diff options
| -rw-r--r-- | 40592-0.txt (renamed from 40592-8.txt) | 607 | ||||
| -rw-r--r-- | 40592-8.zip | bin | 47542 -> 0 bytes | |||
| -rw-r--r-- | 40592-h.zip | bin | 9238926 -> 0 bytes | |||
| -rw-r--r-- | 40592-h/40592-h.htm | 590 | ||||
| -rw-r--r-- | 40592.txt | 3170 | ||||
| -rw-r--r-- | 40592.zip | bin | 47485 -> 0 bytes |
6 files changed, 194 insertions, 4173 deletions
diff --git a/40592-8.txt b/40592-0.txt index 43b375e..af07da7 100644 --- a/40592-8.txt +++ b/40592-0.txt @@ -1,35 +1,4 @@ -Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Little Spanish Dancer - -Author: Madeline Brandeis - -Release Date: August 28, 2012 [EBook #40592] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40592 *** THE LITTLE SPANISH DANCER @@ -233,7 +202,7 @@ LIST OF ILLUSTRATIONS MADRID 144 - _From a Painting by Goya_ DOÑA ISABEL CORBO DE + _From a Painting by Goya_ DOÑA ISABEL CORBO DE PORCEL 147 BULLFIGHT, MADRID 151 @@ -268,12 +237,12 @@ CHAPTER I THE MAGIC CASTANETS -Pilar was dancing in the Murillo (m[+u]-r[)i]l´[=o]) Garden. It was a +Pilar was dancing in the Murillo (m[+u]-r[)i]l´[=o]) Garden. It was a beautiful public garden named after the great Spanish painter, Murillo, who died in a house near by. Pilar had been born ten years ago in this old city of Seville -(s[+e]-v[)i]l´). If you had asked Pilar, "Where is New York?" she would +(s[+e]-v[)i]l´). If you had asked Pilar, "Where is New York?" she would doubtless have laughed with her lovely dark eyes and inquired, "Is it in Seville?" Because, to Pilar, as to most of her friends, there was only one world, and that world was Seville. @@ -391,7 +360,7 @@ There were a tall, graceful comb; a faded, but elegant fan; a richly decorated old bonnet; oh, such lovely things! How could she ever part with them? -She pulled out a pair of castanets (k[)a]s´-t[.a]-n[)e]ts´). Now, in +She pulled out a pair of castanets (k[)a]s´-t[.a]-n[)e]ts´). Now, in Spain, it seems that every baby is born with a pair of castanets in its hand. Of course, I only said, "It seems." Yet some of the tiniest tots are taught to click these wooden clappers to the rhythm of the @@ -457,7 +426,7 @@ took it into her grandfather's room. [Illustration: STREET OF THE SERPENTS] -"Grandfather," she said, "I am going to the shop of Juan (hwän) +"Grandfather," she said, "I am going to the shop of Juan (hwän) Sanchez, and I shall ask him to buy this old cape. With the money I shall buy food." @@ -477,19 +446,19 @@ sunlight. They were noisy with squawking motor horns, with chattering men and women. Juan's shop was on the Street of the Serpents, a wriggling ribbon -of a street with booths and shops and cafés--a street of ragged people, +of a street with booths and shops and cafés--a street of ragged people, of staring people, of chanting, selling people. But no automobiles or wagons were allowed upon the Street of the Serpents. Pilar met Juan Sanchez at the door of his tiny shop. -"Good morning, Señorita (s[=a]´ny[=o]-r[=e]´-tä) Pilar," he smiled. +"Good morning, Señorita (s[=a]´ny[=o]-r[=e]´-tä) Pilar," he smiled. He was glad to see Pilar. Everyone in Spain is always glad to see children. This is a good thing, because Spain is overflowing with children. -"Good morning, Señor (s[=a]-ny[=o]r´) Juan," said the little girl. Then, +"Good morning, Señor (s[=a]-ny[=o]r´) Juan," said the little girl. Then, timidly she held up the faded old cape. "Will you buy this from me?" she asked. "My grandfather is ill, and I must have money to pay for food and medicine." @@ -501,7 +470,7 @@ something he saw. "The name 'Tony' is printed in ink on the inside of this cape," he said. But Pilar was not interested. She only looked up at him and repeated -earnestly, "Will you buy it, señor? Will you?" +earnestly, "Will you buy it, señor? Will you?" Juan shook his head. "No, Pilar," he answered. "I cannot buy it because it is worth nothing to me." @@ -509,7 +478,7 @@ it is worth nothing to me." Then as he saw the cloud cover her smile, he added, "But it may be worth a great deal to you if you will send it away!" -"If I will send it away, señor?" Pilar thought that the good Juan must +"If I will send it away, señor?" Pilar thought that the good Juan must be teasing her. "What do you mean?" "I mean," he said, "that you must send it to America to the one whose @@ -551,7 +520,7 @@ grandfather. Now take this money, child, and buy what you need." He pressed some coins into Pilar's hand, but she shrank back. -"Oh, no, no!" she exclaimed. "I cannot take money from you, señor, when +"Oh, no, no!" she exclaimed. "I cannot take money from you, señor, when I have given you nothing for it!" Juan laughed. "Very well, little proud one," he said. "You may bring me @@ -610,7 +579,7 @@ Pilar's soothing voice soon lulled her grandfather to sleep. And so it was that he did not finish the verse about the castanets. It was a pity, too, as you will agree when you have heard the legend of -the castanets in old Cadiz (k[)a]d´[)i]z). +the castanets in old Cadiz (k[)a]d´[)i]z). @@ -631,7 +600,7 @@ more. So she wished to teach her little daughter the steps she had once loved so well. But strangely enough, she was afraid to do this--afraid, because a -savage race called the Visigoths (v[)i]z´[)i] g[)o]ths) were sweeping +savage race called the Visigoths (v[)i]z´[)i] g[)o]ths) were sweeping through Spain and were trying to destroy the art of the people. They were overrunning the country, smashing great statues and burning fine books. @@ -807,7 +776,7 @@ Pilar was on her way to Juan's shop on the Street of the Serpents. In her hand were those magic castanets. She was taking them to Juan. She was going to sell them. -She passed the lovely Alcazar (äl-kä´thär) Gardens, from which came the +She passed the lovely Alcazar (äl-kä´thär) Gardens, from which came the perfume of flowers and blossoms. She heard the soft voice of bells from the Giralda, a prayer tower which had belonged to an ancient Moorish mosque (m[)o]sk). @@ -865,7 +834,7 @@ ancient voices. to be the oldest town in Spain. "Toledo sits proudly upon a granite throne, like some weatherbeaten -queen. The River Tagus (t[=a]´g[)u]s) laps about her feet as though to +queen. The River Tagus (t[=a]´g[)u]s) laps about her feet as though to wash away the dust of ages. "There are Arab stories in the ancient streets of Toledo. Once it was an @@ -875,9 +844,9 @@ important center of the Romans, the Goths, and then the Moors. room with massive doors, to which six keys must be used before one may enter. In this room are the priceless jewels of the Madonna. -"I am made of the celebrated Damascus (d[.a]-m[)a]s´k[)u]s) steel. I +"I am made of the celebrated Damascus (d[.a]-m[)a]s´k[)u]s) steel. I have a beautiful design worked into my handle. Ages ago, this art, which -is called Damascene (d[)a]m´[.a]-s[=e]n) work, was brought from the +is called Damascene (d[)a]m´[.a]-s[=e]n) work, was brought from the city of Damascus. [Illustration: PUERTO DEL SOL, TOLEDO] @@ -889,7 +858,7 @@ careful, for I am a very sharp knife." _The Proud Comb From Barcelona_ "I am a tall, elegant comb, and my home is Barcelona -(bär´s[)e]-l[=o]´n[.a]), the most important city in Spain. Oh, dear! +(bär´s[)e]-l[=o]´n[.a]), the most important city in Spain. Oh, dear! There goes Madrid, howling at me again! Whenever I say that Barcelona is more important, the city of Madrid creates the most frightful row. @@ -911,13 +880,13 @@ see that fine monument of Christopher Columbus over there? promenade, with its flowers and trees? Would you like to sit here at a little table and sip some chocolate? -"They say that Barcelona has more sidewalk cafés than any other city its +"They say that Barcelona has more sidewalk cafés than any other city its size in Europe. You see, we know how to enjoy ourselves. Yet we are not lazy. No, indeed! We are most active. Why, Barcelona never sleeps. "We are situated on the blue Mediterranean Sea. Not far from the city, there is a wonderful monastery called Montserrat -(m[)o]nt´s[)e]-r[)a]t´). It is perched high up amid a mystic +(m[)o]nt´s[)e]-r[)a]t´). It is perched high up amid a mystic forest of stony crags. "Montserrat is the shrine of the Black Virgin, a sacred carving. The @@ -938,7 +907,7 @@ Barcelona is more important than she is!" _The Lazy Clock From El Escorial_ "I am an old clock. I used to sit upon a shelf in one of the most -curious castles in Spain--El Escorial ([)e]l [)e]s-k[=o]´r[)i]-[)a]l). +curious castles in Spain--El Escorial ([)e]l [)e]s-k[=o]´r[)i]-[)a]l). It was built by King Philip II. [Illustration: TOMB OF THE CHILDREN, EL ESCORIAL] @@ -967,13 +936,13 @@ quicksilver than any other country. Think of that! Quicksilver!" _The Faded Fan From Valladolid_ "I am a fan. I belonged to a lady who lived in the town of Valladolid -(väl´yä-th[+o]-l[=e]th´). It was built by a Moor named Olid, and was +(väl´yä-th[+o]-l[=e]th´). It was built by a Moor named Olid, and was called Valle de Olid, Valley of Olid. "The names of many important men are connected with Valladolid. King Philip II was born there. The Catholic monarchs, Ferdinand and Isabella, -were married there. Cervantes (s[~e]r-v[)a]n´t[=e]z), the author of 'Don -Quixote' (d[+o]n k[+e]-h[=o]´t[+a]), that famous Spanish romance, +were married there. Cervantes (s[~e]r-v[)a]n´t[=e]z), the author of 'Don +Quixote' (d[+o]n k[+e]-h[=o]´t[+a]), that famous Spanish romance, lived there; and Christopher Columbus died there." @@ -981,7 +950,7 @@ lived there; and Christopher Columbus died there." "I am a bonnet, and I am very proud of myself because I am a beautiful creation. I am also very proud to think that I was born in the marvelous -city of Segovia (s[+a]-g[=o]´vyä). +city of Segovia (s[+a]-g[=o]´vyä). "Segovia has a Roman aqueduct which is one of the most remarkable of its kind in the world. It is sometimes called the Devil's Bridge, because a @@ -1023,7 +992,7 @@ seemed to Pilar's ancestors. However, Pilar had given her word to Juan that she would bring them to his shop tomorrow, and so she must. If only Juan had heard the terrible -tale of the castanets in old Granada (gr[.a]-nä´d[.a]), he would not +tale of the castanets in old Granada (gr[.a]-nä´d[.a]), he would not have held Pilar to her promise. [Illustration: GYPSIES, GRANADA] @@ -1046,7 +1015,7 @@ The Moors had taken Spain away from the savage Visigoths and had built wonderful cities, palaces, and fortresses. One of these palaces was the magnificent Alhambra, set high upon a hill above the city of Granada. -It was here that Catalina danced before Boabdil (b[=o]´äb-d[=e]l´), +It was here that Catalina danced before Boabdil (b[=o]´äb-d[=e]l´), Arab ruler of the great Alhambra. And to the romantic young girl this beautiful "Red Castle" spelled fairy-land. @@ -1194,11 +1163,11 @@ Juan could not help smiling when he saw her enter, weighed down by her huge burden. It looked to Juan as if the big chest should really have been carrying the little girl. -"Good morning, Señorita Pilar," he laughed. "And where is the chest +"Good morning, Señorita Pilar," he laughed. "And where is the chest taking you today?" Pilar did not smile. Resting the chest upon the counter, she said, -"Grandfather has been very ill since last I saw you, Señor Juan." +"Grandfather has been very ill since last I saw you, Señor Juan." "Ah, I am sorry, child," said Juan. @@ -1207,13 +1176,13 @@ brought you what I promised." "The castanets?" asked Juan, looking at her shrewdly. -"More than the castanets, Señor Juan," answered the little girl. "For +"More than the castanets, Señor Juan," answered the little girl. "For they alone will not pay you for all the money I now need." She started to open the chest, and Juan started to shake his head. But Pilar caught his arm, and her large, dark eyes pleaded pitifully. -"Oh, take them, please, Señor Juan!" she cried. "For I need a great deal +"Oh, take them, please, Señor Juan!" she cried. "For I need a great deal of money! The doctor says that Grandfather will not be able to work for a long time." @@ -1221,7 +1190,7 @@ She pulled out of the chest the Damascene knife from Toledo, the tall comb from Barcelona, the faded fan from Valladolid, the ancient clock from El Escorial, and the saucy bonnet from Segovia. -"Here, take them, please, señor," she said. "And also--" She put her +"Here, take them, please, señor," she said. "And also--" She put her hand inside the chest and drew out the magic castanets. "These, too," she whispered, "for I promised." @@ -1239,7 +1208,7 @@ and the bonnet. But--" He pushed away her hand which held the castanets. Pilar clasped the castanets to her heart and her face lit up like a thousand candles. -"Oh, Señor Juan!" she sighed. "You are so good!" +"Oh, Señor Juan!" she sighed. "You are so good!" Juan patted her shoulder. @@ -1248,7 +1217,7 @@ of more money, bring me the castanets. I can sell them to a dancing master who would like to buy them. He is very fond of such antiques." Pilar did not answer right away. Then she said in a sober voice, "Before -I give up the castanets, Señor Juan, I shall first bring you all the +I give up the castanets, Señor Juan, I shall first bring you all the rest of my souvenirs. The castanets will be the very last to go. And how I hope that I shall never, never have to part with them!" @@ -1296,7 +1265,7 @@ These are the stories he told: _Luis de Leon of Salamanca_ In the Middle Ages, when the University of Salamanca -(s[)a]l´[.a]-m[)a]ng´k[.a]) was one of the finest in Europe, there lived +(s[)a]l´[.a]-m[)a]ng´k[.a]) was one of the finest in Europe, there lived a man named Luis de Leon. He was a friar. He was also one of Spain's great poets and a professor at the university. @@ -1313,7 +1282,7 @@ pupils and others who had come to hear him, and, taking up the daily lesson, he remarked simply, "As we were saying yesterday--" just as if he had never been away! -Salamanca sits upon the banks of the River Tormes (tôr´m[=a]s) across an +Salamanca sits upon the banks of the River Tormes (tôr´m[=a]s) across an old Roman bridge. It is a city of domes and spires, of quiet memories of art and culture. @@ -1321,7 +1290,7 @@ art and culture. _St. Teresa of Avila_ Once upon a time, long, long ago, there lived in the town of Avila -(ä´v[+e]-lä) a little girl named Teresa. Often Teresa would read stories +(ä´v[+e]-lä) a little girl named Teresa. Often Teresa would read stories to her brother. These stories were not about fairies, kings, and queens, nor even robbers. They were about saints. @@ -1352,8 +1321,8 @@ backs. Avila is an old-fashioned town. "Godfather, please give me a colt. You have so many. You will never miss one." -Rodrigo de Bivar (r[+o]-dr[=e]´g[=o] de bevär´) stood in the paddock -beside his godfather, Don Pedro, a priest of Burgos (b[=oo]r´g[=o]s). +Rodrigo de Bivar (r[+o]-dr[=e]´g[=o] de bevär´) stood in the paddock +beside his godfather, Don Pedro, a priest of Burgos (b[=oo]r´g[=o]s). They were watching the horses, mares, and their colts running wild. How free and beautiful they were, with their lovely manes flowing in the breeze! @@ -1368,7 +1337,7 @@ Then he cried out, "This is the one I want, godfather!" His godfather gave him a look of disgust. -"Babieca! (babie´ca) (Foolish one!)" he scolded. "This is indeed a +"Babieca! (babie´ca) (Foolish one!)" he scolded. "This is indeed a stupid choice!" [Illustration: ST. TERESA CONVENT, AVILA] @@ -1386,7 +1355,7 @@ of course, only romance and legend. But the Cid did indeed live and triumph. One of his greatest victories was the conquest of that rich and -beautiful city, Valencia (v[.a]-l[)e]n´sh[)i]-[.a]), which is still +beautiful city, Valencia (v[.a]-l[)e]n´sh[)i]-[.a]), which is still called Valencia del Cid. @@ -1427,7 +1396,7 @@ Ferdinand, and he died in poverty and despair at a miserable inn. * * * * * When Juan had finished telling the stories about the four paintings, -Pilar asked, "Will you buy them from me, Señor Juan?" +Pilar asked, "Will you buy them from me, Señor Juan?" Juan answered, "Yes, if you really must sell them, Pilar. But I wish that you might keep them, for they are very fine." @@ -1451,7 +1420,7 @@ CHAPTER VIII FIESTA -Fiestas (fy[)e]s´täs) (festivals) and fairs are the joy of the Spanish +Fiestas (fy[)e]s´täs) (festivals) and fairs are the joy of the Spanish people. Some are held upon saints' days. In Spain one celebrates the birthday of the saint for whom one is named. @@ -1470,7 +1439,7 @@ everything else out of the wooden chest. Everything else had gone, even the wooden chest itself--gone to pay for food and medicines. He had sold the very old bottle of sherry wine, which had come from a -well-known cellar of Jerez (h[+a]-r[=a]th´), once called Scheriz. +well-known cellar of Jerez (h[+a]-r[=a]th´), once called Scheriz. In this cellar there is a cluster of huge barrels, upon which are written noted names, such as the Prince of Wales' and our own @@ -1481,7 +1450,7 @@ rings a bell and scatters bread upon the floor, these tiny creatures run out from behind the barrels. Juan had also sold the small dagger of Moorish design. It had come from -the town of Cordoba (kôr´d[+o]-vä), once an important center. The famous +the town of Cordoba (kôr´d[+o]-vä), once an important center. The famous Mosque of Cordoba, with its striped arches, was built by the Moors. But it has since been made into a Christian church. @@ -1496,7 +1465,7 @@ some of the doors; ragged beggars fill the streets; and children seem to grow in doorways. One sees in Cordoba those broad-brimmed hats which belong to that part -of Spain called Andalucia (än´dä-l[=oo]-th[=e]´ä). +of Spain called Andalucia (än´dä-l[=oo]-th[=e]´ä). [Illustration: ANDALUSIAN HAT] @@ -1520,9 +1489,9 @@ Tonight Pilar had left her grandfather for the first time in many evenings. A neighbor had kindly offered to stay with him while she went to the fiesta. Pilar's heart had been crying out for music and dancing. -Across the bridge, over the Guadalquivir (gwä´d[)a]l-kw[)i]v´[~e]r) +Across the bridge, over the Guadalquivir (gwä´d[)a]l-kw[)i]v´[~e]r) River, went the crowd of young people. They passed the Torre del Oro -(tôr´r[+a] d[)e]l [=o]´r[=o]) (Tower of Gold), where treasure once was +(tôr´r[+a] d[)e]l [=o]´r[=o]) (Tower of Gold), where treasure once was stored. In Triana there are many pottery shops; also there is a large American @@ -1617,7 +1586,7 @@ He heard the Princess Isabella say, "Enough of that for now, Alfonso. Come. Read my favorite book." Alfonso put down the book which he had been reading, and the spy noted -well its title, "The Odyssey ([)o]d´[)i]-s[)i])." He also had noted +well its title, "The Odyssey ([)o]d´[)i]-s[)i])." He also had noted something else. Always before the Prince turned a page, he first moistened his finger with his tongue. @@ -1880,7 +1849,7 @@ She started to walk on ahead of Pepe. But he followed her. He puffed as he jogged along behind her, calling out, "Wait for me, Pilar. I have much to tell you. I have been to far-away places. Ho! -Listen, Pilar. I have been to Algeciras ([)a]l´j[+e]-s[=e]´r[.a]s) +Listen, Pilar. I have been to Algeciras ([)a]l´j[+e]-s[=e]´r[.a]s) and to the Rock of Gibraltar." Pilar thought Pepe himself looked like the Rock of Gibraltar. She had @@ -2018,7 +1987,7 @@ One night many years later, this same Fernando, now a man, glided along in a boat on a river near the border of France. With him were several other men, and all of them were smugglers. -Fernando had long lived in the Pyrenees (p[)i]r´[+e]-n[=e]z) Mountains. +Fernando had long lived in the Pyrenees (p[)i]r´[+e]-n[=e]z) Mountains. He had joined a band of people who secretly smuggled forbidden goods from Spain to France in the dead of night. They led a dangerous life and were always in fear of the customs men. @@ -2134,7 +2103,7 @@ father could still see her playing there with her little friend Tony, who had lived next door. Tony and his comrades had often staged a bullfight. Tony would be the -brave torero (t[+o]-r[=a]´r[=o]) or fighter, while all the neighbors +brave torero (t[+o]-r[=a]´r[=o]) or fighter, while all the neighbors would gather round to watch the sport. When Tony would plunge his make-believe sword into the make-believe @@ -2143,7 +2112,7 @@ bull, everyone would cheer loudly. [Illustration: BOYS PLAYING BULLFIGHT] Bullfighting is still Spain's favorite sport, though recently football -has arrived there. The Spanish call it "fútbol," and it has become very +has arrived there. The Spanish call it "fútbol," and it has become very popular. But Tony had always wanted to be a torero. Pilar's grandfather lay @@ -2311,7 +2280,7 @@ their siestas, or naps. Carmen drove to the bullfight with Pedro's mother. -As they passed the Prado (prä´d[=o]), Madrid's beautiful art gallery, +As they passed the Prado (prä´d[=o]), Madrid's beautiful art gallery, Carmen thought, "This Prado is a heaven of art, while the corrida, only a few blocks away, is a hades of suffering!" @@ -2321,7 +2290,7 @@ the arena alive. Why, even Rey, his own pet, might today take Pedro's life! [Illustration: _From a Painting by Goya_ -DOÑA ISABEL CORBO DE PORCEL] +DOÑA ISABEL CORBO DE PORCEL] Trough the many fine streets of Madrid they drove, and at last they reached the bull ring. Crowds were swarming in through the gates of the @@ -2335,7 +2304,7 @@ slow about going to bed. Over on the opposite side of the arena, the poor people sat in the sun, because those seats were cheaper. There was an air of excitement. The -band played the "Toreador's (t[)o]r´[+e]-ä-dôr´) Song" from "Carmen," +band played the "Toreador's (t[)o]r´[+e]-ä-dôr´) Song" from "Carmen," and then the fight began. There were five toreros and five bulls before Pedro's turn came. Pedro @@ -2359,7 +2328,7 @@ arena and stands, bewildered. Suddenly Carmen cannot look to see her dear friend tortured. She hides her eyes, her delicate little white hands held in front of her face. -But when she hears the crowd yelling, "Pedro! Pedro! Olé! Olé!" she +But when she hears the crowd yelling, "Pedro! Pedro! Olé! Olé!" she knows that she must uncover her eyes, for soon it will be her turn to act. @@ -2600,7 +2569,7 @@ become a dancer when she grew up. Pilar's eyes shone. -"Oh, Grandfather!" she cried. "What a kind man Señor Tony is! How much I +"Oh, Grandfather!" she cried. "What a kind man Señor Tony is! How much I love him! How I wish to be a dancer like my mother! Shall we have eggs or stew for dinner?" She had said it all in one breath. She rushed to open the door on her way to market, adding, "I shall be right @@ -2609,19 +2578,19 @@ ba--pf-f-f!" With a terrible thud, Pilar had bumped into a tall gentleman who stood at the door. It was the great dancing master. -"Good evening," he said. "Are you Señorita Pilar?" +"Good evening," he said. "Are you Señorita Pilar?" [Illustration: A NET MAKER, SEVILLE] Pilar backed into the room. She looked like a scared little rabbit. What did he want? Had he come to take her castanets? -"Ah, yes, you are the Señorita Pilar," continued the gentleman. He came +"Ah, yes, you are the Señorita Pilar," continued the gentleman. He came into the room, closed the door behind him, and sat down calmly. -"And this, I believe, is señor, your grandfather. No?" He smiled at the +"And this, I believe, is señor, your grandfather. No?" He smiled at the old man, who lay quietly in his bed. "You see, I found out all about -you, señorita. After you ran away from me in the garden, I made up my +you, señorita. After you ran away from me in the garden, I made up my mind to follow you, and I did." Suddenly Pilar's eyes flashed angrily. @@ -2653,7 +2622,7 @@ Pilar stared at him, still with that look of anger and fear in her eyes. "But I do want something else!" Pilar's grandfather raised himself upon his pillow. "What is it that you -wish, Señor?" he asked. +wish, Señor?" he asked. "The Little Spanish Dancer!" replied the gentleman. "I want Pilar!" @@ -2676,11 +2645,11 @@ twirled to fiery music. It had always made Pilar's heart beat faster. She had longed to join them. But lessons were only for wealthy children and-- -"But, señor," said Pilar's grandfather, as if he had been reading +"But, señor," said Pilar's grandfather, as if he had been reading Pilar's mind, "we have no money to spend on lessons." "I shall ask no money," replied the dancing master. "No. Our school will -some day be proud of Señorita Pilar." +some day be proud of Señorita Pilar." He stood up and put out his hand to the little girl. @@ -2688,7 +2657,7 @@ He stood up and put out his hand to the little girl. instruct you. My brother, you know, is the second greatest dancing master in Spain." -"And who is the first, señor?" asked Pilar's grandfather. +"And who is the first, señor?" asked Pilar's grandfather. "Why, I am, of course!" answered the tall man proudly, and walked out of the room. @@ -2729,48 +2698,48 @@ THE END PRONOUNCING VOCABULARY - Alcazar äl-kä´thär - Algeciras [)a]l´j[+e]-s[=e]´r[.a]s - Andalucia än´dä-l[=oo]-th[=e]´ä - Avila ä´v[+e]-lä - Babieca bä bie´ca - Barcelona bär´s[)e]-l[=o]´n[.a] - Boabdil b[=o]´äb-d[=e]l´ - Burgos b[=oo]r´g[=o]s - Cadiz k[)a]d´[)i]z - Castanet k[)a]s´t[.a]-n[)e]t´ - Cervantes s[~e]r-v[)a]n´t[=e]z + Alcazar äl-kä´thär + Algeciras [)a]l´j[+e]-s[=e]´r[.a]s + Andalucia än´dä-l[=oo]-th[=e]´ä + Avila ä´v[+e]-lä + Babieca bä bie´ca + Barcelona bär´s[)e]-l[=o]´n[.a] + Boabdil b[=o]´äb-d[=e]l´ + Burgos b[=oo]r´g[=o]s + Cadiz k[)a]d´[)i]z + Castanet k[)a]s´t[.a]-n[)e]t´ + Cervantes s[~e]r-v[)a]n´t[=e]z Cid s[)i]d - Cordoba kôr´d[+o]-vä - Damascene d[)a]m´[.a]-s[=e]n - Damascus d[.a]-m[)a]s´k[)u]s - Don Quixote d[+o]n-k[+e]-h[=o]´t[+a] - El Escorial [)e]l [)e]s-k[=o]´r[)i]-[)a]l - Fiesta fy[)e]s´tä - Granada gr[.a]-nä´d[.a] - Guadalquivir gwä´d[)a]l-kw[)i]v´[~e]r - Jerez h[+a]-r[=a]th´ - Juan hwän - Montserrat m[)o]nt´s[)e]-r[)a]t´ + Cordoba kôr´d[+o]-vä + Damascene d[)a]m´[.a]-s[=e]n + Damascus d[.a]-m[)a]s´k[)u]s + Don Quixote d[+o]n-k[+e]-h[=o]´t[+a] + El Escorial [)e]l [)e]s-k[=o]´r[)i]-[)a]l + Fiesta fy[)e]s´tä + Granada gr[.a]-nä´d[.a] + Guadalquivir gwä´d[)a]l-kw[)i]v´[~e]r + Jerez h[+a]-r[=a]th´ + Juan hwän + Montserrat m[)o]nt´s[)e]-r[)a]t´ Mosque m[)o]sk - Murillo m[+u]-r[)i]l´[=o] - Odyssey [)o]d´[)i]-s[)i] - Prado prä´d[=o] - Pyrenees p[)i]r´[+e] n[=e]z - Rodrigo de Bivar r[+o]-dr[=e]´g[=o] de be-vär´ - Salamanca s[)a]l´[.a]-m[)a]ng´k[.a] - Segovia s[+a]-g[=o]´vyä - Señor s[=a]-ny[=o]r´ - Señorita s[=a]´ny[=o]-r[=e]´tä - Seville s[+e]-v[)i]l´ - Tagus t[=a]´g[)u]s - Toreador t[)o]r´[+e]-[.a]-dôr´ - Torero t[+o]-r[=a]´r[=o] - Tormes tôr´m[=a]s - Torre del Oro tôr´r[+a] d[)e]l-[=o]´r[=o] - Valencia v[.a]-l[)e]n´sh[)i]-[.a] - Valladolid väl´yä-th[+o]-l[=e]th´ - Visigoth v[)i]z´[)i]-g[)o]th + Murillo m[+u]-r[)i]l´[=o] + Odyssey [)o]d´[)i]-s[)i] + Prado prä´d[=o] + Pyrenees p[)i]r´[+e] n[=e]z + Rodrigo de Bivar r[+o]-dr[=e]´g[=o] de be-vär´ + Salamanca s[)a]l´[.a]-m[)a]ng´k[.a] + Segovia s[+a]-g[=o]´vyä + Señor s[=a]-ny[=o]r´ + Señorita s[=a]´ny[=o]-r[=e]´tä + Seville s[+e]-v[)i]l´ + Tagus t[=a]´g[)u]s + Toreador t[)o]r´[+e]-[.a]-dôr´ + Torero t[+o]-r[=a]´r[=o] + Tormes tôr´m[=a]s + Torre del Oro tôr´r[+a] d[)e]l-[=o]´r[=o] + Valencia v[.a]-l[)e]n´sh[)i]-[.a] + Valladolid väl´yä-th[+o]-l[=e]th´ + Visigoth v[)i]z´[)i]-g[)o]th @@ -2807,364 +2776,4 @@ two also appear within this etext: End of Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - -***** This file should be named 40592-8.txt or 40592-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/9/40592/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 40592 *** diff --git a/40592-8.zip b/40592-8.zip Binary files differdeleted file mode 100644 index ce83810..0000000 --- a/40592-8.zip +++ /dev/null diff --git a/40592-h.zip b/40592-h.zip Binary files differdeleted file mode 100644 index 019c280..0000000 --- a/40592-h.zip +++ /dev/null diff --git a/40592-h/40592-h.htm b/40592-h/40592-h.htm index ad59dbe..69a937a 100644 --- a/40592-h/40592-h.htm +++ b/40592-h/40592-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-2" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Little Spanish Dancer, by Madeline Brandeis. @@ -180,45 +180,7 @@ em.gesperrt </head> <body> - - -<pre> - -Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Little Spanish Dancer - -Author: Madeline Brandeis - -Release Date: August 28, 2012 [EBook #40592] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40592 ***</div> <table border="0" cellpadding="0" width="550"> <tr> @@ -699,13 +661,13 @@ Online Distributed Proofreading Team at http://www.pgdp.net <h2>THE MAGIC CASTANETS</h2> -<p>Pilar was dancing in the Murillo (mū̍-rĭl´ō) +<p>Pilar was dancing in the Murillo (mū̍-rĭl´ō) Garden. It was a beautiful public garden named after the great Spanish painter, Murillo, who died in a house near by.</p> <p>Pilar had been born ten years ago in this -old city of Seville (sē̍-vĭl´). If you had +old city of Seville (sē̍-vĭl´). If you had asked Pilar, "Where is New York?" she would doubtless have laughed with her lovely dark eyes and inquired, "Is it in Seville?" @@ -894,7 +856,7 @@ fan; a richly decorated old bonnet; oh, such lovely things! How could she ever part with them?</p> -<p>She pulled out a pair of castanets (kăs´-tȧ-nĕts´). +<p>She pulled out a pair of castanets (kăs´-tȧ-nĕts´). Now, in Spain, it seems that every baby is born with a pair of castanets in its hand. Of course, I only said, "It seems." @@ -1023,7 +985,7 @@ took it into her grandfather's room.</p> <p>"Grandfather," she said, "I am going to <span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -the shop of Juan (hwän) Sanchez, and I +the shop of Juan (hwän) Sanchez, and I shall ask him to buy this old cape. With the money I shall buy food."</p> @@ -1051,7 +1013,7 @@ men and women.</p> <p>Juan's shop was on the Street of the Serpents, <span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> a wriggling ribbon of a street with -booths and shops and cafés—a street of ragged +booths and shops and cafés—a street of ragged people, of staring people, of chanting, selling people. But no automobiles or wagons were allowed upon the Street of the @@ -1060,7 +1022,7 @@ Serpents.</p> <p>Pilar met Juan Sanchez at the door of his tiny shop.</p> -<p>"Good morning, Señorita (sā´nyō-rē´-tä) +<p>"Good morning, Señorita (sā´nyō-rē´-tä) Pilar," he smiled.</p> <p>He was glad to see Pilar. Everyone in @@ -1068,7 +1030,7 @@ Spain is always glad to see children. This is a good thing, because Spain is overflowing with children.</p> -<p>"Good morning, Señor (sā-nyōr´) Juan," +<p>"Good morning, Señor (sā-nyōr´) Juan," said the little girl. Then, timidly she held up the faded old cape. "Will you buy this from me?" she asked. "My grandfather is @@ -1269,7 +1231,7 @@ he did not finish the verse about the castanets.</p> <p>It was a pity, too, as you will agree when you have heard the legend of the castanets -in old Cadiz (kăd´ĭz).</p> +in old Cadiz (kăd´ĭz).</p> <hr class="chap" /> @@ -1298,7 +1260,7 @@ she had once loved so well.</p> <p>But strangely enough, she was afraid to do this—afraid, because a savage race called -the Visigoths (vĭz´ĭ gŏths) were sweeping +the Visigoths (vĭz´ĭ gŏths) were sweeping through Spain and were trying to destroy the art of the people. They were overrunning the country, smashing great statues @@ -1583,7 +1545,7 @@ were those magic castanets. She was taking them to Juan. She was going to sell them.</p> -<p>She passed the lovely Alcazar (äl-kä´thär) +<p>She passed the lovely Alcazar (äl-kä´thär) Gardens, from which came the perfume of flowers and blossoms. She heard the soft voice of bells from the Giralda, a prayer @@ -1676,7 +1638,7 @@ town in Spain.</p> <p>"Toledo sits proudly upon a granite throne, like some weatherbeaten queen. -The River Tagus (tā´gŭs) laps about her +The River Tagus (tā´gŭs) laps about her feet as though to wash away the dust of ages.</p> @@ -1692,9 +1654,9 @@ used before one may enter. In this room are the priceless jewels of the Madonna.</p> <p>"I am made of the celebrated Damascus -(dȧ-măs´kŭs) steel. I have a beautiful design +(dȧ-măs´kŭs) steel. I have a beautiful design worked into my handle. Ages ago, this -art, which is called Damascene (dăm´ȧ-sēn) work, +art, which is called Damascene (dăm´ȧ-sēn) work, <span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> was brought from the city of Damascus.</p> @@ -1718,7 +1680,7 @@ for I am a very sharp knife."<span class="pagenum"><a name="Page_50" id="Page_50 <p class="hcenter"><i>The Proud Comb From Barcelona</i></p> <p>"I am a tall, elegant comb, and my home -is Barcelona (bär´sĕ-lō´nȧ), the most important +is Barcelona (bär´sĕ-lō´nȧ), the most important city in Spain. Oh, dear! There goes Madrid, howling at me again! Whenever I say that Barcelona is more important, @@ -1762,7 +1724,7 @@ like to sit here at a little table and sip some chocolate?</p> <p>"They say that Barcelona has more sidewalk -cafés than any other city its size in +cafés than any other city its size in Europe. You see, we know how to enjoy ourselves. Yet we are not lazy. No, indeed! We are most active. Why, Barcelona never @@ -1771,7 +1733,7 @@ sleeps.</p> <p>"We are situated on the blue Mediterranean Sea. Not far from the city, there is a wonderful monastery called Montserrat -(mŏnt´sĕ-răt´). It is perched high up amid +(mŏnt´sĕ-răt´). It is perched high up amid a mystic forest of stony crags.</p> <p>"Montserrat is the shrine of the Black @@ -1799,7 +1761,7 @@ she is!"</p> <p>"I am an old clock. I used to sit upon a shelf in one of the most curious castles in -Spain—El Escorial (ĕl ĕs-kō´rĭ-ăl). It was +Spain—El Escorial (ĕl ĕs-kō´rĭ-ăl). It was built by King Philip II.<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> <table border="0" cellpadding="0" width="600"> @@ -1858,15 +1820,15 @@ Quicksilver!"<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></s <p class="hcenter"><i>The Faded Fan From Valladolid</i></p> <p>"I am a fan. I belonged to a lady who -lived in the town of Valladolid (väl´yä-thō̍-lēth´). It was built by a Moor named Olid, +lived in the town of Valladolid (väl´yä-thō̍-lēth´). It was built by a Moor named Olid, and was called Valle de Olid, Valley of Olid.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> <p>"The names of many important men are connected with Valladolid. King Philip II was born there. The Catholic monarchs, Ferdinand and Isabella, were married there. -Cervantes (sẽr-văn´tēz), the author of 'Don -Quixote' (dō̍n kē̍-hō´tā̍), that famous Spanish +Cervantes (sẽr-văn´tēz), the author of 'Don +Quixote' (dō̍n kē̍-hō´tā̍), that famous Spanish romance, lived there; and Christopher Columbus died there."</p> @@ -1876,7 +1838,7 @@ Columbus died there."</p> <p>"I am a bonnet, and I am very proud of myself because I am a beautiful creation. I am also very proud to think that I was -born in the marvelous city of Segovia (sā̍-gō´vyä).</p> +born in the marvelous city of Segovia (sā̍-gō´vyä).</p> <p>"Segovia has a Roman aqueduct which is one of the most remarkable of its kind in @@ -1937,7 +1899,7 @@ Juan that she would bring them to his shop <span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> tomorrow, and so she must. If only Juan had heard the terrible tale of the castanets -in old Granada (grȧ-nä´dȧ), he would not +in old Granada (grȧ-nä´dȧ), he would not have held Pilar to her promise.</p> <table border="0" cellpadding="0" width="300"> @@ -1980,7 +1942,7 @@ set high upon a hill above the city of Granada.</p> <p>It was here that Catalina danced before -Boabdil (bō´äb-dēl´), Arab ruler of the great +Boabdil (bō´äb-dēl´), Arab ruler of the great Alhambra. And to the romantic young girl this beautiful "Red Castle" spelled fairy-land.<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p> @@ -2398,7 +2360,7 @@ Let me tell you their stories."</p> <p class="hcenter"><i>Luis de Leon of Salamanca</i></p> <p>In the Middle Ages, when the University -of Salamanca (săl´ȧ-măng´kȧ) was one of +of Salamanca (săl´ȧ-măng´kȧ) was one of the finest in Europe, there lived a man named Luis de Leon. He was a friar. He was also one of Spain's great poets and a @@ -2424,14 +2386,14 @@ simply, "As we were saying yesterday—" just as if he had never been away!</p> <p>Salamanca sits upon the banks of the -River Tormes (tôr´mās) across an old Roman +River Tormes (tôr´mās) across an old Roman bridge. It is a city of domes and spires, of quiet memories of art and culture.<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> <p class="hcenter"><i>St. Teresa of Avila</i></p> <p>Once upon a time, long, long ago, there -lived in the town of Avila (ä´vē̍-lä) a little +lived in the town of Avila (ä´vē̍-lä) a little girl named Teresa. Often Teresa would read stories to her brother. These stories were not about fairies, kings, and queens, @@ -2484,9 +2446,9 @@ backs. Avila is an old-fashioned town.<span class="pagenum"><a name="Page_83" id <p>"Godfather, please give me a colt. You have so many. You will never miss one."</p> -<p>Rodrigo de Bivar (rō̍-drē´gō de bevär´) +<p>Rodrigo de Bivar (rō̍-drē´gō de bevär´) stood in the paddock beside his godfather, -Don Pedro, a priest of Burgos (bo͞or´gōs). +Don Pedro, a priest of Burgos (bo͞or´gōs). They were watching the horses, mares, and their colts running wild. How free and beautiful they were, with their lovely manes @@ -2505,7 +2467,7 @@ godfather!"</p> <p>His godfather gave him a look of disgust.</p> -<p>"Babieca! (babie´ca) (Foolish one!)" he +<p>"Babieca! (babie´ca) (Foolish one!)" he scolded. "This is indeed a stupid choice!"<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> <table border="0" cellpadding="0" width="500"> @@ -2539,7 +2501,7 @@ triumph.</p> <p>One of his greatest victories was the conquest of that rich and beautiful city, Valencia -(vȧ-lĕn´shĭ-ȧ), which is still called Valencia +(vȧ-lĕn´shĭ-ȧ), which is still called Valencia del Cid.</p> @@ -2634,7 +2596,7 @@ small dagger, and one the magic castanets.</p> <h2>FIESTA</h2> -<p>Fiestas (fyĕs´täs) (festivals) and fairs +<p>Fiestas (fyĕs´täs) (festivals) and fairs are the joy of the Spanish people. Some are held upon saints' days. In Spain one celebrates the birthday of the saint for whom @@ -2674,7 +2636,7 @@ to pay for food and medicines.</p> <p>He had sold the very old bottle of sherry <span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> wine, which had come from a well-known cellar -of Jerez (hā̍-rāth´), once called Scheriz.</p> +of Jerez (hā̍-rāth´), once called Scheriz.</p> <p>In this cellar there is a cluster of huge barrels, upon which are written noted @@ -2689,7 +2651,7 @@ creatures run out from behind the barrels.</p> <p>Juan had also sold the small dagger of Moorish design. It had come from the town -of Cordoba (kôr´dō̍-vä), once an important +of Cordoba (kôr´dō̍-vä), once an important center. The famous Mosque of Cordoba, with its striped arches, was built by the Moors. But it has since been made into a @@ -2729,7 +2691,7 @@ children seem to grow in doorways.<span class="pagenum"><a name="Page_93" id="Pa those broad-brimmed hats which belong to that part of Spain -called Andalucia (än´dä-lo͞o-thē´ä).</p> +called Andalucia (än´dä-lo͞o-thē´ä).</p> <p>A legend tells how Andalucia received its @@ -2760,9 +2722,9 @@ while she went to the fiesta. Pilar's heart had been crying out for music and dancing.</p> <p>Across the bridge, over the Guadalquivir -(gwä´dăl-kwĭv´ẽr) River, went the crowd of +(gwä´dăl-kwĭv´ẽr) River, went the crowd of young people. They passed the Torre del -Oro (tôr´rā̍ dĕl ō´rō) (Tower of Gold), where +Oro (tôr´rā̍ dĕl ō´rō) (Tower of Gold), where treasure once was stored.</p> <p>In Triana there are many pottery shops; @@ -2921,7 +2883,7 @@ Read my favorite book."</p> <p>Alfonso put down the book which he had been reading, and the spy noted well its -title, "The Odyssey (ŏd´ĭ-sĭ)." He also had +title, "The Odyssey (ŏd´ĭ-sĭ)." He also had noted something else. Always before the Prince turned a page, he first moistened his finger with his tongue.</p> @@ -3363,7 +3325,7 @@ But he followed her.</p> calling out, "Wait for me, Pilar. I have much to tell you. I have been to far-away places. Ho! Listen, Pilar. I have been to -Algeciras (ăl´jē̍-sē´rȧs) and to the Rock of +Algeciras (ăl´jē̍-sē´rȧs) and to the Rock of Gibraltar."</p> <p>Pilar thought Pepe himself looked like the @@ -3594,7 +3556,7 @@ a river near the border of France. With him were several other men, and all of them were smugglers.</p> -<p>Fernando had long lived in the Pyrenees (pĭr´ē̍-nēz) Mountains. +<p>Fernando had long lived in the Pyrenees (pĭr´ē̍-nēz) Mountains. He had joined a band of people who secretly smuggled forbidden goods from Spain to France in the dead of night. They led a dangerous life @@ -3758,7 +3720,7 @@ friend Tony, who had lived next door.</p> <p>Tony and his comrades had often staged a bullfight. Tony would be the brave torero <span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> -(tō̍-rā´rō) or fighter, while all the neighbors +(tō̍-rā´rō) or fighter, while all the neighbors would gather round to watch the sport.</p> <p>When Tony would plunge his make-believe @@ -3780,7 +3742,7 @@ would cheer loudly.</p> <p>Bullfighting is still Spain's favorite sport, though recently football has arrived there. -The Spanish call it "fútbol," and it has become +The Spanish call it "fútbol," and it has become very popular.</p> <p>But Tony had always wanted to be a torero. @@ -4038,7 +4000,7 @@ up from their siestas, or naps.</p> <p>Carmen drove to the bullfight with Pedro's mother.</p> -<p>As they passed the Prado (prä´dō), +<p>As they passed the Prado (prä´dō), Madrid's beautiful art gallery, Carmen thought, "This Prado is a heaven of art, while the corrida, only a few blocks away, is @@ -4089,7 +4051,7 @@ about going to bed.</p> <p>Over on the opposite side of the arena, the poor people sat in the sun, because those seats were cheaper. There was an air of -excitement. The band played the "Toreador's (tŏr´ē̍-ä-dôr´) Song" from +excitement. The band played the "Toreador's (tŏr´ē̍-ä-dôr´) Song" from "Carmen," and then the fight began.<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> <p>There were five toreros and five bulls before @@ -4122,7 +4084,7 @@ her delicate little white hands held in front of her face.</p> <p>But when she hears the crowd yelling, -"Pedro! Pedro! Olé! Olé!" she knows +"Pedro! Pedro! Olé! Olé!" she knows that she must uncover her eyes, for soon it will be her turn to act.</p> @@ -4723,57 +4685,57 @@ magic in that."</p> <table border="0" cellspacing="0" cellpadding="0"> <tr> <td align="left" style="width:200px">Alcazar</td> - <td align="right" style="width:200px">äl-kä´thär + <td align="right" style="width:200px">äl-kä´thär </td> </tr> <tr> <td align="left" style="width:200px">Algeciras</td> - <td align="right" style="width:200px">ăl´jē̍-sē´rȧs + <td align="right" style="width:200px">ăl´jē̍-sē´rȧs </td> </tr> <tr> <td align="left" style="width:200px">Andalucia</td> - <td align="right" style="width:200px">än´dä-lo͞o-thē´ä + <td align="right" style="width:200px">än´dä-lo͞o-thē´ä </td> </tr> <tr> <td align="left" style="width:200px">Avila</td> - <td align="right" style="width:200px">ä´vē̍-lä + <td align="right" style="width:200px">ä´vē̍-lä </td> </tr> <tr> <td align="left" style="width:200px">Babieca</td> - <td align="right" style="width:200px">bä bie´ca + <td align="right" style="width:200px">bä bie´ca </td> </tr> <tr> <td align="left" style="width:200px">Barcelona</td> - <td align="right" style="width:200px">bär´sĕ-lō´nȧ + <td align="right" style="width:200px">bär´sĕ-lō´nȧ </td> </tr> <tr> <td align="left" style="width:200px">Boabdil</td> - <td align="right" style="width:200px">bō´äb-dēl´ + <td align="right" style="width:200px">bō´äb-dēl´ </td> </tr> <tr> <td align="left" style="width:200px">Burgos</td> - <td align="right" style="width:200px">bo͞or´gōs + <td align="right" style="width:200px">bo͞or´gōs </td> </tr> <tr> <td align="left" style="width:200px">Cadiz</td> - <td align="right" style="width:200px">kăd´ĭz + <td align="right" style="width:200px">kăd´ĭz </td> </tr> <tr> <td align="left" style="width:200px">Castanet</td> - <td align="right" style="width:200px">kăs´tȧ-nĕt´ + <td align="right" style="width:200px">kăs´tȧ-nĕt´ </td> </tr> <tr> <td align="left" style="width:200px">Cervantes</td> - <td align="right" style="width:200px">sẽr-văn´tēz + <td align="right" style="width:200px">sẽr-văn´tēz </td> </tr> <tr> @@ -4783,47 +4745,47 @@ magic in that."</p> </tr> <tr> <td align="left" style="width:200px">Cordoba</td> - <td align="right" style="width:200px">kôr´dō̍-vä + <td align="right" style="width:200px">kôr´dō̍-vä </td> </tr> <tr> <td align="left" style="width:200px">Damascene</td> - <td align="right" style="width:200px">dăm´ȧ-sēn + <td align="right" style="width:200px">dăm´ȧ-sēn </td> </tr> <tr> <td align="left" style="width:200px">Damascus</td> - <td align="right" style="width:200px">dȧ-măs´kŭs + <td align="right" style="width:200px">dȧ-măs´kŭs </td> </tr> <tr> <td align="left" style="width:200px">Don Quixote</td> - <td align="right" style="width:200px">dō̍n-kē̍-hō´tā̍ + <td align="right" style="width:200px">dō̍n-kē̍-hō´tā̍ </td> </tr> <tr> <td align="left" style="width:200px">El Escorial</td> - <td align="right" style="width:200px">ĕl ĕs-kō´rĭ-ăl + <td align="right" style="width:200px">ĕl ĕs-kō´rĭ-ăl </td> </tr> <tr> <td align="left" style="width:200px">Fiesta</td> - <td align="right" style="width:200px">fyĕs´tä + <td align="right" style="width:200px">fyĕs´tä </td> </tr> <tr> <td align="left" style="width:200px">Granada</td> - <td align="right" style="width:200px">grȧ-nä´dȧ + <td align="right" style="width:200px">grȧ-nä´dȧ </td> </tr> <tr> <td align="left" style="width:200px">Guadalquivir</td> - <td align="right" style="width:200px">gwä´dăl-kwĭv´ẽr + <td align="right" style="width:200px">gwä´dăl-kwĭv´ẽr </td> </tr> <tr> <td align="left" style="width:200px">Jerez</td> - <td align="right" style="width:200px">hā̍-rāth´ + <td align="right" style="width:200px">hā̍-rāth´ </td> </tr> <tr> @@ -4833,7 +4795,7 @@ magic in that."</p> </tr> <tr> <td align="left" style="width:200px">Montserrat</td> - <td align="right" style="width:200px">mŏnt´sĕ-răt´ + <td align="right" style="width:200px">mŏnt´sĕ-răt´ </td> </tr> <tr> @@ -4843,92 +4805,92 @@ magic in that."</p> </tr> <tr> <td align="left" style="width:200px">Murillo</td> - <td align="right" style="width:200px">mū̍-rĭl´ō + <td align="right" style="width:200px">mū̍-rĭl´ō </td> </tr> <tr> <td align="left" style="width:200px">Odyssey</td> - <td align="right" style="width:200px">ŏd´ĭ-sĭ + <td align="right" style="width:200px">ŏd´ĭ-sĭ </td> </tr> <tr> <td align="left" style="width:200px">Prado</td> - <td align="right" style="width:200px">prä´dō + <td align="right" style="width:200px">prä´dō </td> </tr> <tr> <td align="left" style="width:200px">Pyrenees</td> - <td align="right" style="width:200px">pĭr´ē̍ nēz + <td align="right" style="width:200px">pĭr´ē̍ nēz </td> </tr> <tr> <td align="left" style="width:200px">Rodrigo de Bivar</td> - <td align="right" style="width:200px">rō̍-drē´gō de be-vär´ + <td align="right" style="width:200px">rō̍-drē´gō de be-vär´ </td> </tr> <tr> <td align="left" style="width:200px">Salamanca</td> - <td align="right" style="width:200px">săl´ȧ-măng´kȧ + <td align="right" style="width:200px">săl´ȧ-măng´kȧ </td> </tr> <tr> <td align="left" style="width:200px">Segovia</td> - <td align="right" style="width:200px">sā̍-gō´vyä + <td align="right" style="width:200px">sā̍-gō´vyä </td> </tr> <tr> <td align="left" style="width:200px">Señor</td> - <td align="right" style="width:200px">sā-nyōr´ + <td align="right" style="width:200px">sā-nyōr´ </td> </tr> <tr> <td align="left" style="width:200px">Señorita</td> - <td align="right" style="width:200px">sā´nyō-rē´tä + <td align="right" style="width:200px">sā´nyō-rē´tä </td> </tr> <tr> <td align="left" style="width:200px">Seville</td> - <td align="right" style="width:200px">sē̍-vĭl´ + <td align="right" style="width:200px">sē̍-vĭl´ </td> </tr> <tr> <td align="left" style="width:200px">Tagus</td> - <td align="right" style="width:200px">tā´gŭs + <td align="right" style="width:200px">tā´gŭs </td> </tr> <tr> <td align="left" style="width:200px">Toreador</td> - <td align="right" style="width:200px">tŏr´ē̍-ȧ-dôr´ + <td align="right" style="width:200px">tŏr´ē̍-ȧ-dôr´ </td> </tr> <tr> <td align="left" style="width:200px">Torero</td> - <td align="right" style="width:200px">tō̍-rā´rō + <td align="right" style="width:200px">tō̍-rā´rō </td> </tr> <tr> <td align="left" style="width:200px">Tormes</td> - <td align="right" style="width:200px">tôr´mās + <td align="right" style="width:200px">tôr´mās </td> </tr> <tr> <td align="left" style="width:200px">Torre del Or</td> - <td align="right" style="width:200px">tôr´rā̍ dĕl-ō´rō + <td align="right" style="width:200px">tôr´rā̍ dĕl-ō´rō </td> </tr> <tr> <td align="left" style="width:200px">Valencia</td> - <td align="right" style="width:200px">vȧ-lĕn´shĭ-ȧ + <td align="right" style="width:200px">vȧ-lĕn´shĭ-ȧ </td> </tr> <tr> <td align="left" style="width:200px">Valladolid</td> - <td align="right" style="width:200px">väl´yä-thō̍-lēth´ + <td align="right" style="width:200px">väl´yä-thō̍-lēth´ </td> </tr> <tr> <td align="left" style="width:200px">Visigoth</td> - <td align="right" style="width:200px">vĭz´ĭ-gŏth + <td align="right" style="width:200px">vĭz´ĭ-gŏth </td> </tr> @@ -4953,386 +4915,6 @@ magic in that."</p> after the table of contents. Images have been moved from the middle of a paragraph to the closest paragraph break.</p> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - -***** This file should be named 40592-h.htm or 40592-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/9/40592/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 40592 ***</div> </body> </html> diff --git a/40592.txt b/40592.txt deleted file mode 100644 index 2f18feb..0000000 --- a/40592.txt +++ /dev/null @@ -1,3170 +0,0 @@ -Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Little Spanish Dancer - -Author: Madeline Brandeis - -Release Date: August 28, 2012 [EBook #40592] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - - - - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - THE LITTLE - SPANISH DANCER - - - - [Illustration: A STREET IN SEVILLE] - - - - _The_ LITTLE - SPANISH DANCER - - BY - MADELINE BRANDEIS - - _Photographic Illustrations_ - - GROSSET & DUNLAP - PUBLISHERS NEW YORK - _by arrangement with the A. Flanagan Company_ - - - - COPYRIGHT, 1936, BY A. FLANAGAN COMPANY - - PRINTED IN THE UNITED STATES OF AMERICA - - - - - AN INTERNATIONAL DEDICATION - - TO - - AILEEN - - MY "PARISIAN" SISTER, HER "RUMANIAN" HUSBAND, AND THE MEMORY OF THE - "RUSSIAN" BALLET DANCING WHICH SHE USED TO DO IN "AMERICA" WHEN SHE - WAS THE AGE OF LITTLE "SPANISH" PILAR! - - * * * * * - - NOTE - - The photographs in this book were taken in Spain by the author. - The character of "The Little Spanish Dancer" is portrayed by Pilar - Herrera, of Seville, a charming little girl, whom we wish to thank - for helping to decorate this book. - - - - -CONTENTS - - - PAGE - - Chapter I - The Magic Castanets 9 - - Chapter II - An Old Red Cape 20 - - Chapter III - In Old Cadiz (A Legend of the Castanets) 32 - - Chapter IV - The Souvenirs Speak 44 - - Chapter V - In Old Granada (A Legend of the Castanets) 61 - - Chapter VI - Another Visit to Juan 71 - - Chapter VII - Four Old Paintings 77 - - Chapter VIII - Fiesta 89 - - Chapter IX - The Mystery of the Young Prince 100 - - Chapter X - A Stout Sweetheart 115 - - Chapter XI - Dance of the Six (A Legend of the Castanets) 123 - - Chapter XII - Pilar's Grandfather Remembers 134 - - Chapter XIII - Bullfight in Madrid (A Legend of the Castanets) 138 - - Chapter XIV - Where Is Pilar? 156 - - Chapter XV - A Stranger Arrives 163 - - Pronouncing Vocabulary 175 - - - - -LIST OF ILLUSTRATIONS - - - PAGE - - A STREET IN SEVILLE 2 - - THE LITTLE SPANISH DANCER 8 - - DANCING IN A PUBLIC SQUARE, SEVILLE 11 - - WHEN PILAR WAS LITTLE 14 - - PILAR KNELT DOWN BESIDE THE CHEST 17 - - GIRALDA TOWER, SEVILLE 19 - - STREET OF THE SERPENTS 21 - - ALCAZAR GARDENS, SEVILLE 25 - - JUAN, THE SHOPKEEPER 27 - - SEVILLE 29 - - CADIZ 33 - - STREET OF THE SERPENTS 36 - - ALCAZAR GARDENS, SEVILLE 40 - - SEVILLE 43 - - HOW COULD SHE GIVE THEM UP? 46 - - PUERTO DEL SOL, TOLEDO 49 - - BARCELONA 51 - - TOMB OF THE CHILDREN, EL ESCORIAL 54 - - PILAR LOOKED AT THE FAN 56 - - GYPSIES, GRANADA 60 - - GENERALIFE GARDENS, ALHAMBRA 62 - - BOABDIL SURRENDERING TO FERDINAND 66 - - GRANADA 68 - - POTTERY SHOP, TRIANA 74 - - COURT OF DOLLS, ALCAZAR 76 - - PILAR 78 - - SALAMANCA 82 - - ST. TERESA CONVENT, AVILA 84 - - PILAR IN HER COSTUME 90 - - THE MOSQUE, CORDOBA 92 - - ANDALUSIAN HAT 93 - - A FIELD NEAR CORDOBA 95 - - A DOUGHNUT STAND 97 - - AVILA 103 - - PARK IN MADRID, STATUE OF KING ALFONSO 107 - - BURGOS CATHEDRAL 109 - - MIRAFLORES MONASTERY, BURGOS 112 - - TOMBS OF FERDINAND AND ISABELLA, GRANADA CATHEDRAL 114 - - GIRL-DRAPED BALCONIES 117 - - GIBRALTAR 120 - - ALHAMBRA 122 - - DANCE OF THE SIX, SEVILLE CATHEDRAL 125 - - BOYS PLAYING BULLFIGHT 136 - - BULLFIGHT, MADRID 137 - - MADRID 144 - - _From a Painting by Goya_ DONA ISABEL CORBO DE - PORCEL 147 - - BULLFIGHT, MADRID 151 - - THE PRADO, MADRID 155 - - TOLEDO 159 - - TRIANA BRIDGE, SEVILLE 162 - - A NET MAKER, SEVILLE 166 - - TOLEDO 169 - - PILAR AND HER GRANDFATHER 172 - - - - -[Illustration: THE LITTLE SPANISH DANCER] - - - - -The Little Spanish Dancer - - - - -CHAPTER I - -THE MAGIC CASTANETS - - -Pilar was dancing in the Murillo (m[+u]-r[)i]l'[=o]) Garden. It was a -beautiful public garden named after the great Spanish painter, Murillo, -who died in a house near by. - -Pilar had been born ten years ago in this old city of Seville -(s[+e]-v[)i]l'). If you had asked Pilar, "Where is New York?" she would -doubtless have laughed with her lovely dark eyes and inquired, "Is it in -Seville?" Because, to Pilar, as to most of her friends, there was only -one world, and that world was Seville. - -Now a terrible thing was happening at Pilar's home this evening. But -Pilar did not know it because she was dancing in the garden. Every -night, after her grandfather went to bed, she ran off and danced with -her friends to the music of a hurdy-gurdy. - -But tonight, after Pilar had left, her grandfather had been taken very -ill. The neighbors had sent for a doctor, who shook his head gravely -over the poor old man. - -Pilar knew nothing about this as she clicked her castanets and whirled -about in the dance they call the Sevillana. - -She was one of the best dancers in her group. And why not? Her mother -had been a dancer; her grandmother, too, yes, and her great-grandmother -and her great-great--oh, ever so many great-grandmothers! They had all -been dancers. - -Pilar's parents had died when she was a baby. She lived alone with her -grandfather, and they struggled to keep the wolf named Hunger from -their door. Her grandfather was a shoemaker, but he worked slowly these -days because his hands were old. - -[Illustration: DANCING IN A PUBLIC SQUARE, SEVILLE] - -Once when Pilar was very little, someone had asked her what pleasures -she enjoyed most. She had answered, "The pleasures I enjoy most -are--dancing!" - -Now this could easily be the answer of every little girl in southern -Spain. For while Italy sings, France designs, and Switzerland skates, -Spain dances. Why, it is even possible that little girls in Seville -would rather dance than go to moving picture shows! - -Yet everyone in Seville does not feel that way, for the many open air -theaters all over the city are crowded. And what the people seem to like -best are the American comedies. - -It was growing late, but Pilar seldom went to bed before midnight. She -would have told you that evening was the time to live and to laugh and -to dance. Then it was cool, while during the day the sun beat down -cruelly and people slept for hours. - -Through the narrow streets Pilar made her way home at last. She heard -little snatches of song from the throats of strollers. - -Everyone strolls in Seville; there is no hurry. Nearly everyone sings; -there is no worry. Hurry and worry are as much out of place in this city -as a woman's hat shop. For white flowers and black lace shawls take the -place of hats in Seville. - -Pilar hummed to herself as she walked along. Some day she would grow up -to be a great dancer like her mother and-- - -What was that? A light in her house? She looked through the window and -saw the doctor bending over her grandfather's bed. - -Pilar caught her breath. Then she rushed indoors and ran straight to her -grandfather's bedside. Sinking down on her knees, she burst into tears. - -"Oh, Grandfather!" she cried. "You are ill! Dear Grandfather, what is -the matter?" - -The doctor smoothed her soft, black hair and raised her to her feet. - -"There, now, my child," he said. "You must not cry. You will only make -your grandfather worse. He will get well if you will do what I tell -you." - -[Illustration: WHEN PILAR WAS LITTLE] - -"What--what is that, doctor?" Poor Pilar was trembling. - -"You must buy and cook good, nourishing food for him," said the doctor. -"And give him the medicines which I order." - -Now Pilar's eyes were full of terror. "But, oh, doctor," she cried. "I -cannot do that. We have no money." - -"No money?" The doctor looked at her pityingly. - -"We live by what Grandfather makes when he can work," said Pilar. "Now -that he cannot work, there will be no money." - -The doctor said, "Um-m" and stroked his beard. Then he asked, "Have you -nothing which you might sell?" - -"Only--" And Pilar gazed into her tiny cubbyhole of a room next door. -"Only an old wooden chest filled with souvenirs, left to me by my -mother." She added in a whisper, "I could not sell them!" - -The doctor was silent for a moment. Then he said, "I am afraid you must -sell them, Pilar, if you wish your grandfather to live." - -When the doctor was gone, Pilar went into her room and looked at the -precious wooden chest. In it were the souvenirs which her mother had -collected throughout her interesting life as a dancer. - -The doctor had given her grandfather medicine, and now he slept. But -what would happen in the morning? - -Pilar shuddered. She was only a little girl, and she was afraid. The -doctor had said that her grandfather must have the best of everything, -or maybe he would die. - -A tear splashed down upon the old, carved chest. There was only one -thing to do. Tomorrow she would go into town and sell one of her -mother's souvenirs so that she might buy medicine and food. - -She brushed away the tears and began to look through her treasures. -There were a tall, graceful comb; a faded, but elegant fan; a richly -decorated old bonnet; oh, such lovely things! How could she ever part -with them? - -She pulled out a pair of castanets (k[)a]s'-t[.a]-n[)e]ts'). Now, in -Spain, it seems that every baby is born with a pair of castanets in its -hand. Of course, I only said, "It seems." Yet some of the tiniest tots -are taught to click these wooden clappers to the rhythm of the -traditional Spanish songs and dances. - -Castanets are shaped very much like chestnuts. They say that this is why -they are called castanuellos, which means "chestnuts" in Spanish. - -[Illustration: PILAR KNELT DOWN BESIDE THE CHEST] - -But those which had belonged to Pilar's mother were no ordinary -castanets. Indeed, they were said to possess some wonderful and -dangerous power. - -Mysterious legends had passed from mother to daughter down through -Pilar's family. Each legend told of trouble caused by the loss of these -castanets. For whenever they had been lost, given, stolen, or sold, -misfortune had come to their owners. - -A bit of verse, composed, no doubt, by the first ancestor who had used -them, warned thus: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -But Pilar had never heard the old rime. Nor had her grandfather ever -told her the strange legends. He did not want to frighten her. Besides, -he realized that modern, educated people would have called such beliefs -very foolish. - -So Pilar did not know about the power of the magic castanets, and she -fell asleep that night with these words going through her head: "Which -souvenir shall I sell tomorrow? Which one shall it be?" - -[Illustration: GIRALDA TOWER, SEVILLE] - - - - -CHAPTER II - -AN OLD RED CAPE - - -Morning came. Pilar attended her sick grandfather and made him -comfortable in his bed. He did not speak to her. He seemed to want to -doze all the time. - -She went into her room and knelt down beside the wooden chest. She must -go now and sell one of the treasures. Which one should it be? - -She took out each in turn and looked at them. All were so -precious--parts of her mother's life. Here was an old pair of castanets, -scarred and battered, not so pretty as the beautiful comb, the handsome -clock, the embroidered bonnet, or-- - -Perhaps she would sell those ugly castanets. And yet--just look at -this old red cape! Like a bullfighter's cape, only small and faded and -torn--surely the least interesting and attractive of her treasures. She -took it into her grandfather's room. - -[Illustration: STREET OF THE SERPENTS] - -"Grandfather," she said, "I am going to the shop of Juan (hwaen) -Sanchez, and I shall ask him to buy this old cape. With the money I -shall buy food." - -Her grandfather opened his dull eyes and looked first at the black-eyed, -rosy little Pilar and then at the old red cape. - -"It belonged, once long ago, to--Tony--" he began. - -Then his voice trailed off. He closed his eyes and fell asleep again. He -was very feeble. - -Pilar kissed him gently and stole out of the house. - -The narrow streets of Seville looked like thin Arabs with their arms -pressed close to their white-robed sides. They were bright with -sunlight. They were noisy with squawking motor horns, with chattering -men and women. - -Juan's shop was on the Street of the Serpents, a wriggling ribbon -of a street with booths and shops and cafes--a street of ragged people, -of staring people, of chanting, selling people. But no automobiles or -wagons were allowed upon the Street of the Serpents. - -Pilar met Juan Sanchez at the door of his tiny shop. - -"Good morning, Senorita (s[=a]'ny[=o]-r[=e]'-tae) Pilar," he smiled. - -He was glad to see Pilar. Everyone in Spain is always glad to see -children. This is a good thing, because Spain is overflowing with -children. - -"Good morning, Senor (s[=a]-ny[=o]r') Juan," said the little girl. Then, -timidly she held up the faded old cape. "Will you buy this from me?" she -asked. "My grandfather is ill, and I must have money to pay for food and -medicine." - -Juan looked at the cape. He said nothing, but his mouth twitched as -though it wanted to smile. He turned the cape inside out and stared at -something he saw. - -"The name 'Tony' is printed in ink on the inside of this cape," he said. - -But Pilar was not interested. She only looked up at him and repeated -earnestly, "Will you buy it, senor? Will you?" - -Juan shook his head. "No, Pilar," he answered. "I cannot buy it because -it is worth nothing to me." - -Then as he saw the cloud cover her smile, he added, "But it may be worth -a great deal to you if you will send it away!" - -"If I will send it away, senor?" Pilar thought that the good Juan must -be teasing her. "What do you mean?" - -"I mean," he said, "that you must send it to America to the one whose -name is written here." - -He pointed to the name Tony. It meant nothing until Juan explained. - -[Illustration: ALCAZAR GARDENS, SEVILLE] - -"Years ago," he said, "Tony was a little boy who played in the streets -of Seville. He liked to play bullfight. This is the cape with which he -angered the make-believe bull. I was that bull." - -"You, Juan? You were the bull?" laughed Pilar. - -"Yes, and a fierce one with great horns which I held proudly to my -head," answered Juan. "But today," he went on, "today this Tony--ah, he -is a very rich man. He has made many American dollars." - -"But how did his cape come to be among my mother's souvenirs?" asked -Pilar. - -"When Tony went away to seek his fortune in America," said Juan, "he -must have given it to your mother. They lived next door to each other -when they were children. They were very good friends." - -"But why should I send the cape to Tony in America?" asked Pilar. - -"Because," answered Juan, "I am sure that he will remember your mother -and help you in your trouble." - -Pilar's eyes shone. "Oh, do you think so?" she cried. - -[Illustration: JUAN, THE SHOPKEEPER] - -Juan nodded his head knowingly. "I shall send it for you, Pilar," he -said. "And I shall write a letter, too, and tell Tony about your sick -grandfather. Now take this money, child, and buy what you need." - -He pressed some coins into Pilar's hand, but she shrank back. - -"Oh, no, no!" she exclaimed. "I cannot take money from you, senor, when -I have given you nothing for it!" - -Juan laughed. "Very well, little proud one," he said. "You may bring me -something else tomorrow." - -Pilar thought of the old pair of castanets. - -She asked Juan whether he would take them, and he replied, "Of course. -It is not difficult to sell castanets in Seville." - -So Pilar left the shop of Juan Sanchez, and her heart sang as she -skipped along. She bought bread and fish and eggs and she took them -home. - -She cooked the fish and the eggs in oil, as Spanish people do. Then she -poured some milk out of a pitcher and tried to make her grandfather eat -and drink. - -After that, she went into her tiny room and once again opened the wooden -chest. This time she took out the magic castanets, whose mysterious -history she did not know. - -[Illustration: SEVILLE] - -But her grandfather knew all those terrible legends which had been -handed down through the family. He was too intelligent really to believe -them but when Pilar came into his room holding the clappers in her hand, -his eyes suddenly filled with fear. - -"What are you doing with the castanets, Pilly?" he asked in his weak -voice. - -"I am going to sell them to Juan Sanchez," answered Pilar, smoothing his -pillow. "Then I shall buy a little chicken and cook it for your dinner." - -"No, no!" The old man tried to sit up in bed. "Do not sell the cast--" - -But Pilar interrupted him. "Please, Grandfather," she said. "You must -not talk. You must rest while I am gone." - -She made him lie down again and he sank back wearily, closing his eyes. -He was too weak to say any more, but his lips began to move. - -"Castanets, with--magic--spell--" he muttered to himself. - -The words were muffled. Pilar could not understand them. - -She patted his hand gently and said, "Go to sleep, dear Grandfather. Do -not worry. Pilar will take good care of you." - -Then she sang a little song which sounded like a Moorish chant. And -perhaps it was, for Spain once was ruled by the Moors, who left much of -their art and music behind them when they were driven out. - -Pilar's soothing voice soon lulled her grandfather to sleep. And so it -was that he did not finish the verse about the castanets. - -It was a pity, too, as you will agree when you have heard the legend of -the castanets in old Cadiz (k[)a]d'[)i]z). - - - - -CHAPTER III - -IN OLD CADIZ - -(A LEGEND OF THE CASTANETS) - - -Before the Moors came into Spain, Cadiz, or Gadir, as it was then -called, had become famous for its dancers. Throughout the land they were -known for their grace and beauty. - -Now there lived at this time one who had grown too old to dance any -more. So she wished to teach her little daughter the steps she had once -loved so well. - -But strangely enough, she was afraid to do this--afraid, because a -savage race called the Visigoths (v[)i]z'[)i] g[)o]ths) were sweeping -through Spain and were trying to destroy the art of the people. They -were overrunning the country, smashing great statues and burning fine -books. - -[Illustration: CADIZ] - -What would they do if they were to discover that women were secretly -teaching their children to carry on the art of dancing? - -Although she feared the Visigoths, this mother, who had once been a -dancer, used to take her daughter to a cave far from the city. And here -she would attempt to instruct the little girl. - -But young Lira did not want to learn to dance. She was plump and lazy. -She disliked to exercise, except with a knife and fork. For eating was -the only thing she really enjoyed. - -One day when the sun shone fiercely, Lira felt very sorry for herself. -She was hot and twice as lazy as usual--which, I assure you, was -dreadfully lazy! - -She decided that she would not take her dancing lesson. Yet how was she -to escape it? Soon her mother would be leading her off to the cave and -making her work. - -Lira bit into a large loaf of bread and thought furiously. Why, of -course! She would hide her mother's castanets and then say that she had -lost them. This was a splendid idea. - -So running off ahead of her mother, she made her way to the secret cave. -Below her lay the city of Cadiz. It was so white that it made one think -of chalk on snow. But to hungry little Lira, it looked like whipped -cream! - -Cadiz points her long, white finger out into the azure blue bay. She has -a gleaming golden eye, which is the dome of her cathedral. - -When Lira's mother arrived at the cave, Lira ran up to her and -exclaimed, "Oh, Mother, I have lost the castanets! And now there will be -no lesson today." - -She then sat down and continued to chew contentedly upon her enormous -loaf of bread. But her mother's face turned white. - -[Illustration: STREET OF THE SERPENTS] - -"What are you saying, child?" she cried. "Do you tell me you have lost -the castanets?" - -Lira nodded and took an unusually large bite out of the loaf. Her mother -stood over her, her face a mask of fear. - -"Lira," she gasped, "do you know what you have done? If, indeed, you -have lost the castanets, then truly you have brought misfortune upon -your whole family." - -Whereupon, her mother recited this verse: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -Lira's eyes grew big. The loaf of bread dropped to the ground as she -arose. - -Leading her mother to the rock behind which she had hidden the -castanets, she said, "Look, Mother. The castanets are not really lost. I -was only fooling you. They are hidden in here and--" - -She pulled out the loose rock and looked behind it. The castanets were -gone. - -Now, in those days, people believed in spells and charms, and Lira's -mother was terribly frightened. She was also terribly angry with Lira. - -She hurried away toward home, leaving Lira standing alone, with the -tears running down her plump little cheeks. She was afraid to go home, -and so she wandered down to the wide beach. - -Here children were playing, while boys and girls with flashing eyes were -swinging along, clapping their hands and singing. Music sounded. -Laughter rang. Night had begun to fall. - -A crescent moon hung in the sky. It was a moon that had been cut in -half, and the other half was Cadiz. The air was full of dream dust, with -garlic in it. - -Lira did not feel the spell of night that had settled upon the rest of -the world. She was too miserable. What had become of the castanets? - -Had some evil power removed them from behind that rock? And if so, what -frightful thing would happen to her and to her family? - -Gradually the people began to leave the beach and finally Lira found -herself alone. She looked out across the bay--a bay that was to become -the scene of historic battles during Spain's wars with England and -France. - -Moonlight twinkled silvery upon the water. It was very quiet. And then, -all at once, Lira heard a step behind her, and a mysterious voice -whispered: "Lira, Lira, turn around!" - -Her heart skipped like a pebble across a lake. She turned. There stood -her older brother, his figure looming straight and tall in the -moonlight. Lira sighed with relief. - -[Illustration: ALCAZAR GARDENS, SEVILLE] - -But her brother did not move. He only stood, scowling down at her. Then -he continued to talk in that low, frightening voice. - -"Do you know," he said, "that you have brought terrible misfortune upon -us, Lira?" - -Lira felt the hot tears begin to sting her eyes again. So he, too, was -going to scold her for losing the castanets! But suddenly he took a step -toward her and, thrusting his face close to hers, said, "The Visigoths -are coming to drive us away from our homes!" - -Lira began to tremble. Those terrifying savages! She knew that they had -been sweeping her country, destroying everything in their path. Now they -were about to descend upon her home. And it was all her fault--hers! She -sobbed and clung to her brother. - -"Oh, why did I do it?" she cried. "Why did I hide the castanets?" - -Her brother put his hand under her chin and lifted her head so that -their eyes met. - -"Are you sorry, little sister?" he asked kindly. - -Lira's answer was a pitiful wail. - -"Will you ever tell another untruth?" - -"No, no, never, as long as I live!" - -"Will you remember the jingle about the castanets?" - -"Yes, yes! Always and forever!" - -"And will you work hard and learn to dance and carry on our mother's -art?" - -"Yes, yes! Oh, I will try so hard!" - -"Then--look, sister!" - -And to her amazement, Lira's brother held out the magic castanets. He -had been watching when she hid them. And when she had gone into the -cave, he had played a trick upon her by taking them away. - -It was a trick that Lira never forgot--never, though she lived to be -very old. All her life she treasured the magic castanets and never -again did she lose sight of them. - -But something else she did lose, and that was her round little figure. -Indeed, she became lovely and slender. She also became a famous dancer, -and one day she taught her own children the dances of Spain. - -[Illustration: SEVILLE] - - - - -CHAPTER IV - -THE SOUVENIRS SPEAK - - -Pilar was on her way to Juan's shop on the Street of the Serpents. In -her hand were those magic castanets. She was taking them to Juan. She -was going to sell them. - -She passed the lovely Alcazar (ael-kae'thaer) Gardens, from which came the -perfume of flowers and blossoms. She heard the soft voice of bells from -the Giralda, a prayer tower which had belonged to an ancient Moorish -mosque (m[)o]sk). - -In a little square, some of Pilar's friends were dancing to the music of -a hurdy-gurdy. Pilar stopped. How she longed to join them in their -dance! - -The thought came to her that she had never tried her mother's -castanets. She wondered how they would sound. She fixed them on her -fingers and began to play. - -Their beauty astonished her. They spoke. They sang. They cried out to -her feet and she danced. She danced until she was breathless and the -hurdy-gurdy had gone away. So had the children--gone to their homes. - -Pilar was alone. She stood in the center of the little court, its white, -balconied houses all around, and its ancient fountain squatting in the -center. - -But to Pilar, time had not passed. She had been in a dream of music. The -castanets had drawn her into a dream of music and dance. - -Now she slowly unloosed them from her fingers. Never had she known that -such beautiful sound could come from two wooden clappers. Why, her own -little cheap ones were hideous and shrill beside these speaking marvels. - -[Illustration: HOW COULD SHE GIVE THEM UP?] - -How could she give them up? How could she take them to Juan to be sold? -No, no! She must keep them. She must keep them and dance every day to -their rippling music. - -But Juan had given her money, for which she had promised to bring him -the castanets. And it would never do to give Juan her own instead, for -that would be cheating. - -But there were other lovely souvenirs in her chest at home. Perhaps Juan -would as soon have one of these! - -Pilar went home, and once again she knelt down beside the wooden chest. -Out came each precious souvenir. Which should she take to Juan in place -of the castanets? - -If those souvenirs could have spoken, what strangely wonderful stories -they could have told! - -Pretend, for fun, that they can speak, and let us listen to their -ancient voices. - - - _The Sharp Knife From Toledo_ - -"I am a knife--a very sharp knife. I was made in Toledo, which is said -to be the oldest town in Spain. - -"Toledo sits proudly upon a granite throne, like some weatherbeaten -queen. The River Tagus (t[=a]'g[)u]s) laps about her feet as though to -wash away the dust of ages. - -"There are Arab stories in the ancient streets of Toledo. Once it was an -important center of the Romans, the Goths, and then the Moors. - -"The cathedral is supposed to be the richest in the world. It contains a -room with massive doors, to which six keys must be used before one may -enter. In this room are the priceless jewels of the Madonna. - -"I am made of the celebrated Damascus (d[.a]-m[)a]s'k[)u]s) steel. I -have a beautiful design worked into my handle. Ages ago, this art, which -is called Damascene (d[)a]m'[.a]-s[=e]n) work, was brought from the -city of Damascus. - -[Illustration: PUERTO DEL SOL, TOLEDO] - -"I have a very dangerous temper and when I am angered, I bite. So be -careful, for I am a very sharp knife." - - - _The Proud Comb From Barcelona_ - -"I am a tall, elegant comb, and my home is Barcelona -(baer's[)e]-l[=o]'n[.a]), the most important city in Spain. Oh, dear! -There goes Madrid, howling at me again! Whenever I say that Barcelona -is more important, the city of Madrid creates the most frightful row. - -"It is jealousy, of course. For even if she is the capital of Spain, she -is not so wonderful as Barcelona. At least, that is what we who live -here think. And perhaps I can convince you, too, if you will go for a -walk with me. - -"Just think! I am honoring you by inviting you to walk with me through -Barcelona, Spain's most important--oh, all right, then, Spain's most -modern city! - -"Shall we start from the harbor? It is the chief port of Spain. Do you -see that fine monument of Christopher Columbus over there? - -[Illustration: BARCELONA] - -"Now we shall stroll along the celebrated Rambla. Is this not a handsome -promenade, with its flowers and trees? Would you like to sit here at a -little table and sip some chocolate? - -"They say that Barcelona has more sidewalk cafes than any other city its -size in Europe. You see, we know how to enjoy ourselves. Yet we are not -lazy. No, indeed! We are most active. Why, Barcelona never sleeps. - -"We are situated on the blue Mediterranean Sea. Not far from -the city, there is a wonderful monastery called Montserrat -(m[)o]nt's[)e]-r[)a]t'). It is perched high up amid a mystic -forest of stony crags. - -"Montserrat is the shrine of the Black Virgin, a sacred carving. The -story goes that when the Moors held Spain, this carving was hidden in a -cave. Many years later, it was found by shepherds who heard weird music -near by. - -"They tried to move the Black Virgin, but could not, and so a church was -built to hold it. Today great crowds swarm up the mountain to see the -sacred carving. - -"But now I shall have to leave you. I could show you much more, of -course, but there might be an objection if I did. You ask why? Because a -certain city I know would be afraid that you might agree with me that -Barcelona is more important than she is!" - - - _The Lazy Clock From El Escorial_ - -"I am an old clock. I used to sit upon a shelf in one of the most -curious castles in Spain--El Escorial ([)e]l [)e]s-k[=o]'r[)i]-[)a]l). -It was built by King Philip II. - -[Illustration: TOMB OF THE CHILDREN, EL ESCORIAL] - -"King Philip built El Escorial as his tomb. Today, it stands a gray and -gloomy monument upon a barren hill, and in its vaults are buried the -kings and queens of Spain. - -"Among the marble tombs, there is one which looks like a round, white -birthday cake. It is the tomb of the children--young princes and -princesses. - -"King Philip watched the building of this immense palace from a rocky -seat on a hill above. And later when he was very ill, he used to lie in -his bedroom next to the chapel and listen to the church services. - -"Ho, hum! I am a sleepy, lazy old clock. But then, all clocks in Spain -grow lazy, for we are seldom used. Everybody is always late. - -"Yet here is a funny thing. I have been told that Spain produces more -quicksilver than any other country. Think of that! Quicksilver!" - -[Illustration: PILAR LOOKED AT THE FAN] - - - _The Faded Fan From Valladolid_ - -"I am a fan. I belonged to a lady who lived in the town of Valladolid -(vael'yae-th[+o]-l[=e]th'). It was built by a Moor named Olid, and was -called Valle de Olid, Valley of Olid. - -"The names of many important men are connected with Valladolid. King -Philip II was born there. The Catholic monarchs, Ferdinand and Isabella, -were married there. Cervantes (s[~e]r-v[)a]n't[=e]z), the author of 'Don -Quixote' (d[+o]n k[+e]-h[=o]'t[+a]), that famous Spanish romance, -lived there; and Christopher Columbus died there." - - - _The Saucy Bonnet From Segovia_ - -"I am a bonnet, and I am very proud of myself because I am a beautiful -creation. I am also very proud to think that I was born in the marvelous -city of Segovia (s[+a]-g[=o]'vyae). - -"Segovia has a Roman aqueduct which is one of the most remarkable of its -kind in the world. It is sometimes called the Devil's Bridge, because a -legend tells that Satan built it in a single night. - -"There is also the famous Alcazar, an ancient castle set high upon a -sharp cliff. It was built in the eleventh century by King Alfonso VI. -Besides these marvels, Segovia has many fine churches and castles and -cathedrals. - -"How do I, a mere bonnet, know all these things? Ah, let me tell you -this: I am not only very handsome; I am extremely wise." - - * * * * * - -Next day Pilar brought Juan these souvenirs. But it was of no use. Juan -would not have any of them. He shook his head and told Pilar that he -could not rob her of her wonderful treasures. - -"You must bring me the old castanets, child," he said. "They are all -that I will take." - -Pilar begged and coaxed, but Juan was very stubborn. - -"No, child," he repeated, "These are too fine and valuable to sell. -Bring me the battered old castanets, for they have little value." - -Poor Pilar! She now sat weeping in her room--weeping silently so as not -to disturb her sick grandfather, who slept a great part of the day. - -She held the castanets in her hands and looked at them tenderly. Juan -had said that they possessed little value. Oh, but they did possess -value to Pilar, for she loved them. - -As to their real value, neither Pilar nor Juan could possibly guess. For -though the other souvenirs might bring more in money, the castanets -might well bring joy or grief to their owner. Or, at least, so it had -seemed to Pilar's ancestors. - -However, Pilar had given her word to Juan that she would bring them to -his shop tomorrow, and so she must. If only Juan had heard the terrible -tale of the castanets in old Granada (gr[.a]-nae'd[.a]), he would not -have held Pilar to her promise. - -[Illustration: GYPSIES, GRANADA] - - - - -CHAPTER V - -IN OLD GRANADA - -(A LEGEND OF THE CASTANETS) - - -Catalina was the many-times-great-granddaughter of Lira, the plump -little girl of ancient Cadiz. And to Catalina now belonged the magic -castanets. - -The Moors had taken Spain away from the savage Visigoths and had built -wonderful cities, palaces, and fortresses. One of these palaces was the -magnificent Alhambra, set high upon a hill above the city of Granada. - -It was here that Catalina danced before Boabdil (b[=o]'aeb-d[=e]l'), -Arab ruler of the great Alhambra. And to the romantic young girl this -beautiful "Red Castle" spelled fairy-land. - -[Illustration: GENERALIFE GARDENS, ALHAMBRA] - -She loved its sheltered courts, its walls of brightly colored tiles, its -patios of cypress trees and tinkling fountains. She loved the stately -arches, the graceful columns, and she also loved a handsome young Moor -named Hamet. He was a soldier in Boabdil's army. - -But while Catalina lived in a dream of happiness, all was not so perfect -with the Moorish ruler, Boabdil. The Christian monarchs, Ferdinand and -Isabella, had reconquered the kingdom of Granada. - -One night after Catalina had danced in one of the great halls, she met -Hamet in the Court of the Myrtles. The moon shone down upon a crystal -clear pool, and birds flew about the court like fluttering ghosts. - -The two young people lowered their voices as they spoke. Hamet told -Catalina of desperate battles in which the Moors were being overthrown -by the Christians. He seemed much disturbed. - -Finally he said, "Let us go where none can hear us. I have something -strange and terrible to tell you." - -He led her out upon a balcony where they stood looking down upon the -city of Granada. Its little white, square fairy cubicles seemed to be -lit up with stars that fell down from the sky. - -"It has been said," began Hamet in a low tone, "that the court -astrologer predicted the downfall of the kingdom under the reign of -Boabdil!" - -Catalina shrank back. What if her Hamet were to be taken away from her? -This was all she could think of, and the thought tortured her. She did -not consider the fate of her people. She considered only herself and -what she would do, were Hamet to leave her. - -A short time later, Granada did indeed fall before the Christian rulers. -And upon that fateful day when the palace was seized, Hamet was obliged -to ride away from Granada with Boabdil, his leader. - -Outside of the city, the vanquished Boabdil handed the keys of Granada -to King Ferdinand. Then he and his followers rode off into the hills. -The story goes that as they reached a certain hill, Boabdil stopped to -gaze down upon his beloved "Red Castle," which he would never see again. -And the Moor wept. - -His mother chided him, saying, "You do well to weep like a woman for -what you failed to defend like a man." - -The hill upon which this happened is still known as "The Last Sigh of -the Moor." - -But to go back to Catalina at the palace. Left alone without Hamet, she -did not sigh, nor did she weep. Oh, but she did storm and rage and stamp -her feet. - -[Illustration: BOABDIL SURRENDERING TO FERDINAND] - -Catalina's temper was well known in the palace. When a servant came to -summon her to dance before the new rulers, his knees shook with fright. - -"Fair d-dancer," he began, "w-will you c-come--?" - -"I will not!" screamed Catalina, and threw her shoe at him. - -Then the miserable girl sank down upon her couch and fell into a fit of -weeping. - -At twilight, Catalina stood upon that same balcony where Hamet had told -her what the court astrologer had predicted. All had come true, and the -conquest of Granada marked the end of Moorish power in Spain. - -To Catalina came the voice of the town be-low. The Sierra Nevada -Mountains raised their snowy tips, and the smell of little donkeys -mingled with mountain perfumes. - -[Illustration: GRANADA] - -One star shone, Moor-like, in the deep blue heaven. There was a fringe -of orange light where the sun had just gone to bed, leaving his rosy -night robe hanging on the sky. - -But Catalina saw none of this beauty. Her eyes and her heart were blind -with unreasonable rage. Fleeing from the balcony, she ran into the -Myrtle Court. - -Raising her pale little face to the fast-darkening sky, she cried, "I -shall never, never, never dance again!" - -With that, she threw her castanets into the deep pool in the center of -the court. They sank quickly to the bottom, down, down in a black -circle. The magic castanets! - -Not until several days later, when Catalina's temper had cooled, did she -suddenly remember the old verse which her grandmother had taught her: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -What had she done? How could she have thrown away the magic castanets? - -Quickly Catalina returned to the Myrtle Court. A palace attendant -promised to search the pool for her. But when he did, the castanets were -nowhere to be found. - -The story goes that not until Catalina became a very old lady did she -recover the castanets. And then nobody rightly knows how it came about. - -But what we do know is that never again did Catalina see her sweetheart. -For a year after he had left her, Hamet was killed in the wars. - -If Catalina had not lost her temper, she would not have lost the magic -castanets. And if she had not lost the magic castanets--well, would her -story, perhaps, have been different? - - - - -CHAPTER VI - -ANOTHER VISIT TO JUAN - - -Several days passed before Pilar was able to leave her house and go to -Juan's shop--several anxious days. Because that night, her grandfather -had grown worse, and she had been obliged to call the doctor. - -The doctor had been coming every day since then, and Pilar could not -leave her grandfather's side. Neighbors had been kind, helping with food -and attentions. - -Now that her grandfather was better, Pilar realized that she must repay -those good neighbors. So this morning, as soon as the burning Spanish -sun arose, Pilar arose, too. - -She prepared her grandfather's breakfast and made him comfortable -in his bed. Then she drank her thick, sweet chocolate, and off she went -to Juan's shop, taking along the old wooden chest. - -Juan could not help smiling when he saw her enter, weighed down by her -huge burden. It looked to Juan as if the big chest should really have -been carrying the little girl. - -"Good morning, Senorita Pilar," he laughed. "And where is the chest -taking you today?" - -Pilar did not smile. Resting the chest upon the counter, she said, -"Grandfather has been very ill since last I saw you, Senor Juan." - -"Ah, I am sorry, child," said Juan. - -"But now he is much better," added Pilar more cheerfully, "And I have -brought you what I promised." - -"The castanets?" asked Juan, looking at her shrewdly. - -"More than the castanets, Senor Juan," answered the little girl. "For -they alone will not pay you for all the money I now need." - -She started to open the chest, and Juan started to shake his head. But -Pilar caught his arm, and her large, dark eyes pleaded pitifully. - -"Oh, take them, please, Senor Juan!" she cried. "For I need a great deal -of money! The doctor says that Grandfather will not be able to work for -a long time." - -She pulled out of the chest the Damascene knife from Toledo, the tall -comb from Barcelona, the faded fan from Valladolid, the ancient clock -from El Escorial, and the saucy bonnet from Segovia. - -"Here, take them, please, senor," she said. "And also--" She put her -hand inside the chest and drew out the magic castanets. "These, too," -she whispered, "for I promised." - -[Illustration: POTTERY SHOP, TRIANA] - -Juan looked at the old wooden clappers. Then he looked at Pilar. And -quite abruptly he turned around to the strong box where he kept his -money. He unlocked it and took out some paper bills. - -"Here, little Pilar," he said. "Here is the money for you and your -grandfather. I shall keep the knife and the clock and the fan, the comb, -and the bonnet. But--" He pushed away her hand which held the castanets. -"Keep those, since you love them so much." - -Pilar clasped the castanets to her heart and her face lit up like a -thousand candles. - -"Oh, Senor Juan!" she sighed. "You are so good!" - -Juan patted her shoulder. - -"It is all right, my child," he said. "And if, later on, you are in need -of more money, bring me the castanets. I can sell them to a dancing -master who would like to buy them. He is very fond of such antiques." - -Pilar did not answer right away. Then she said in a sober voice, "Before -I give up the castanets, Senor Juan, I shall first bring you all the -rest of my souvenirs. The castanets will be the very last to go. And how -I hope that I shall never, never have to part with them!" - -[Illustration: COURT OF DOLLS, ALCAZAR] - - - - -CHAPTER VII - -FOUR OLD PAINTINGS - - -The Moors said, "Three times three things a woman must have: white skin, -white teeth, and white hands; black eyes, black brows, and black lashes; -rosy lips, rosy cheeks, and rosy nails." - -Little Pilar had all of these. She was a Spanish beauty. But she was not -only beautiful; she was also useful. She could sew and cook and take -care of a house. - -If you had asked Pilar how she had learned to sew and to cook and to -take care of a house, she would have shrugged her shoulders and -answered, "I did not learn. I just knew." - -She just knew, as she knew how to dance. - -[Illustration: PILAR] - -But poor Pilar had not been able to join her dancing companions in the -gardens or the squares for many a day now. Her grandfather's health had -not improved very much, and Pilar could seldom leave him. - -As time went on, Pilar watched the money which Juan had given her -gradually disappear, and at last there was no more left. But fortunately -there were still souvenirs left in the chest, and these Pilar took to -Juan. Four of the remaining souvenirs were old paintings. - -When Juan saw them, he remarked, "These paintings are of four famous -people. Let me tell you their stories." - -These are the stories he told: - - - _Luis de Leon of Salamanca_ - -In the Middle Ages, when the University of Salamanca -(s[)a]l'[.a]-m[)a]ng'k[.a]) was one of the finest in Europe, there lived -a man named Luis de Leon. He was a friar. He was also one of Spain's -great poets and a professor at the university. - -One day as Fray Luis de Leon was teaching his class, he was seized and -thrown into prison. This was during the time of the inquisition, when -people were arrested for their religious beliefs. - -Fray Luis remained in prison for many years. When he returned to -Salamanca, everybody welcomed him, and all the important townspeople -came to the university to hear him make a speech. - -But Fray Luis did not make a speech. He faced the schoolroom full of his -pupils and others who had come to hear him, and, taking up the daily -lesson, he remarked simply, "As we were saying yesterday--" just as if -he had never been away! - -Salamanca sits upon the banks of the River Tormes (tor'm[=a]s) across an -old Roman bridge. It is a city of domes and spires, of quiet memories of -art and culture. - - - _St. Teresa of Avila_ - -Once upon a time, long, long ago, there lived in the town of Avila -(ae'v[+e]-lae) a little girl named Teresa. Often Teresa would read stories -to her brother. These stories were not about fairies, kings, and queens, -nor even robbers. They were about saints. - -Little Teresa wished very much to become a saint and to live in heaven. -So one day she and her brother set off for the country of the Moors. -Their reason for doing this was because they thought that they might be -beheaded. - -But this great pleasure was to be denied them. An uncle found them on -the road and brought them home. It is a blessing that he did and that -young Teresa was allowed to grow up. For she became a very holy woman, -who did much good in the world. - -The city of Avila seems to breathe the holiness of St. Teresa. It is -surrounded by a treeless desert and giant rocks. Its perfect Roman walls -clasp it tightly as if to safeguard its mystery and charm. - -[Illustration: SALAMANCA] - -Do you hear the ding-donging bells of the many churches? They carry one -off to dreamland. Do you hear the clink-clinking hoofs of the tiny -donkeys? They carry hens and roosters to market in crates upon their -backs. Avila is an old-fashioned town. - - - _The Cid of Valencia_ - -"Godfather, please give me a colt. You have so many. You will never miss -one." - -Rodrigo de Bivar (r[+o]-dr[=e]'g[=o] de bevaer') stood in the paddock -beside his godfather, Don Pedro, a priest of Burgos (b[=oo]r'g[=o]s). -They were watching the horses, mares, and their colts running wild. -How free and beautiful they were, with their lovely manes flowing in -the breeze! - -"You may choose the best for yourself, godson," said Don Pedro. - -Young Rodrigo's keen eyes followed each graceful young horse as it -passed. But he said nothing. He said nothing until an ugly, shaggy -little animal came by. - -Then he cried out, "This is the one I want, godfather!" - -His godfather gave him a look of disgust. - -"Babieca! (babie'ca) (Foolish one!)" he scolded. "This is indeed a -stupid choice!" - -[Illustration: ST. TERESA CONVENT, AVILA] - -Rodrigo was not dismayed. Smiling, he said, "Babieca shall be my horse's -name!" - -It was this same Babieca, or Booby, who carried Rodrigo de Bivar through -his many famous battles. It was Babieca, too, who is supposed to have -wept over his master when the great warrior-lord died. - -For young Rodrigo became Spain's most celebrated hero, the Cid, about -whom songs have been sung and tales have been spun. Many of these are, -of course, only romance and legend. But the Cid did indeed live and -triumph. - -One of his greatest victories was the conquest of that rich and -beautiful city, Valencia (v[.a]-l[)e]n'sh[)i]-[.a]), which is still -called Valencia del Cid. - - - _Columbus of--Where?_ - -"Please, a little food and shelter. We are very hungry and tired!" - -The man was Christopher Columbus, and the child, Diego, his son. Weary -and discouraged, they had arrived at the monastery of La Rabita. - -For a long time, Christopher Columbus had been trying to interest the -Spanish court in his scheme to sail across the unknown ocean. He -thought that by sailing west he would reach Asia. - -But the King and Queen were busy with their struggles against the Moors, -and they would not listen to him. - -The kind monks at the monastery of La Rabita sheltered Columbus and his -little son. They also gave heed to his eager hopes and plans, and at -last Prior Perez of the monastery wrote a letter to Queen Isabella. - -As we well know, Queen Isabella made it possible for Christopher -Columbus to sail across the ocean and discover America. But nobody yet -has really discovered Christopher Columbus. - -Where was he born? Some say in Italy, others, in northern Spain. Perhaps -Columbus was a Jew who changed his religion and nationality. This could -well have been, because at that time the Jews in Spain were being -tortured and sent away from their country. - -When Columbus returned from his famous voyage, he was received in -Barcelona by King Ferdinand and Queen Isabella. They made him Lord High -Admiral of the Ocean Sea and Hereditary Viceroy of the New World. - -But after the death of the Queen, Columbus was badly treated by King -Ferdinand, and he died in poverty and despair at a miserable inn. - - * * * * * - -When Juan had finished telling the stories about the four paintings, -Pilar asked, "Will you buy them from me, Senor Juan?" - -Juan answered, "Yes, if you really must sell them, Pilar. But I wish -that you might keep them, for they are very fine." - -"I need the money," said Pilar simply. - -"Then why not let me sell those ugly castanets?" inquired Juan. "The -dancing master will willingly pay for them." - -"No, no!" cried Pilar. "They shall be the last to go." - -So Juan took the four paintings and gave Pilar money for them. And now -there remained in the wooden chest only three souvenirs. One was a -bottle of old wine, one a small dagger, and one the magic castanets. - - - - -CHAPTER VIII - -FIESTA - - -Fiestas (fy[)e]s'taes) (festivals) and fairs are the joy of the Spanish -people. Some are held upon saints' days. In Spain one celebrates the -birthday of the saint for whom one is named. - -Tonight there was a fiesta in Triana, which is across the bridge from -Seville. It is where the gypsies live. - -Pilar was on her way to Triana with a group of her friends. She was -dressed in her dancing costume. She wanted to dance and use her magic -castanets. This would be the last time she could do so. For of all her -mother's souvenirs, only the castanets were now left. And tomorrow-- - -[Illustration: PILAR IN HER COSTUME] - -But Pilar did not like to think about that tomorrow. Juan had sold -everything else out of the wooden chest. Everything else had gone, even -the wooden chest itself--gone to pay for food and medicines. - -He had sold the very old bottle of sherry wine, which had come from a -well-known cellar of Jerez (h[+a]-r[=a]th'), once called Scheriz. - -In this cellar there is a cluster of huge barrels, upon which are -written noted names, such as the Prince of Wales' and our own -President's. They contain wines made in the year of each person's birth. - -A family of well-trained mice lives in this cellar. When the attendant -rings a bell and scatters bread upon the floor, these tiny creatures run -out from behind the barrels. - -Juan had also sold the small dagger of Moorish design. It had come from -the town of Cordoba (kor'd[+o]-vae), once an important center. The famous -Mosque of Cordoba, with its striped arches, was built by the Moors. But -it has since been made into a Christian church. - -King Charles V is supposed to have said to the Christian builders, "You -have built what can be found anywhere, but you have spoiled what cannot -be found anywhere else. - -[Illustration: THE MOSQUE, CORDOBA] - -Cordoba is a white city of twisting streets. There are golden knobs upon -some of the doors; ragged beggars fill the streets; and children seem to -grow in doorways. - -One sees in Cordoba those broad-brimmed hats which belong to that part -of Spain called Andalucia (aen'dae-l[=oo]-th[=e]'ae). - -[Illustration: ANDALUSIAN HAT] - -A legend tells how Andalucia received its name. Every saint in heaven -had been given a spot over which to rule--every one, except poor little -Saint Lucia. So she searched the world for a country, but most of the -world had already been taken by other saints. - -One day, however, she came to a land of sunshine and flowers, with which -she was delighted. She asked if she might have it for her own, and a -mysterious voice answered and said to her, "Anda, Lucia! (Go there, -Lucia!)" - -And that is why, the legend tells, this sunny part of Spain is called -Andalucia. - -Seville, too, is in Andalucia; and now let us go back to Seville and to -Pilar. - -Tonight Pilar had left her grandfather for the first time in many -evenings. A neighbor had kindly offered to stay with him while she went -to the fiesta. Pilar's heart had been crying out for music and dancing. - -Across the bridge, over the Guadalquivir (gwae'd[)a]l-kw[)i]v'[~e]r) -River, went the crowd of young people. They passed the Torre del Oro -(tor'r[+a] d[)e]l [=o]'r[=o]) (Tower of Gold), where treasure once was -stored. - -In Triana there are many pottery shops; also there is a large American -olive factory. It is said that the best olives are grown in sight of the -Giralda Tower, which is in Seville. - -At the fiesta, music and song filled the air. Lanterns were strung from -poles. Booths lined the square. Nuts and fruits and cakes were sold. -There were small wagons where men fried long, golden cakes like the -doughnut. - -[Illustration: A FIELD NEAR CORDOBA] - -Shawls, laces, paintings, toys, and fans for sale. Merry-go-rounds, -sideshows, dancing, and more dancing. Pilar and her friends whirled -about, kicking their legs, pointing their toes, rolling their eyes, and -rippling their castanets. - -At last, tired, but filled with rhythm and harmony, the group started -for home. - -After Pilar had left the fiesta, however, somebody asked about her. That -somebody was a great dancing master. - -He asked, "Who was that little beauty in the white costume trimmed with -green? She played a pair of golden-voiced castanets. Where does she -live? I should like to have her as my pupil." - -[Illustration: A DOUGHNUT STAND] - -But nobody in Triana knew where Pilar lived, and, of course, her name is -a common one in Spain. - -On the way home, Pilar's spirits began to fall. She began to think of -having to part with her precious castanets. How she wished that there -might be some other way of--! - -Suddenly she remembered Tony--Tony, the boy who had played bullfight -with Juan years ago. It was weeks now since Juan had sent the old red -cape to America and had written to Tony. - -Juan had said that Tony was rich and generous and that he would help -Pilar and her grandfather because he would remember Pilar's mother. But -Pilar had begun to wonder whether Tony really would. - -When she reached home, all the excitement of the fiesta had worn away. -She was very unhappy. Tomorrow she must give up the castanets. Juan had -said that he could sell them to a dancing master, who paid handsomely -for antiques. - -Pilar started to undress. She unpinned the brooch that fastened her -costume at the throat. And all at once, her face lit up with a wonderful -new idea. - -She would take this brooch to Juan tomorrow. It was her own, part of her -dancing costume. But she would far rather part with it than with her -mother's castanets. - -The brooch was a small painting called a miniature. It was the likeness -of young Prince Alfonso, the brother of Queen Isabella of Spain. - -Pilar hurried off to bed. And while she sleeps, let us listen to the -"Mystery of the Young Prince." - - - - -CHAPTER IX - -THE MYSTERY OF THE YOUNG PRINCE - - -Alfonso was only a boy. But some day he would be king, for he was next -in line to his brother, King Henry. After him came his sister, Isabella, -a beautiful little girl, earnest and thoughtful. - -Alfonso felt himself to be Isabella's knight and protector. He had -learned to ride and to use his sword like a true Spanish cavalier. - -One day at twilight Isabella sat at the window, embroidering a Moorish -design upon a bit of gold cloth. Alfonso, his studies over for the day, -was reading to her. - -Better than anything else, the Prince loved to read--which may have been -the reason for what happened later--at least, for what is supposed to -have happened. For nobody rightly knows the truth of the bitter story. - -As the two children sat together, enjoying the happiest moment of their -day, one of the King's spies secretly watched and listened. - -He heard the Princess Isabella say, "Enough of that for now, Alfonso. -Come. Read my favorite book." - -Alfonso put down the book which he had been reading, and the spy noted -well its title, "The Odyssey ([)o]d'[)i]-s[)i])." He also had noted -something else. Always before the Prince turned a page, he first -moistened his finger with his tongue. - -Squinting his eyes, the spy smiled wickedly to himself and stole away. - -Several nights later, this same spy crept into the Prince's chamber -and, feeling cautiously about, he at last found what he sought. It was a -book, "The Odyssey." - -Working with agile fingers, he opened the book, and upon each page he -smeared a deadly poison. Then he returned the book to its place and left -the room as quietly as he had entered. - -Now trouble and discontent filled the country. Some of the people were -not pleased with King Henry, and they wanted to place young Alfonso upon -the throne. - -The Prince and his sister began to live through turbulent times, and -their peaceful hours together were over. Alfonso was thrown into prison, -then suddenly freed again, to become an important figure in the kingdom. - -He was told that soon he would be crowned king, for the rebels were -going to overthrow his brother Henry. Whispered plans, secret schemes -stirred in the air like poisonous insects. And the poisoned book lay -where the spy had left it. The Prince found little time for reading. - -[Illustration: AVILA] - -But today he had managed to meet his sister, and the two were very happy -to be together again for an hour of quiet reading. - -Alfonso picked up the book, "The Odyssey," but Isabella said, "No, -not that one, Alfonso. Today let us hear this most interesting novel. It -tells why the wind blows, why we smell and taste and hear, all in the -form of a story." - -She smiled and handed him the other book. Good-naturedly Alfonso put -down "The Odyssey." Had he but known it, he put from him death! - -Soon afterwards, the prince was again torn from his sister, this time to -live through one of the most dramatic events in his stormy young life. - -One day a splendid procession made its way into the town of Avila. Among -the cavaliers rode Prince Alfonso. His horse richly decked, he sat -stiffly upon the saddle, clothed in armor. His boyish face was grave and -stern. - -As he passed, the people cried out, "Long live King Alfonso!" - -A throne had been erected out upon the plains. On this throne sat what -appeared to be a king. He held a scepter, and the crown upon his head -gleamed brightly in the sun. - -But as the cavalcade drew closer, it was seen that the figure had fallen -over on its side like a sawdust doll. And indeed, that is just what it -was--a scarecrow, made to represent King Henry. - -The Prince and his followers stood upon the platform. A colorful crowd -had gathered about them--monks in brown, monks in white and black, lords -in bright-hued mantles, Moors with turbans on their heads, peasants, -beggars, young and old. - -Bugles rang out, and drums rolled. The little Prince stood, proudly -royal, in his armor. His blond hair showed under the visor which had -been pushed back from his head. - -Then the Archbishop snatched the crown from the head of the scarecrow -king and roared, "Thus lose the royal dignity which you have guarded -ill." - -And one of the cavaliers roughly kicked the figure off its throne. There -were cries and shouts and some gasps of horror. Alfonso was seated upon -the throne and crowned King of Avila. - -Petty wars, robberies, and murders followed. Part of the country was in -favor of King Henry, while the rebels supported Alfonso. A terrible -battle took place in Toledo. Houses were burned and people massacred. - -A few days later, Alfonso arrived in the town. - -Those who had burned and massacred bowed down to the young king, saying, -"We will fight for your cause if you will approve this massacre." - -[Illustration: PARK IN MADRID, STATUE OF KING ALFONSO] - -Alfonso replied, "God forbid that I should approve such horrors!" - -The next thing he knew, Alfonso's country was plunged into war. The -rebels were to meet the King's men in conflict. - -The night before the battle Alfonso, rest-less and unhappy, paced his -chamber. Why must men fight? Why must they kill one another? The Prince -loved power; but better than power, he loved peace. - -Wherever he went, he always took along some of his books. Now upon the -table lay several, and among them was "The Odyssey." Alfonso laid his -hand upon his favorite work and was about to take it up when he let it -fall again. - -No, he could not read tonight. His heart was too heavy. He missed his -sister and, too, he kept thinking of their future--a stormy prospect. -For Isabella no doubt would be forced to marry some distasteful noble. -And he? With enemies upon all sides, if he were not killed in war, he -might well be murdered in his sleep. - -Next day in full armor, his sword drawn, the boy King of Avila went out -to meet his foe. Fighting bravely, by his soldiers, it is said that he -was last to leave the battle. - -[Illustration: BURGOS CATHEDRAL] - -There came a time when Alfonso set forth upon a journey, accompanied by -a group of nobles. Among his traveling companions were several of the -King's followers, one of them that same spy who had smeared poison upon -the leaves of Alfonso's book. - -As evening overtook the party of travelers, they drew rein in the town -of Cardenosa, and planned to stop there for the night. - -As usual, Alfonso had brought along his books. But too often had his -enemies been disappointed, so now they planned a trick. It was a trick -which would force the Prince into their cruel trap. - -They removed all but one of Alfonso's books from his chamber. The one -left was placed in plain view upon the table. It was "The Odyssey." - -Wondering what had become of the others, but too weary to find out, the -Prince settled himself to read before retiring for the night. As he -opened the book he smiled, remembering Isabella and how she had always -urged him to read something else. - -Well, tonight he might do as he pleased, for he was quite alone. Tonight -he might read "The Odyssey," which he had not opened for so long. - -Page after page he turned with a finger moistened by his tongue. And an -hour passed. - -Late during the night, a messenger rode madly into the town of Segovia -where the Princess Isabella was living. - -"The King of Avila is dying!" the messenger gasped. "He calls for his -sister, the Princess Isabella!" - -Isabella rode furiously through the night and when she reached -Cardenosa, she was met by the Archbishop of Toledo. He held out his hand -to her, and in his face there was pity and grief. Before he even told -her, Isabella knew that her beloved brother was dead. - -[Illustration: MIRAFLORES MONASTERY, BURGOS] - -Some claimed that enemies had given him poisoned fish. Others believed -that he had died of a fever. Still others told the story which you have -just heard. But whether or not it is true will remain a mystery forever. - -There is a wonderful cathedral in Burgos, whose Gothic spires point -upward like lace fingers. They point to a hill above the city, upon -which rests the Miraflores Chapel. - -Inside this chapel is a beautiful statue of a boy. He wears a royal -mantle and kneels before a praying desk. The boy is Alfonso. - -When Henry died, it was the earnest little Isabella who became queen. -Today in the Cathedral of Granada--that white and gold and silver -cathedral--are the tombs of Queen Isabella and her husband, King -Ferdinand. - -They are carved of marble, and Isabella's pillow sinks down deeper than -Ferdinand's with the weight of her head. They say that this is because -her head held more brains than his. - -We know she was a wise, good queen and we love her because she helped -Christopher Columbus and listened to his dreams. - -[Illustration: TOMBS OF FERDINAND AND ISABELLA, GRANADA CATHEDRAL] - -But just suppose Alfonso had not died. Suppose, instead, that he had -lived and ruled. Do you believe Alfonso would have listened to Columbus' -dreams and understood as did his sister Isabella? And, had he not, where -should we be today? - - - - -CHAPTER X - -A STOUT SWEETHEART - - -The sale of the Prince Alfonso brooch brought Pilar and her grandfather -enough to live on for a week. Then once more Pilar was faced with having -to give up the castanets. - -Juan seemed eager to have them now. He said that the great dancing -master had shown much interest in them. - -This dancing master was the same one who had inquired about Pilar at the -fiesta that night in Triana, though Juan, of course, did not know it. - -At last the fatal day arrived when Pilar could no longer delay her visit -to Juan's shop. What she would do after this last sale she had no idea. -Unless her grandfather's health improved so that he might work again, -things looked black for both of them. - -Pilar went out onto the balcony of her house. Girl-draped balconies are -as natural in Spain as donkey-dotted roads and child-filled doorways. - -Pilar gazed down on the street. The morning was golden. Church bells -clanged, and a knife grinder was piping on an Arab reed. A broom-maker -squatted on the pavement across the way. - -Pilar's eyes were full of tears as she took up the castanets and went -with them into her grandfather's room. - -"I am going out, Grandfather," she said. - -But she mentioned nothing about selling the castanets. She could not -trust herself to speak. However, her grandfather saw them in her hands, -and his old eyes brightened. - -[Illustration: GIRL-DRAPED BALCONIES] - -"Some day I shall tell you--stories--about--those--" he breathed. "Your -mother--loved--them--" - -"Do not talk now, Grandfather. It will tire you," said Pilar. - -She wanted to be off, to have it all over with as quickly as possible. -She knew that if her grandfather told her a story about the castanets, -it would be even harder to part with them. Poor Pilar! If she had -listened to just one of those legends, she would not have dared to sell -the wooden clappers. - -"Good-bye, dear Grandfather." - -She kissed him and left. - -As she opened the gate that led out of the small court of their house, -she ran into a stout, grinning boy. - -"Oh, Pepe!" cried Pilar. "When did you get back?" - -All summer Pepe had been away on a journey. Now here he was home again -to follow and annoy Pilar. - -Pepe liked to make believe that he was a cavalier. He liked to imitate -his older brothers. For in Spain a man courts his lady in a very -romantic way. He stands outside her window at night, and sometimes he -sings love songs to her. - -This funny, stout little Pepe often met Pilar at school and walked home -with her. Once he had even tried to sing under her window. But a -neighbor thought it was a tomcat howling and threw a bucket of water on -his head. - -Today Pilar was in no mood to be followed about. Today was a bitter day -in her life. For this time there was no more hope of keeping the -castanets. She knew that at last she must really give them up to Juan. - -She started to walk on ahead of Pepe. But he followed her. - -He puffed as he jogged along behind her, calling out, "Wait for me, -Pilar. I have much to tell you. I have been to far-away places. Ho! -Listen, Pilar. I have been to Algeciras ([)a]l'j[+e]-s[=e]'r[.a]s) -and to the Rock of Gibraltar." - -Pilar thought Pepe himself looked like the Rock of Gibraltar. She had -seen pictures of the great, solid rock. It belongs to England, and just -across Gibraltar Bay is the lazy little Spanish seaport town of -Algeciras. - -Pilar usually liked to listen to Pepe's tales of his travels. The boy's -father often took him away to places where they saw interesting and -curious sights. - -[Illustration: GIBRALTAR] - -But today it was impossible to pay attention. She tried to get away from -Pepe and walked faster and faster. - -He followed doggedly, breaking into a gallop and crying out in little -gasps, "Hi! But listen, Pilar." - -And so eager was he to reach her that he did not notice where he was -going, and all of a sudden--pff! bang! He had crashed into a man wearing -what looked like a ballet skirt of tin cans. They were milk cans. - -They shot in all directions. The man began to scold Pepe and to wave his -arms about. A crowd gathered, and in the noise and excitement, Pilar -escaped from her stout little sweetheart. - -Seville's great cathedral was just across the street--a massive giant, -squatting in the sun. Pilar went inside. It was cool and peaceful there. -Works of art filled the vast church--paintings, fine carvings, and the -stately tomb of Christopher Columbus. - -Pilar knelt before the altar, where a curious ceremony takes place every -year. This ceremony is called "The Dance of the Six Boys." - -Pilar prayed, her eyes closed, her lips moving. And clasped to her -heart were the castanets--the magic castanets, about which another -legend was woven--a legend around this very Dance of the Six. - -[Illustration: ALHAMBRA] - - - - -CHAPTER XI - -DANCE OF THE SIX - -(A LEGEND OF THE CASTANETS) - - -The chorus had been sung, and now they were dancing to the steady, -clicking rhythm of their castanets. It was a dignified dance, done by -young boys wearing silken pages' costumes and wide, plumed hats. - -Everybody felt the solemn beauty of the ceremony, and a hushed reverence -had fallen over the cathedral. Two old people, a woman with a black -shawl thrown over her head and an old man with a tanned, leathery face, -sat silently weeping. - -Fernando, their son, moved among those graceful figures beneath the -altar. He was a part of the royal Dance of the Six, called the -Sevillana. - -How proud were these old people of their son Fernando! How happy to know -that, each year, he would take his place in this age-old ceremony of -their forefathers, in the dance which had been performed for centuries -in Seville's cathedral! - -For in the far distant past, the Pope, hearing about the Sevillana, -wished to see for himself what sort of dance it was. In those days, it -would have been considered shocking for girls to dance before the Pope. -So six boys were taught the steps of the Sevillana and taken to the -Vatican in Rome. - -Here they danced, dressed in their beautiful silken costumes. The Pope -was so well pleased that he granted permission to use this dance during -certain ceremonies at the cathedral. But the privilege was to last only -so long as the boys' costumes lasted. - -[Illustration: DANCE OF THE SIX, SEVILLE CATHEDRAL] - -Today these costumes are still in use. But what a deal of patching and -mending must have taken place during those hundreds of years! - -When the dance was over, Fernando went into his room and pulled off his -quaint, plumed hat. The reverent little dancer had changed to a furious, -red-faced youth. He threw the hat down on the floor in a fit of anger. - -"Never!" he cried. "Never will I dance it again!" - -His sister Maria stood trembling at the door. - -"Do not say that, Fernando," she begged. "Think of our parents. You -would break their hearts were you never to dance in the cathedral again. -These past three days have been for them the happiest of their lives." - -"I shall never dance again," repeated Fernando firmly. "It is girls' -work, and I am a boy. I shall run away and work with men--and be a man!" - -Fernando picked up his castanets, which had fallen to the floor. - -"Miguel will take my place in the chorus," he said. "I shall have no -more use for these castanets, and so I shall give them--" - -"No! No!" cried Fernando's sister. She ran over to him and caught him by -the arm. "You must never give away those castanets. Surely you have -heard about their magic power and the legends attached to them. Ill luck -to him who loses or gives away--" - -"Nonsense!" scoffed Fernando. "I do not believe such tales. They are old -women's twaddle!" - -"Perhaps," agreed his sister. "Yet remember what our grandmother -once told us. She said that the castanets have always been a power for -good. And whenever we do things which we should not do, they bring -misfortune to us and to our family." - -Then she recited: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -"Yes, I know," said Fernando shortly. "But," and he grinned, "I shall -change that verse to: - - '_Castanets, you have no spell; - If I lose or give or sell, - I shall live in manly strife, - Not be a sissy all my life!_'" - -One night many years later, this same Fernando, now a man, glided -along in a boat on a river near the border of France. With him were -several other men, and all of them were smugglers. - -Fernando had long lived in the Pyrenees (p[)i]r'[+e]-n[=e]z) Mountains. -He had joined a band of people who secretly smuggled forbidden goods -from Spain to France in the dead of night. They led a dangerous life -and were always in fear of the customs men. - -As their boat now moved gently along the water, Fernando's companions -slept. All night they had labored, and they were weary. But Fernando -could not sleep. Somehow his thoughts kept taking him to Seville, to his -parents and his sister Maria. What had become of them? - -In all these years he had heard no word from them, and until now, he had -barely given them a thought. But tonight--How strange that they should -creep into his mind! - -A shot rang out hideously. The customs men were after them! Another -shot! And another and another! One by one, the smugglers in the little -boat crumpled where they sat. Then the small craft itself began to -sink--down, down. - -All was silent upon the surface of the water. All was silent for a long -time, and then Fernando, holding to a floating board, slowly raised his -head. - -The morning had begun to dawn over the Spanish Pyrenees. A hoarse church -bell rang out. Fernando looked about him. The customs' men had gone back -to France. The smugglers, too, had gone, but not to France; to the -bottom of the river. - -Fernando swam to shore, and the next day he set off for Seville. He had -one aim: to find his family and to try to make up for the heartache he -had caused them. - -But Fernando was never to see his parents again. Long since the old -people had died, and only his sister Maria remained. He found her living -in a poor and squalid alley. Yet when he walked into her shabby room, -she did not seem in the least surprised to see him. - -"I knew that you would come back, Fernando," she said quietly. "I -expected you." - -Puzzled, he started to speak, but she silenced him. - -Then thrusting her hand inside her blouse, she drew out the magic -castanets, saying, "They were brought back to me, Fernando!" - -Fernando stood fixed to the spot, his eyes upon the old clappers, which -he had given away so many years ago in a fit of boyish rage. Then a -sudden curious idea occurred to him. - -"When were they returned to you?" he asked Maria. - -She told him, and he knew then that it had been upon the very same night -when his life had been spared, out there upon those dangerous -waters--the very same night when he had been thinking so earnestly of -his family. - -His sister listened while he told her of his many adventures as a -smuggler. He promised to give it all up, to help her, and to become an -honest man. - -"For," he ended, laughing, "there is an old Basque saying, 'If a -smuggler is an honest man, then legends are the truth.'" - -"But surely, Fernando," said his sister, "you must believe in the -legends of the castanets after what has happened to us." - -Fernando shook his head. - -"I believe only in the power for good," he replied. - -Some years later, Fernando had a little son of his own who danced in -the cathedral of Seville. And do you see those two old people who sit -there watching, solemn-eyed and happy? - -They are Fernando and his wife, and they are very proud that their boy -is taking his place in this age-old ceremony of their forefathers. - - - - -CHAPTER XII - -PILAR'S GRANDFATHER REMEMBERS - - -After Pilar went out, her grandfather lay thinking. Somehow the old man -felt better today. He did not fall asleep as soon as Pilar left the -house. - -He began to wonder where she had gone and why she had taken the -castanets with her. He knew that she had been obliged to sell many of -her mother's souvenirs, so that they might live. But he hoped that soon -he would be able again to provide for his granddaughter and himself. - -"Suppose Pilly has gone out to sell the castanets," he thought. - -The idea frightened him. Yet he tried to tell himself that he was just a -foolish old man, to believe in a fairy tale about the charm of a pair -of castanets. - -Still he could not help remembering the legends which had been handed -down through his family. - -He lay dreaming, and before him passed the days when Pilar's mother had -been young. Her name had been Carmen Pilar Innocentia Gonzales, but she -had been known as "Carmen, the Little Spanish Dancer." - -As a little girl, she had been just such a graceful dancer as Pilar. And -one day a great teacher from Madrid had seen her and had taken her away -to study in the capital. - -But before that, she had spent much time on the streets of Seville. Her -father could still see her playing there with her little friend Tony, -who had lived next door. - -Tony and his comrades had often staged a bullfight. Tony would be the -brave torero (t[+o]-r[=a]'r[=o]) or fighter, while all the neighbors -would gather round to watch the sport. - -When Tony would plunge his make-believe sword into the make-believe -bull, everyone would cheer loudly. - -[Illustration: BOYS PLAYING BULLFIGHT] - -Bullfighting is still Spain's favorite sport, though recently football -has arrived there. The Spanish call it "futbol," and it has become very -popular. - -But Tony had always wanted to be a torero. Pilar's grandfather lay -smiling as he thought of that same Tony, now a wealthy tobacco merchant -living in America. He was far from being a bullfighter today. - -However, when Pilar's mother, Carmen, grew older, she had been courted -by a young man who was a bullfighter. The memory of this young man -brought to mind again the fear of losing the castanets. - -For Pilar's grandfather recalled a very real and dramatic story about -Carmen and Pedro, the young torero. - -[Illustration: BULLFIGHT, MADRID] - - - - -CHAPTER XIII - -BULLFIGHT IN MADRID - -(A LEGEND OF THE CASTANETS) - - -In the opera, "Carmen," a girl who works in a cigarette factory of -Seville, is loved by a torero, or bullfighter. - -The Carmen of this story did not work in a cigarette factory. She was a -dancer. But she, too, had an admirer who was a torero. His name was -Pedro. - -In a few days Pedro was going to fight in a most important corrida, or -bullfight, in the city of Madrid. He was going to fight a very fierce -and savage bull. But, strange to say, Pedro did not want to kill that -bull. - -Now, as a general rule, toreros would rather kill bulls than be killed -by them, for which you cannot blame the toreros. - -In this case, however, it was different. Pedro's father had raised this -great bull, Rey, and Pedro was very fond of the animal. In a few days he -was expected to go into the arena and kill his pet. - -Often Pedro took his little friend Carmen to visit Rey, who lived in a -field outside the city. Today they had come out for the last time before -the famous bullfight was to take place. - -Both were very sad. Carmen, too, had grown to love Rey, and the big -creature seemed fond of her. - -Sometimes the girl would practice upon her castanets out in the field. -And always when Rey heard the clicking song of the instruments, he would -come up close to the young couple and stand quietly listening. - -Do you wonder that this was a sorrowful day in the lives of Carmen and -Pedro? - -"If only we could think of some way to save him!" sighed Carmen. - -She and Pedro sat upon a fence in the field. Around them rose mountains, -hazy in the sun. Small stone houses cuddled among old scrub oak trees. - -Suddenly Pedro's eyes sparkled. "I have it!" he cried. "I have a plan! -Do you remember the bull whose life was saved during a bullfight, -because he came to his owner when he was called?" - -Carmen nodded. She remembered well. All Spain had heard of it. - -"Then why should not Rey, too, be given this chance?" asked Pedro. "Why -should he not be spared if he answers a call?" - -"But who will call him?" asked Carmen. - -"You," answered Pedro. "You, with your castanets." - -"Like this," said Carmen, and she started to play. - -Softly she played, then more and more loudly, until the great bull -appeared at the other end of the field. He stood looking at the boy and -the girl and, all at once, he started toward them, like a big, friendly -dog. - -"You see!" exclaimed Pedro joyfully. "Now on Sunday, when I am fighting -with him in the arena, you, from the audience, will play your castanets -as you just did. If he turns and goes to you, I am sure that the judges -will spare his life." - -"This is a wonderful plan, Pedro," smiled the lovely little Carmen. "And -I am certain that it will succeed, because, you see--" She hesitated for -a moment. Then she continued, "Because these castanets are enchanted!" - -"Enchanted?" Pedro laughed. "That cannot be! Yet when you play them, -it is I who am enchanted, my Carmen!" - -Carmen did not laugh, however. She looked down soberly at her castanets. - -"Legends are told in our family," she said, "about the magic power of -these castanets. Whenever one of us has lost or sold or given them away, -misfortune has overtaken us." - -Whereupon, she recited this verse: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -"Then whatever happens, do not lose them before next Sunday," warned -Pedro, smiling. - -As the young couple arose to go, Carmen gave a start. - -"Did you see a figure sneak out from behind that tree and -disappear?" she asked Pedro. - -"No, I did not," he answered. "And you are full of mystery today, little -Carmen!" He was laughing at her again. "Come. Let us go home now before -you see a ghost." - -But Carmen had been right. There had indeed been a figure behind that -tree--someone with very sharp ears, who had listened to all they had -said. - -He was no mystery--this figure--but a very real person. He was another -torero, jealous of Pedro, who had won the love of Carmen--jealous, too, -because Pedro had won popularity as a fighter, while he had not. - -Carmen thought she recognized this man. Yet she was not altogether sure, -and on the way home, Pedro talked her out of her fears. - -Happily they started toward Madrid, unaware of the terrible plan which -this jealous torero was beginning to lay. - -[Illustration: MADRID] - -On they drove through a flat land of many vineyards. They passed small -white houses with tiled hats on, and a village cut out of the landscape -by a lazy hand and colored carelessly. Soon they entered Madrid. - -Madrid is a modern city of tram cars and toots and traffic. In the -summer time, Madrid is like a faded, old duchess, who clicks her fan and -squats in the sun. She is dressed in handsome plazas, fountains, and -parks. - -But should you chance to walk into a narrow side street, you might catch -Madrid in her alley mood. Then she is a simple peasant. - -Madrid is the capital, center, and heart of Spain. Pedro, the torero, -had lived there all his life. But little Carmen had only recently -arrived in the big city. - -Upon the Sunday of Pedro's great bullfight, Carmen awoke early. Her -heart pounded with excitement. Today she and her magic castanets were to -try to save the life of Pedro's beloved Rey. - -But suppose Rey would not listen to her? Suppose he would not come to -her when she played? The noisy arena would be far different from the -quiet fields where she was accustomed to calling him. He would be -frightened, furious, and fierce. - -Bullfights do not start until four o'clock in the afternoon. Then the -sun is getting ready to go to bed, and Spaniards are getting up from -their siestas, or naps. - -Carmen drove to the bullfight with Pedro's mother. - -As they passed the Prado (prae'd[=o]), Madrid's beautiful art gallery, -Carmen thought, "This Prado is a heaven of art, while the corrida, -only a few blocks away, is a hades of suffering!" - -She began to worry. And what girl would not have worried? For no matter -how brave a torero may be, it is never certain that he will come out of -the arena alive. Why, even Rey, his own pet, might today take Pedro's -life! - -[Illustration: _From a Painting by Goya_ -DONA ISABEL CORBO DE PORCEL] - -Trough the many fine streets of Madrid they drove, and at last they -reached the bull ring. Crowds were swarming in through the gates of the -big, round arena. Carmen and Pedro's mother, silent and sad-faced, made -their way to their box. - -The old lady wore a tall comb in her hair and a lace mantilla over it. -She opened her fan with a click and started to fan herself. Carmen did -the same, as, indeed, everyone else was doing. The sun had been very -slow about going to bed. - -Over on the opposite side of the arena, the poor people sat in the sun, -because those seats were cheaper. There was an air of excitement. The -band played the "Toreador's (t[)o]r'[+e]-ae-dor') Song" from "Carmen," -and then the fight began. - -There were five toreros and five bulls before Pedro's turn came. Pedro -was to be last on the program. - -Everything seemed to swim before Carmen's eyes during the performances -of these other men and bulls. The whole thing was a sea of fluttering -fans, sickly blue light, and waving red cloaks. - -Then at last Pedro entered the ring. How big and handsome he looked in -his colorful costume! He carried the red cape with which he was going to -tease the bull. - -But before that time, the bull would first be angered by men with sharp -sticks and by other men on horseback. - -Look! The gate is swinging open now, and here is Rey! Snorting, rolling -his fine eyes, the magnificent creature gallops into the center of the -arena and stands, bewildered. - -Suddenly Carmen cannot look to see her dear friend tortured. She hides -her eyes, her delicate little white hands held in front of her face. - -But when she hears the crowd yelling, "Pedro! Pedro! Ole! Ole!" she -knows that she must uncover her eyes, for soon it will be her turn to -act. - -A cry from the crowd. The bull has charged and has caught young Pedro by -the coat. But Pedro is quick. He finds his feet and twists himself to -safety. The crowd cheers loudly. - -Backward and forward he dances like a graceful reed, playing with the -great beast, and the crowd are wild at his skill. Some throw their hats -into the ring. - -But Carmen sees the fury and the pain in Rey's eyes. He is wounded. He -is frantic. She knows that now her turn has really come and she must -call to him with her castanets. There is no time to lose. - -[Illustration: BULLFIGHT, MADRID] - -Oh, will he remember those peaceful fields and come to her when she -plays? For if he does, it has been arranged that he shall live. - -But should he not, the end must be the same with Rey as with every other -bull in every other fight. Pedro will have to plunge a dagger into the -head of his friend. - -"Oh, let us win!" prays little Carmen, and she opens her bag where she -keeps her castanets. - -The magic castanets are gone! - -For a moment the world turns around in a crazy whirl. Fear clutches -sharply at Carmen's heart. The beast is blind with rage. Soon Pedro will -be obliged to make the final dagger thrust or--! - -What must Pedro think? That she, his faithful little Carmen, has -betrayed him and Rey? - -Where are the castanets? Carmen knows well that she brought them with -her. Someone has stolen them. - -Suddenly Carmen remembers the figure she saw behind the tree that day in -the meadow. - -Down there, close to the fence, she sees the same man! It is the jealous -torero. - -He passes by, his set face wickedly content, and to Carmen's keen ears -comes a familiar sound. From the man's pocket, faint, yet unmistakable, -she hears the click of her castanets. - -Carmen is out of her seat, past the guards, and inside that dangerous -arena. A gasp goes through the audience--a horrified shudder. But -Carmen, her black eyes snapping, is as dangerous now as any wild bull. - -She has caught the man by the arm, swung him around, and snatched from -his pocket her castanets. - -Now she stands very still. With her small body drawn up straight and -taut, she begins to play. - -Pedro is fighting desperately. But everybody knows that soon it must be -man or beast. The torero must kill or be killed. The audience is -breathless. - -Carmen's castanets sing shrilly, with a rolling trill, and, all at once, -Rey lifts his massive head and listens. The call is sweet. It speaks to -him of pleasant things. - -What shall he do? Obey that call and follow? Or shall he stay and fight -it out with all his sharp-horned strength until the end? - -A frenzied murmur issues from the crowd. Slowly the people rise together -in their seats, as if a mountain heaved. The bull has turned and now -begins to trot toward Carmen's side. - -A woman shrieks. Another faints. But proudly Carmen stands, bringing -magic rhythm out of her magic castanets. And then she starts to walk -away, her wooden clappers coaxing like the Piper's reed and urging Rey -to follow her. - -He does. The huge beast, like a docile dog, allows the girl with her -charm-sound, to lead him out of the arena--out of death and into life. - -Little Carmen has won. - -[Illustration: THE PRADO, MADRID] - - - - -CHAPTER XIV - -WHERE IS PILAR? - - -When Pilar left the cathedral, she hurried toward the Street of the -Serpents. She would have to be quick. It was growing late, and her -grandfather would be waiting for her. - -As soon as she had sold the castanets to Juan, she would shop at the -market. Then she would go home and cook the dinner. - -She made herself think of the good things she would cook. But her eyes -filled with tears. How could she think of eating when her precious -castanets were soon to be gone? - -Besides, what would she and her grandfather live on, after this money -was spent? Would they be obliged to ask for charity? Pilar shuddered. - -The sound of a hurdy-gurdy came from the Murillo Garden as she passed. -She remembered how she used to dance there every evening before her -grandfather had become ill. - -Her friends were dancing there now--all of them: Maria, Guadalupe, -Teresa--yes, even Baby Dolores, happy, carefree, whirling about in their -dance. - -They had no troubles. They could stay out, dancing, singing, playing as -long as they pleased. - -She would join them. She must dance just once more to her golden-voiced -castanets--just once more before she gave them up to Juan! - -Pilar entered the garden. - -Meanwhile, at home Pilar's grandfather awoke. He had been dreaming. He -had dreamed of that eventful bullfight when his daughter Carmen had -saved the life of Pedro's bull, Rey. - -Carmen had later married Pedro, and Pilar was their child. But both had -passed away, leaving their little girl in the old man's care. - -What was keeping Pilar now? Where had she gone, and what was taking her -such a long time? - -Her grandfather began to worry. He raised himself on the pillow. Dusk -had fallen. The room was growing dark. Yet he could discern a white -object lying on the floor just inside the door. Why, it looked like a -letter. But few letters ever arrived at this house. Still it was a -letter! - -Oh, if Pilar would only come home! She had never been so late before. - -"Suppose," he thought, "she has sold the magic castanets, and something -terrible has happened to her! Suppose--" - -[Illustration: TOLEDO] - -But he quickly laughed at his foolish fears, and just then the door -swung open and Pilar burst in. - -She was weeping bitterly, her arm flung across her eyes. She threw -herself down beside her grandfather's bed, sobs shaking her. - -At first it was difficult to understand what she said, but gradually the -words swam out thickly through her tears, "Oh, I--I have done -a--terrible th-thing--" - -A flood of sobs broke through and drowned the rest. Her grandfather laid -a gentle hand upon her head. - -"There, Pilly dear," he said. "Do not cry, and tell me everything. Look -up, child, and see. Your old grandfather is better tonight, and soon he -will be quite well again. Are you not glad?" - -This made Pilar raise her head. Her grandfather was speaking to her just -as he had done before he had been taken so ill. It was true then that -he was much better tonight. - -"Tell me what happened," he repeated. - -And Pilar poured out her whole story. - -"We have had no money, dear Grandfather," she said. "And I have had to -sell everything of value--everything out of my mother's chest of -souvenirs. - -"The castanets were the last to go. Juan had offered to buy them from me -for a great dancing master, and today I was on my way to Juan's shop. -But I--I--stopped in the Murillo Garden--and--and danced--oh!" - -"Go on, Pilly dear," said her grandfather patiently. - -"As I was dancing," she continued, "a gentleman came up to me and asked -to see the--the castanets. When I showed them to him, he said that he -would like to buy them. He said that he was the dancing master of whom -Juan had spoken. - -"Oh, Grandfather, he offered me so much money for them, and I--I--" - -"What did you do, Pilly?" asked the old man. - -"I could not sell them, Grandfather!" sobbed Pilar. "I--I could not! I -ran away from him. I ran away!" - -[Illustration: TRIANA BRIDGE, SEVILLE] - - - - -CHAPTER XV - -A STRANGER ARRIVES - - -"Do not cry any more, Pilly," said her grandfather. "You have done no -harm by keeping the castanets. Perhaps you have done good. I shall tell -you why later on. But first let us have our dinner." - -Pilar tried to smile. She brushed away her tears. Her grandfather was -actually hungry! Oh, this meant that really and truly he was getting -well! - -Pilar started toward the kitchen. She had planned such a splendid dinner -for tonight, and now they would be obliged to eat beans and drink milk. - -If only she could prepare her grandfather's favorite omelet stuffed -with creamed fish, or a bowl of stew, made out of chick-peas, garlic, -potatoes, sausage, peppers, and cabbage! But-- - -What was that white thing lying under the door? Pilar stooped down and -picked up a letter. It was postmarked "U.S.A." - -Now very few of Pilar's friends would have known what those initials -meant. And even if they had been told, many of them would have shrieked -with laughter and cried, "Only red Indians live there!" - -But Pilar's grandfather had been in America long ago, and, of course, -her mother had danced there. - -The letter came from Antonio Santaella, and that was Tony--Tony, who had -lived in Seville as a boy and was now an important merchant in America. -Enclosed in the letter, Pilar found paper bills--money--more money than -Pilar and her grandfather had seen in many years! - -Tony wrote that he would always remember Pilar's mother, known as "The -Little Spanish Dancer." He also asked Pilar whether she, too, would -become a dancer when she grew up. - -Pilar's eyes shone. - -"Oh, Grandfather!" she cried. "What a kind man Senor Tony is! How much I -love him! How I wish to be a dancer like my mother! Shall we have eggs -or stew for dinner?" She had said it all in one breath. She rushed to -open the door on her way to market, adding, "I shall be right -ba--pf-f-f!" - -With a terrible thud, Pilar had bumped into a tall gentleman who stood -at the door. It was the great dancing master. - -"Good evening," he said. "Are you Senorita Pilar?" - -[Illustration: A NET MAKER, SEVILLE] - -Pilar backed into the room. She looked like a scared little rabbit. What -did he want? Had he come to take her castanets? - -"Ah, yes, you are the Senorita Pilar," continued the gentleman. He came -into the room, closed the door behind him, and sat down calmly. - -"And this, I believe, is senor, your grandfather. No?" He smiled at the -old man, who lay quietly in his bed. "You see, I found out all about -you, senorita. After you ran away from me in the garden, I made up my -mind to follow you, and I did." - -Suddenly Pilar's eyes flashed angrily. - -"You cannot have the castanets!" she cried. - -She was standing in the center of the room, and her face was white with -fury. Her small body was drawn up, rigid and tense. - -"I'll never let you have them!" she screamed. "They're mine! Mine! -Mine!" - -She stamped her foot and threw back her head. But the tall gentleman did -not seem in the least disturbed. He just sat there looking at her and -smiling as if he were watching a play. - -Indeed, one had the impression that he might begin to clap at any -moment. But he did not. - -Instead, he just laughed good-naturedly and said, "What a little -firecracker you are! And how graceful, too! Now, listen, child." - -He had stopped smiling. He leaned forward and spoke to Pilar in a -serious voice. - -"Listen to me, Pilar," he said. "I do not want your castanets if you do -not care to sell them to me. But--" He hesitated for a moment while -Pilar stared at him, still with that look of anger and fear in her eyes. -"But I do want something else!" - -Pilar's grandfather raised himself upon his pillow. "What is it that you -wish, Senor?" he asked. - -"The Little Spanish Dancer!" replied the gentleman. "I want Pilar!" - -[Illustration: TOLEDO] - -Both Pilar and her grandfather started. What was this man talking about? - -"I want to take Pilar to my school," he went on, "and teach her. For I -believe that some day she will be a wonderful dancer. And I should know, -for I have taught some of the best dancers in Spain." - -Now Pilar realized who he was. Often she had passed the window of his -dancing school. She had watched the fortunate pupils and listened to the -strains of a tango and the clatter of castanets. - -Upon the walls of the school were colored posters showing scenes of -bullfights. Girls and boys, young and old, stamped their feet and -twirled to fiery music. - -It had always made Pilar's heart beat faster. She had longed to join -them. But lessons were only for wealthy children and-- - -"But, senor," said Pilar's grandfather, as if he had been reading -Pilar's mind, "we have no money to spend on lessons." - -"I shall ask no money," replied the dancing master. "No. Our school will -some day be proud of Senorita Pilar." - -He stood up and put out his hand to the little girl. - -"Come tomorrow for your first lesson," he said. "My brother will -instruct you. My brother, you know, is the second greatest dancing -master in Spain." - -"And who is the first, senor?" asked Pilar's grandfather. - -"Why, I am, of course!" answered the tall man proudly, and walked out of -the room. - -When he had left, there was much rejoicing in the tiny house. Pilar went -out and bought a basket full of good things, and they had dinner. - -After dinner, they sat together, silent and happy, the old man's -wrinkled hand caressing the child's glossy black hair. - -Then all at once, in a low, mysterious voice, the grandfather began to -recite: - - "_Castanets, with magic spell, - Never lose or give or sell; - If you do, then grief and strife - Will follow you through all your life._" - -[Illustration: PILAR AND HER GRANDFATHER] - -When he had told Pilar about the magic castanets and the legends with -their strange lessons, she felt a wave of joy sweep through her. - -"Oh, then, it must have been the magic of the castanets that brought us -all this good fortune, Grandfather!" she cried. - -Her grandfather smiled wisely and shook his head. - -"No, Pilly," he said. "Good fortune always comes to those who think good -thoughts and who work hard. There is no magic in that." - - -THE END - - - - -PRONOUNCING VOCABULARY - - - Alcazar ael-kae'thaer - Algeciras [)a]l'j[+e]-s[=e]'r[.a]s - Andalucia aen'dae-l[=oo]-th[=e]'ae - Avila ae'v[+e]-lae - Babieca bae bie'ca - Barcelona baer's[)e]-l[=o]'n[.a] - Boabdil b[=o]'aeb-d[=e]l' - Burgos b[=oo]r'g[=o]s - Cadiz k[)a]d'[)i]z - Castanet k[)a]s't[.a]-n[)e]t' - Cervantes s[~e]r-v[)a]n't[=e]z - Cid s[)i]d - Cordoba kor'd[+o]-vae - Damascene d[)a]m'[.a]-s[=e]n - Damascus d[.a]-m[)a]s'k[)u]s - Don Quixote d[+o]n-k[+e]-h[=o]'t[+a] - El Escorial [)e]l [)e]s-k[=o]'r[)i]-[)a]l - Fiesta fy[)e]s'tae - Granada gr[.a]-nae'd[.a] - Guadalquivir gwae'd[)a]l-kw[)i]v'[~e]r - Jerez h[+a]-r[=a]th' - Juan hwaen - Montserrat m[)o]nt's[)e]-r[)a]t' - Mosque m[)o]sk - Murillo m[+u]-r[)i]l'[=o] - Odyssey [)o]d'[)i]-s[)i] - Prado prae'd[=o] - Pyrenees p[)i]r'[+e] n[=e]z - Rodrigo de Bivar r[+o]-dr[=e]'g[=o] de be-vaer' - Salamanca s[)a]l'[.a]-m[)a]ng'k[.a] - Segovia s[+a]-g[=o]'vyae - Senor s[=a]-ny[=o]r' - Senorita s[=a]'ny[=o]-r[=e]'tae - Seville s[+e]-v[)i]l' - Tagus t[=a]'g[)u]s - Toreador t[)o]r'[+e]-[.a]-dor' - Torero t[+o]-r[=a]'r[=o] - Tormes tor'm[=a]s - Torre del Oro tor'r[+a] d[)e]l-[=o]'r[=o] - Valencia v[.a]-l[)e]n'sh[)i]-[.a] - Valladolid vael'yae-th[+o]-l[=e]th' - Visigoth v[)i]z'[)i]-g[)o]th - - - - -Transcriber's Notes: - - -1. Passages in italics are surrounded by _underscores_. - -2. The list of illustrations with their page numbers have been added -after the table of contents. - -3. Images have been moved from the middle of a paragraph to the closest -paragraph break. - -4. In this etext, a letter with a diacritical mark is enclosed within -square brackets. For example, diacritical marks for letter 'e' are shown -below: - - [)e] represents 'letter e with breve above' - [=e] 'letter e with macron above' - [+e] 'letter e with up tack above' - [~e] 'letter e with tilde above' - -Similar representation is used for vowels other than 'e'. The following -two also appear within this etext: - - [.a] represents 'letter a with dot above' - [=oo] 'letters oo with combined macron above' - - - - - -End of Project Gutenberg's The Little Spanish Dancer, by Madeline Brandeis - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE SPANISH DANCER *** - -***** This file should be named 40592.txt or 40592.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/9/40592/ - -Produced by Juliet Sutherland, Matthias Grammel and the -Online Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40592.zip b/40592.zip Binary files differdeleted file mode 100644 index 65430f4..0000000 --- a/40592.zip +++ /dev/null |