Chapter 20

=22= 27 =gongorismo=: 'Gongorism,' a literary style, so called from the Spanish writer Luis de Góngora y Argote (1561-1627). This style, which is similar in many ways to the affected manner called in England Euphuism, and in France and Italy Marinism, was distinguished by its elaborate and artificial expression of ideas, and by its frequent substitution of mere play upon words for solid thought.

=23= 16 =las herraduras=: 'the horses' shoes.'

=24= 7 =cuya=: 'which,' or 'the which.' This use of =cuyo= for =el cual= is pronounced improper by the best grammarians (e.g. Andrés Bello, _Gramática Castellana_, ed. Cuervo, section 1050). It is said to be of notarial origin. Many excellent writers, however, employ it, and it is very common in conversation.

=24= 30 =_saudades_=: almost untranslatable Portuguese word, derived from the Latin _solitas_, 'loneliness.' It has come in Portuguese to mean the melancholy that arises from introspection and the vague yearnings of unsatisfied sentiment. The German _Weltschmerz_ expresses a somewhat similar idea.

=24= 33 =Enriqueta, Julia=: conventional names of heroines of novels. Not Spanish in tone. By comparing a list of eminent men in Spain with a similar list in the United States it will be seen that saints of the Church furnish about two thirds of the Christian names in Spain, about one third here; for women's names the contrast is still greater. Many Spanish women's names that do not look like saints' names are attributes of the Virgin; e.g. Rosario for Our Lady of the Rosary.

=25= 12 =allí=: 'at that point.'

=25= 18 =Estarás=: R. 1195; K. 703, _c_; C. 266.

=26= 6 =un mueble de latón dorado=: i.e. a cuspidor.

=26= 11 =correr el transparente=: 'draw the shade.' For trans. use of =correr= cf. R. 265.

=26= 19 =testero=: 'façade' of a building; 'wall,' or 'side,' of a room.

=27= 12 =Más días hay que longanizas=: 'there are more days than sausages'; i.e., time is a plentiful commodity.

=27= 21 =Déle usted expresiones=: 'remember me to him.' Cf. R., Appendix, pp. 610 ff.

=27= 25 =Abur=: 'good-bye' (colloq. for =agur=, from Lat. _augurium_, through a Low Latin form _agurium_; K. 60, footnote). Not discourteous, but more offhand in tone than the =adiós= of p. 28, l. 5.

=27= 32 =lo tuyo=: 'what is yours,' 'your business.'

=27= 34 =Hombre=: cf. n. on p. 5, l. 33.

=28= 2 =Del lobo=, etc.: 'one hair of the wolf, and that from his forehead' (is sufficient). Proverb signifying that in dealing with what is bad, the less you get of it, the better for you.

=29= 1 =la emprendió con=: 'fell to upon.' For use of =la= cf. n. on p. 7, l. 16.

=29= 21 =No hay que hablarme=: R. 867; K. 353, _c_; C. 107, 2.

=30= 12 =cartoncejo=: the ending =-cejo= is unusual and contrary to the ruling of the Academy (of which Galdós is a member); the Academy's rule is that =-ito,-illo,-ico,-uelo=, usually become =-cito= etc. when affixed to a word ending with =n=, but that of =-ajo,-ejo,-ijo=, only =-ajo= allows euphonic letters to be prefixed to it, and that without set rule.

=30= 34 =ristras=: the noun 'trace,' the exact equivalent of =ristra=, is not in English dictionaries; but see the verb in Webster, and the noun in the list of prizes of the Vermont State Fair, 1910. 'Rope' is a better-known word for the same thing.

=31= 3 =la Corte=: 'the Capital,' Madrid.

=31= 7 =de bancos=: the list ends abruptly with a pun on =saltabanco=, 'mountebank,' 'street quack.' A translator, instead of giving =saltos de aguas= its proper force of 'water powers,' will do well to represent it by something useful that puns with a proverbial swindle; e.g., say 'fire-bricks, gold bricks.'

=31= 16 =a uno=: dir. obj. of =tenemos=.

=31= 23 =Nada=: 'enough said.' =Nada= is colloquially very common as a pure interjection.

=31= 34 =cuyas ... descoloridos=: each adjective agrees in gender with the nearer of the modified nouns.

=32= 4 =al descubierto=: 'uncovered,' 'unprotected.'

=32= 10 =_Ferdinand Cortez, Donna Marine_=: italicized as being the French forms of the names =Hernán Cortés= (the conqueror of Mexico) and =Doña Marina= (the Mexican girl who was his companion and interpreter).

=32= 17 =observándolo todo=: when =todo=, neuter, is object of a verb, the use of =lo= is exactly opposite to that of English 'it'; that is, if =todo= refers to an identifiable antecedent, thus meaning 'it all,' =lo= is omitted (e.g. p. 3, l. 16), but if =todo= means simply 'everything,' without an 'it,' then =lo= must be inserted (e.g. p. 112, l. 2). But when =todo= is not object of a verb (e.g. p. 6, l. 3) no such rule holds. C. 203, 2, _a_.

=32= 21 =empaque=: word used familiarly to indicate the traits of a person that produce an impression at first sight, whether good or bad.

=32= 24 =tiran a=: 'verge upon.'

=33= 2 =debía de ser=: R. 1005, 2, rem.

=33= 10 =_buquinista_=: italicized as not Spanish but Hispanicized French. _Bouquiniste_ is properly 'second-hand bookseller,' but the meaning here may be 'book-collector.' A _bouquin_ is a conspicuously old book.

=34= 5 =merienda=: 'picnic.'

=34= 22 =Mientras más, mejor=: 'the longer the better.'

=34= 34 =acompañará usted=, etc.: i.e. by eating our Lenten fare.

=35= 12 =López de Berganza=: this name, like many others of authors and books in the remainder of the story, is purely imaginary.

=35= 15 =tenga=: cf. R. 914 and n. on p. 7, l. 21.

=35= 16 =de hierro=: probably corrugated iron, which was one of the world's recent and valued inventions about the time when _Doña Perfecta_ was written.

=35= 25 =la octava=: i.e. one in addition to the traditional seven.

=35= 26 =en buen hora=: originally this meant 'at an auspicious time.' It is now a colloquial, often ironical, phrase of acquiescence or approval.

=36= 3 =donde quiera=: cf. R. 896; K. 326; C. 197.

=36= 19 =_maria ac terras, caelumque profundum_=: Vergil (_Aen._ I, 58 f.) says that if Aeolus did not hold the winds in control, they

_Maria ac terras caelumque profundum Quippe ferant rapidi secum verrantque per auras_.

=36= 23 =gusanera=: strictly defined as a place where worms breed; apparently meant here as a mass of worms, with reference to the look of the surface of the brain, and doubtless with a pun on the colloquial use of =gusanera= for that reservoir of "maggots" (crotchets) whose contents come out when you touch upon a man's hobby.

=36= 24 =daba paso a=: 'sent down.'

=37= 14 =martillazos=: for force of termination =-azo= cf. R. 1273 (p. 499); K. 765, _b_, rem.; C. 132, 4, _b_. Cf. n. on p. 90, l. 29.

=37= 30 =cazadora traviesa=: like Diana.

=37= 31 =cochero emperegilado y vagabundo=: like Phaëthon.

=37= 34 =Mercurio=: the god of commerce.--=Manzanedo=: the firm of Manzanedo is a leading Madrid banking house.

=38= 1 =barbilampiño=: Spaniards regard abundance of hair as an evidence of force. The allusion is to the well-known frail look of Count von Moltke.

=38= 6 =a la electricidad le da la gana=: 'electricity takes the notion.' The subject of =da= is =gana=; cf. the plural form p. 82, l. 11. This construction of =dar= is most common in expressions of desire, whim, etc., with words like =gusto, ventolera=, and the like. The Spanish Academy says that =da la gana= is an uncultured colloquialism, but does not object to this use of =dar= with other words.

=38= 8 =los de Paris=: the Champs-Élysées, the central garden of Paris, is one of the most famous public squares in the world.

=38= 13 =pisos=: lit. 'stories,' meaning the celestial spheres, whose number Dante, however, makes nine.

=38= 14 =sino=: i.e. =nada sino, cosa sino=. R. 739; C. 232, 4.

=38= 20 =está de cuerpo presente=: 'is laid out for its funeral.'

=38= 28 =se han corrido=: 'have been issued'.

=39= 7 =sulfurar=: colloq. expression, equivalent to Eng. 'get a rise out of.'

=40= 1 =todo se acabó=: 'it's all over,' 'that's an end of it.' Noteworthy as an idiom is the use of the past absolute of =acabar=, and occasionally other verbs of ending or stopping, where the perfect would be expected according to ordinary tense usage.

=40= 7 =salimos con=: see =salir con= in vocabulary.

=40= 13 =no podía menos de=: R. 1033; K. 619; C. 291.

=40= 18 =al Ateneo=: 'to the Athenaeum,' a literary and scientific club in Madrid, established in 1835, which has been for many years the meeting-place of Spanish liberals and freethinkers. It is looked upon with great suspicion by the clerical party.

=40= 30 =haciéndose la mosquita muerta=: 'playing possum,' 'lying low' (colloq.), feigning insignificance and biding his time.

=40= 31 =los siete doctores=: as the mediaeval church had its seven sacraments, its seven cardinal virtues, its seven deadly sins, its seven sages of antiquity, etc., so it had its seven doctors, or divinely appointed teachers of the faith. The list of these last was a very variable one.

=40= 34 =Si=: the conditional =si= is idiomatically used to give point or emphasis to an affirmation, much like the English colloquial _why_. R. 1423; K. 601; C. 214, 4. Similarly on p. 43, l. 15. This usage must be distinguished carefully from the similar use of the affirmative particle =sí=, marking a real or implied antithesis.

=41= 9 =ante=: R. 191; K. 632; C. 222.

=41= 13 =diera=: really plup. ind., not imperf. subj. As is well known, the forms in =-ara,-iera=, came from the Latin plup. ind. (Span. =amara= = Lat. _amaveram, amaram_), and in older Spanish retained in most cases their original force; but they were confused with the Latin imperf. subj. in _-rem_, and gradually the subjunctive use supplanted the indicative. The latter, however, survives in relative clauses in formal or elevated discourse, and still more in colloquial idiom. Galdós uses it more than do most modern authors. Cf. R. 1202; K. 702; C. 280.

=41= 22 =hieráticos=: a form of ancient Egyptian writing intermediate between hieroglyphic and demotic.

=42= 34 =tomar el arado=: 'take the plough-handle.'--=sentarse al telar=: 'sit down at the workbench' (lit. 'loom').

=43= 9 =recién=: the adv. =recientemente=, when it immediately precedes a past participle used adjectively, assumes this abbreviated form. R. 1405; K. 600; C. 211, 2.

=43= 20 =a macha martillo=: 'solidly' (though not elegantly). Colloquial for that which is vigorously hammered together, though not a finely finished piece of work.

=44= 2 =vió ... el cielo abierto=: this phrase (from the New Testament) regularly means 'get an opportunity,' but here rather 'feel a great deliverance.'

=44= 28 =Toditos los días=: 'every single day.' Bello says that =todito=, =nadita=, are "notable" in that the diminutive form does not at all alter the meaning of =todo, nada=, but merely makes them colloquial.

=45= 2 =tresillo=: a game of cards similar to ombre.

=45= 8 =pobre=: unaccented in translation, since it precedes the noun. Hence omit the comma in translation.

=45= 10 =borla de doctor=: 'doctor's tassel,' the most conspicuous ornament of the gown worn by successful candidates for the degree of doctor at the Spanish universities.

=45= 11 =sacó nota de sobresaliente=: 'obtained the mark _excellent_ [or _distinguished_].'

=46= 3 =unas maneras ... un modo ... una figura=: we have here a use of =uno= not noted in the grammars, yet common to all the Romance languages. It is often marked in conversation by a slight stress upon the word; while in sense it at times merely indicates something noteworthy or distinctive in the noun, at other times it approaches closely the English 'such' in phrases like 'such a sight!'=--figura=: 'style.'

=46= 19 =entre tú y yo=: owing to its implication of reciprocal action, the preposition =entre= when used with two pronominal objects inclines to take the nominative instead of the terminal forms after it. This usage probably arose from cases in which the form of the first object is apparently nominative (though really terminal), such as =entre él y yo= or =entre mi padre y yo= (cf. R. 338), but has now extended itself to all cases.

=46= 32 =sí que=: cf. n. on p. 40, l. 34. Also R. 1408; C. 214, 2.

=47= 11 =os estáis=: R. 807.

=48= 5 =inmigración fenicia=: the Phoenician settlements in Spain in prehistoric times have long been a favorite subject for the speculations of Spanish antiquaries.

=48= 27 =los hombres de chispa=: 'you clever men.' For use of =los= cf. R. 324, 325; K. 189.

=49= 17 =ya viene, ya está cerca=; que te quemas: phrases used in the game of blindman's buff to indicate to the player that is blindfolded his approach to the right person or place. For elliptical use of =que= cf. R. 1421; C. 214, 3.

=50= 5 =Te quiero=: 'I have loved you.'

=50= 18 =de picotazos=: this instrumental use of =de= with the verb =dar= is colloquially common.

=51= 1 =no podía menos de=: R. 1033; K. 619; C. 291.

=51= 9 =No es=, etc.: the advice is bad; Pepe is not speaking for the garden's sake.

=51= 17 =_Insere nunc_=, etc.: Vergil, _Ecl._ I, 73. It is to be noted that the good priest's translation of _pone ordine_ (=arregla=, 'set in order,' 'attend to') is not very accurate. The phrase means, of course, 'plant in rows.'

=52= 9 =al crecer=: 'as it grew.'

=52= 11 =pero=: 'an out;' the conjunction 'but,' used substantively.

=52= 31 =Concilio de Trento=: this council of the Church (1545-1563) reasserted most positively the principle of the celibacy of the clergy.

=53= 32 =_Nec vero terrae_=, etc.: Vergil, _Georg._ II, 109.

=54= 3 =_Ille horridus alter_=, etc.: Vergil, _Georg._ IV, 93-94.

=54= 17 =le ha dado por=: 'the whim has taken him.' Cf. n. on p. 38, l. 6.

=54= 19 =Flammarión=: French popular writer on astronomy, Camille Flammarion.

=55= 9 =no debe sentirse=: 'it cannot be taken ill.'

=55= 11 =Bismarck=: in 1876, when _Doña Perfecta_ was published, Bismarck was just coming to the end of the so-called _Kulturkampf_, the struggle with the Church in which he imprisoned bishops, closed churches, and took other extreme measures to browbeat the Catholics into submission. Hence the priest's feeling toward him.

=55= 21 =Bufos=: name of an objectionable variety show in Madrid just then. It was suppressed a little later.

=56= 1 =mereceré=: R. 1195; K.703,_c_; C. 266.

=56= 19 =Si=: cf. n. on p. 40, l. 34.

=57= 16 =Adelantado=: in ancient times a high official of the realm, who acted as governor of a frontier province, president or lord high justice of part of the kingdom, and the like. In this case, some local celebrity of this rank who happened to be buried in the cathedral.

=58= 4 =disgusto=: not 'disgust.'

=58= 8 =a ello=: R. 1360.

=59= 22 =Ténganme=: sc. =ustedes=.

=60= 4 =_Est Deus in nobis_=: Ovid (_A.A._ III, 549; _Fasti_ VI, 5) thus describes the inspired poet. The Renaissance was fond of the quotation. The capital D is doubtless meant to indicate the priest's monotheistic application of the words; yet many old editions of the Latin classics capitalize _Deus_ even when referring to heathen gods.

=60= 16 =ábside, coro= ('choir'): parts of the cathedral.

=60= 32 =quincallería=: properly a shop or stall for the sale of =quincalla=, which the Academy defines as "metal articles, mainly cheap, as scissors, thimbles, imitation jewelry."

=61= 11 =iconoclastas=: "a breaker or destroyer of images; a person conspicuously hostile to the use of images in Christian worship," says the Century Dictionary. Jacintito uses the word in the latter sense, which is the theological and dictionary definition in Spain; Pepe in the former, the etymological and international sense.

=61= 29 =qué=: 'how far.'

=61= 32 =_La Traviata_=: opera by Verdi.

=62= 2 =_La Gran Duquesa_=: the comic opera _La Grande Duchesse_, by Offenbach.

=62= 34 =de=: 'to.'

=63= 27 =zarzuela=: light dramatic performance peculiar to Spain, partly recited and partly sung.

=64= 1 =Si no=: elliptical expression very common in colloquial Spanish, 'otherwise,' 'if you don't think so.'

=64= 20 =alguno=: i.e. =negocio=.

=64= 23 =papel sellado=: legal documents are required to bear a revenue stamp.

=65= 10 =tejares=: 'brickyards,' where tiles (=tejas=), sun-dried bricks (=adobes=), and burnt bricks (=ladrillos=) are made.

=65= 16 =superior=: i.e. higher up the stream.

=65= 23 =linderos=: cf. n. on p. 7, l. 6.

=66= 1 =Caco=: 'Cacus,' robber giant, son of Vulcan, who lived in a cave of the Aventine Hill, and who was killed by Hercules for stealing from him the oxen of Geryon (cf. Vergil, _Aen._ VIII, 193 ff.).

=66= 5 =prescripción=: by Justinian's code, twenty years' adverse possession of an absent person's real estate makes the occupant the owner.

=66= 9 =lo que es eso=: 'as for that.'

=66= 13 =juicio de conciliación=: 'reconciliation hearing.' The Spanish law requires that before actual trial of a civil cause the parties shall try, in open court, to arrive at a friendly settlement of their differences.

=67= 6 =No vale la pena=: 'it's not worth while,' vague phrase used in politely deprecating an apology (Fr. _ce n'est pas la peine_).

=68= 11 =pegan la hebra=: 'get the thread tied' (get started in chatting).

=68= 31 =_Madrid_=: the pronunciation of final =d= like =z= (Eng. _th_ in _teeth_) is either provincialism or affectation. It is the single point on which the pronunciation of well-bred Castilians is not accepted as standard.

=68= 34 =muy relacionada en la Corte=: 'widely acquainted at the capital.'

=69= 4 =Muley-Abbas=: Moorish prince, brother of the Emperor of Morocco, who visited Spain soon after the war between Spain and Morocco (1859-1860) was ended.

=69= 7 =el 60=: i.e. =el año 1860=.

=69= 10 =morería=: this quaint word is common in the Spanish popular ballads (=romances=) both for the land of the Moors and for the Moors themselves. Galdós uses it, of course, with a touch of humor.

=69= 13 =que se salía=, etc.: (seemingly) 'bursting out of himself through being too big to go in his own skin.'

=69= 15 =Procedía=, etc.: 'he was a product of the exclaustration'; i.e. a monk who had turned priest at the time of the confiscation of the monasteries by the Spanish government (1835).

=69= 24 =la Fama=, etc.: cf. Vergil, _Aen._ IV, 174 ff.

=69= 33 =vacía=: that is, owing to the removal of his great bulk.

=70= 10 =Por más que=: R. 899.

=70= 23 =_Augusto Nicolás_=: imaginary author or book.

=70= 25 =que pareces=: ellipsis for =tan cargado que pareces=.

=70= 34 =_Concilios_=: there are four or five voluminous histories of the councils of the Church, with the texts of their decisions; the title is _Collection of Councils_, with variations. In any one of these, Vol. 3 might be presumed to belong to the early part of the Middle Ages.

=71= 14 =gastar=: 'wear' (of clothes, with something of humorous suggestion of extravagance).

=71= 21 =vete a acostar=: K. 207; C. 207, 4.

=71= 28 =no te fíes=: answering Pepe's words in lines 15-16.

=72= 5 =No hay que darle vueltas=: refers to the succeeding statement.

=72= 8 =si no=: cf. n. on p. 64, l. 1.

=72= 9 =Emperador=: i.e. Charles V.--=Felipe=: i.e. Philip II.

=72= 24 =Bustamante=: imaginary author; perhaps a pun on the thought "lover (_amante_) of tombs (in Latin, _busta_)."

=73= 10 =de centinela=: R. 1440, _m_; K. 631, _f._

=73= 14 =retamas=: 'Spanish brooms' (bot. _Spartium junceum_).

=73= 16 =D. Fulano ... D. Perencejo=: R. 238; K. 306; C. 196, 4.

=73= 20 =monte=: a game.

=74= 7 =concediera=: cf. n. on p. 41, l. 13.

=74= 13 =explorar=: cf. p. 21, l. 31. The Madrid edition has here =explotar=, 'exploit,' which makes sense, but a less satisfactory sense.

=75= 6 =como no sea=: 'unless it be.'

=75= 9 =Nicolasito Hernández=: the tall-hatted money-lender of p. 92. The Madrid edition reads =Nicolasita= here.

=75= 21 =A que=: elliptical phrase, derived from expressions like =apuesto a que=, 'I wager that.'

=75= 22 =dejaron bizcos=: 'made cross-eyed' (with astonishment and envy). Since the London Exhibition of 1862 there had been those of Paris, 1867, and Vienna, 1873. By not mentioning these the Orbajosans of 1875 practically confess that they had never been able to repeat their success of thirteen years ago.

=76= 8 =que=: the double syntax of this word, as accusative with =celebró= and nominative with =fué=, is a grammatical fault.

=76= 26 =fulminante=: medical men in our country use "fulminant," "fulminating," or "foudroyant," in the same sense.

=76= 30 =regular porción=: 'a good big lot' (colloq.).

=76= 31 =fuese=: from =ir=, not from =ser=. Cf. R. 523, rem. and 525; K. 734; C. 275.

=77= 6 =a la peña de su martirio=: like Prometheus to his cliff.

=77= 7 =fuera de su centro=: the Academy defines =estar en su centro= as "to be comfortable and happy in a place or occupation."

=77= 11 =condujera=: cf. n. on p. 41, l. 13.

=79= 8 =Ministerio de Fomento=: the government department "which has charge of promoting advancement and improvement in agriculture, industry, commerce, and public works" (and, before 1900, education).

=79= 25 =si no puedo=: cf. n. on p. 40, l. 34.

=80= 14 =seremos=: R. 1195; K.703,_c_; C. 266.

=80= 28 =un=, =82= 1 =unas=: cf. n. on p. 46, l. 3.

=82= 11 =le dan=: cf. n. on p. 38, l. 6.

=82= 26 =Así le ahorcaran=: 'I wish they'd hang him!' or simply 'hang him!' Cf. n. on p. 4, l. 13.

=83= 5 =fueron entrando=: cf. n. on p. 76, l. 31.

=84= 21 =hasta donde alcanzara=: 'in so far as ... might suffice.'

=85= 1 =Hastiado=: 'bored.'

=85= 9 =empujara=: cf. n. on p. 41, l. 13.

=85= 17 =carcomido=: cf. =cara carcomida= = face marked with smallpox.

=85= 32 =hacer cocos=: properly, to signify love by looks or gestures.

=86= 5 =Antinoo=: 'Antinoüs,' a Bithynian youth loved by the Emperor Hadrian, proverbial as a paragon of beauty in the male sex.

=86= 18 =países=: 'parts.'

=86= 23 =derechito=: dim. of =derecho=, 'all straight.'--=espigado=: 'tall.'

=86= 24 =Tenorio=: 'Don Juan.' The legend of Don Juan, so famous in European literature by reason of Molière's play (_Le festin de Pierre_), Byron's poem (which uses, however, hardly more than the name), and Mozart's opera (_Don Giovanni_), originated in Spain. The hero of it is there represented to have been a Sevillan of illustrious family, Don Juan Tenorio by name. The story first appears in a Franciscan chronicle of Seville, written in the 16th century. It then attracted the attention of the great Spanish dramatists of the end of the 16th and beginning of the 17th century. The first complete use of it for literary purposes was by Tirso de Molina (whose true name was Gabriel Téllez), in his play _El Burlador de Sevilla y el Convidado de Piedra_.

=87= 5 =Estado Mayor de Plazas=: body of staff officers charged with the supervision of forts or strongholds (Fr. _état-major des places_).

=87= 6 =el 54=: in July, 1854, the main army being in the south fighting insurgents, the populace of Madrid defeated the soldiery in a bloody street battle of three days, and turned the government out of office.

=87= 15 =serán=: cf. R. 1195; K. 703,_c_; C. 266.

=87= 33 =Si se alimentan=: cf. n. on p. 40, l. 34.

=88= 10 =entroncar con=: 'marry into the family of' is the dictionary meaning; but the derivation from =tronco=, 'trunk,' may here suggest 'be grafted into the stock of.'

=88= 25 =motes=: 'nicknames,' =apodos=, says the Academy; more strictly, offensive or disrespectful =apodos=.

=88= 34 =ello es=: cf. R. 1361; K. 188,_a_; C. 206, 2.

=90= 5 =guitarrillo=: an instrument like a tiny guitar with four strings.

=90= 29 =cascarazo=: a word which, like the diminutives, will never be found in any general dictionary. Grammars (cf. n. on p. 37, l. 14) treat the suffix =-azo=, and a few others of this sort, along with the diminutives.

=91= 12 =fórmula=: 'shibboleth.'

=92= 5 =coman=: sc. =ustedes=.

=92= 13 =_Cirio Pascual_=: a =cirio pascual= is an immense candle lighted on Holy Saturday and used at services till Ascension Day.

=92= 14 =de tres pisos=: 'three-story'; not a rare expression for a tall hat.

=92= 17 =A que=: used to introduce an instigation to do something, like Eng. 'I'll bet.' Cf. n. on p. 75, l. 21.