The famous secretary of Philip II, whose intrigues against Spain never ceased till his death in 1611. ↩
Ostend was taken by the Spaniards under Espinola, on the 22nd September, 1604, after a siege which lasted more than three years. ↩
A book so named, written by a famous master of the sword, Pacheco de Narváez, was published at Madrid in 1600. ↩
There was actually a famous fencing-master, a mulatto, Francisco Hernandez, of whom his rival, Narváez, wrote slightingly. Probably they are both ridiculed in this passage. ↩
Majalahonda is a village ten miles from Madrid, famous for the rudeness of its inhabitants and their speech. See Don Quixote, Part II, chapter XIX. ↩
Demandador—one who begs for alms for the release of the souls of the poor from purgatory, elsewhere called facetiously animero. ↩
In the original, “que era un Conde de Irlos.” The Conde de Irlos was one of the heroes of the ancient ballads. He was the Marquis de Carabas of Spanish legend. ↩
Literally, “he who is nothing cannot be a son of something,” i.e., hidalgo—hijo de algo. ↩
Jerome Bosch, a Dutch painter who settled in Spain in the latter half of the fifteenth century, famous for his eccentric works—the Spanish Callot. ↩
Meaning that she pretended to practise witchcraft, like others of her calling. ↩
Signum crucis—slang for a sword-cut across the face. ↩
Noted bravoes of the period. ↩
Colophon
Pablo de Segovia, the Spanish Sharper
was published in 1626 by
Francisco de Quevedo.
It was translated from Spanish in 1798 by
Pedro Pineda.
This ebook was produced for
Standard Ebooks
by
Alex Cabal,
and is based on a transcription produced in 2014 by
Chuck Greif and The Online Distributed Proofreading Team
for
Project Gutenberg
and on digital scans available at
Google Books.
The cover page is adapted from
Portrait of a Man,
a painting completed circa 1650 by
Diego Velázquez.
The cover and title pages feature the
League Spartan and Sorts Mill Goudy
typefaces created in 2014 and 2009 by
The League of Moveable Type.
The first edition of this ebook was released on
April 4, 2017, 12:36 a.m.
You can check for updates to this ebook, view its revision history, or download it for different ereading systems at
standardebooks.org/ebooks/francisco-de-quevedo/pablo-de-segovia-the-spanish-sharper/pedro-pineda.
The volunteer-driven Standard Ebooks project relies on readers like you to submit typos, corrections, and other improvements. Anyone can contribute at standardebooks.org.
Uncopyright
May you do good and not evil.
May you find forgiveness for yourself and forgive others.
May you share freely, never taking more than you give.
Copyright pages exist to tell you can’t do something. Unlike them, this Uncopyright page exists to tell you, among other things, that the writing and artwork in this ebook are believed to be in the U.S. public domain. The U.S. public domain represents our collective cultural heritage, and items in it are free for anyone in the U.S. to do almost anything at all with, without having to get permission. Public domain items are free of copyright restrictions.
Copyright laws are different around the world. If you’re not located in the U.S., check with your local laws before using this ebook.
Non-authorship activities performed on public domain items—so-called “sweat of the brow” work—don’t create a new copyright. That means nobody can claim a new copyright on a public domain item for, among other things, work like digitization, markup, or typography. Regardless, to dispel any possible doubt on the copyright status of this ebook, Standard Ebooks L3C, its contributors, and the contributors to this ebook release this ebook under the terms in the CC0 1.0 Universal Public Domain Dedication, thus dedicating to the worldwide public domain all of the work they’ve done on this ebook, including but not limited to metadata, the titlepage, imprint, colophon, this Uncopyright, and any changes or enhancements to, or markup on, the original text and artwork. This dedication doesn’t change the copyright status of the underlying works, which, though believed to already be in the U.S. public domain, may not yet be in the public domain of other countries. We make this dedication in the interest of enriching our global cultural heritage, to promote free and libre culture around the world, and to give back to the unrestricted culture that has given all of us so much.
