Spanish writer.
(source: Nielsen Book Data)

• Juan Holgado and death / Fern an Caballero
• Tragaldabas / Antonio de Trueba Death's friend / Pedro Antonio de Alarc on.
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• The nail
• The cornet
• The orderly
• The foreigner
• The French sympathi
• "Long live the Pope!"
• The Mayor of Lapeza
• The Guardian Angel.
• (source: Nielsen Book Data)