veia#, _who had not seen him for such a long
time_....

263-264. #que ... son#, _that rightly belong to a true believer_. In
this case _creyente_ means Moslem, a follower of Mohammed. Isabel's
magnanimity arouses Adel's admiration.

Escena VI. Read #que entra# after #Marsilla#.

286. #dos#, his own sword and that of Rodrigo. The explanation will
be found in lines 401-413.

317. #si tu vivias#, _seeing that you were still alive_.

319-320. #la que ... separara? = ?Como podria separarse de ti sin ti la
(vida) que me alienta?#

321. #desterro#, _banished, exiled (from Heaven)_; = #Juntos aqui nos
desterro (del cielo) la mano (de Dios) que distribuye sabia-(mente)
gozos y penas.#

327-328. #debiera prometerme = habria debido prometerme#, _you ought
to have offered me_...; or, _I should have expected_....

342-344. #no se casa ... humana#, _one that loved as I did does not
marry, unless compelled to do so by the strongest force within the power
of mankind_.

348. #sujetaras = habrias sujetado.#

352. #la suya = su mano.#

355. #me ves ajena#, _you see me the wife of another_.

367. #va mi vida en oirtelo#, _to hear you say it is a matter of life
or death to me_.

391. #en recuerdo si no#, _in memory at least_.

408. #si lo llego ... librara?# _Should I ever believe that, who
could protect him?_

440. #las entranas = el corazon. Una por una# in the preceding line
might be translated _little by little_.

473-474. #en pos de ... lanza#, _my lovelorn spirit hastens away in
pursuit of thine_.

A comparison of the closing lines of the play with those of the first
version shows a decided gain in dramatic effectiveness.

ISABEL. ?Conque ya es muerto?

TODOS. iMuerto!

ISABEL. Yo le mate; quise alejarle ...
que le odiaba le dije ... el sentimiento,
el espanto ... iY menti!...
Pero tambien de mi se apiada el cielo.
Ya de la eternidad me abre la puerta
y de mis ojos huye el mundo entero,
y una tumba diviso solamente
con un cadaver, y a su lado un hueco.
Marsilla, yo te ame, siempre te amaba ...
tu me lloraste ajena ... tuya muero.

Cotarelo y Mori, in his scholarly study of the origin and development of
the legend, uses as an argument against its historical authenticity the
improbable ending; skeptically, he asks the question: "?No es
verdaderamente pasmoso que en el siglo XIII hubies