japanese dictionary: Ocak 2013

3 Ocak 2013 Perşembe

Evaluating Both Style and Substance in One's Sources

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From the Introduction to History of the Spanish Conquest of Yucatan and of the Itzas, by Philip Ainsworth Means. Papers of the Peabody Museum of American Archaeology and Ethnology, Harvard University, vol. VII, 1917. (The Kindle edition is available for free on Amazon!)

Though Villagutierre's Spanish style is far superior to that of such writers as Fernando Montesinos and Antonio de la Calancha, it is, nevertheless, atrocious. Although he wrote about 1700, Villagutierre's style is excessively archaic; his grammatical construction can hardly be called construction at all, so formless and ambiguous is it. Villagutierre never hesitates to write several long sentences without a single main verb between them, nor does he often refrain from going on and on for a page or so without using a period. In the use of capitals he is most whimsical; usually he has them when they are called for, but he has many that are out of place as well.

The style of Cogolludo, on the other hand, is very good, and that, be it noted, despite the fact that Cogolludo wrote prior to 1688. One remarks with considerable surprise that in several cases Villagutierre and Cogolludo use almost the same words. For example, in speaking of the visit which Cortes made to the island of Tayasal, Cogolludo says: "... y aun que la ida de Cortes se tuvo por ossadia, y demasiada confianza..." Villagutierre, in the same connection says: "... que lo tenian a grandissima temeridad, y ossadia, y por demasiada confianza ...." This is an interesting point, and perhaps it is significant that Cogolludo's book was published in 1688, whereas Villagutierre was not brought out until 1701. It is to be noted that Cogolludo, the earlier writer, uses only two epithets, and that Villagutierre, the later writer, uses the same two, plus a new one of his own. I know of two other cases where equally close and significant similarity exists between the two. It is possible, then that Villagutierre copied (not to say plagiarized) the work of Cogolludo without giving credit for it. But the important point for us in this matter does not concern the personal integrity of Villagutierre. Rather does the importance of the matter lie in this: if Villagutierre was acquainted with the history of Yucatan by Cogolludo to such a degree that he frequently borrowed whole phrases from it, he must have had a very good reason for diverging widely now and again from the version of events given by Cogolludo. Such a reason could only be supplied by the fact that Villagutierre possessed information which he regarded as superior to and more official than that of Cogolludo. Therefore, since in several instances (as in the account of the events leading up to the visit of Cortes to Tayasal) Villagutierre occasionally departs from the footsteps of Cogolludo, we may safely assume that he was at once more critical and better informed than the latter, whom, however, he valued enough to be willing to draw from his work much of his information and even some of his phraseology.

One rarely reads such introductions in scholarly books these days. This book is one of several I began reading to prepare for our winter vacation in the Yucatan, where my historian brother has retired and now works on Maya language projects.

Just symmetry, it's introduction.

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Symmetry

price: ¥230($1.99)developer: gravity loves timeiTunes

“Symmertry” make symmetric photo as app name says.After loading photo, symmetry processing starts automatically. Flicking to right (bottom) will move left (top) source image to its direction. It's very simple. Clicking bottom right axis rotating button or flicking vertical (horizontal) quickly changes processing axis.Tutorial and further information is developer's website "gravity loves time".Clicking multiply axis button bellow, Symmetry reproduces new process with using latest symmetry image. With using this reproducing process, you can make fantastic image like kaleidoscope.

Simple symmetric photo made by this app may not be charming because duplicaded image tone is even in large part of photo, but strong composition is useful. I suggest re-touching with Photogene, ColorSplash or other your favorite image effect application after saving symmetric photo like below.

Application interface is clear, stable and response is quick. These are important for image processing tool. If I request something for Symmetry, supporting undo, saving session and blured edge composition.Anyway, ¥230($1.99) is reasonable price for this small nifty application.

It's my URL! ServersMan

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ServersMan

price: FREEdeveloper: FreeBit Co., Ltd.size: 3.3MBiTunes

How do you use web-server if you can bring to anywhere? ServersMan is tiny web-server hosts web site an WebDAV storage on iPhone.After activate your account, node name is set as reach-able URL to iPhone... The phrase before is not impressive then I'd want say again “URL on MY iPhone”. At first launch, I've got excited like the time to write first HTML tags.Activated ServersMan is stand alone web server ( in correct meaning, domain name is solved by developer FreeBit based on IPv6 technology named "Emotion Link"). The public_html directory hosts web contents to Internet after set "Public Web Access" on.

Factory set HTML shows location data, images and audio files which you set to publish. ServersMan have function to host images captured by iPhone's camera on the fly. Setting "Save Same File Name" to on, latest image will shown in same URL as pseudo camera streaming. This interesting function is same with audio file. ServersMan have recording function and save on same file also.

At the same time of launching ServersMan, Web DAV storage server works, and user can mount storage on computer's desktop with logging in. Mounted storage contains following directories. Node named directory contains editable html, images and other files hosted to WWW via ServersMan. You can edit html file on ServersMan application also.

If you want send files to iPhone, it is able to move files to MyStorage directory via WebDAV. Uploaded files appears on ServersMan to edit or preview. Opposite side transfer is able with using ServersMan's "WebGadget" menu. With using WebGadget, iPhone's photo album images and recorded files are able to be hosted to WWW and WebDAV.

Server transportation speed is rely on network where iPhone connected. Wi-Fi gives enough response and 3G network is not too slow.Current version has wrong path to get user id, sent e-mail from ServersMan expire after application is shut down. Then other computer is necessary in order to read pass-code to enter ServersMan activation text box.ServersMan has many weak-points. It is the most terrible battery eater ever I know. Even if I charging iPhone, ServersMan will eat battery out in 30 minutes. User interface is not clear. Web engineer can understand how it works but workflow is not streamlined. I think ServersMan's largest weak-point is html set by developer. Poor design html is not worth to publish from iPhone.ServersMan is not something special at this time, but the things opened by this tiny web server and iPhone seems to bring us harvestfull future, even if ServrsMan is not exist at there.I'm going to enjoy to think how ServersMan's concept work in future with modifying html on iPhone.

Impressive tool doesn't go behind Photoshop

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re:NancyKPH

price: FREE!developer: gravity loves timeiTunes

Picturely effect app is popularity in AppStore. Today, cool stuff is shipped, “re:NancyKPH - woodcut/rubber plate print-” is impressive wood cut picture effect application.This strange name is from Japanese pop rubber print artist "Nancy Seki". Her likeness portrait prints are graved on eraser rubber and printed. She died but you can see her impressive prints on Google image. Application re:NancyKPH make picture like her print from photos on iPhone.re:NancyKPH name is built as Nancy + K(o -"ko" means small) + S(eki) and (Hirax --read below) means in literal "dedicated small app for Nancy Seki and Hirax".Developer gravity loves time serves well designed web site for re:NancyKPH and tutorial page "re:NacyKPH Tutorial".Launching re:NancyKPH, Tutorial baby picture is shown and automatically process works.

Tapping screen shows menu button bar at bottom. Picture effect is able to be adjusted with tapping second left button. 3 sliders shown (pity! slider meaning is not shown. If the parameter names are shown below of sliders...). When you tap slider controls, parameter names appears on control panel. From top "Smooth", "Bold Edge", "Threshold" and "Paint". Effects don't work in real-time. Update button below panel shows effects after set parameters.Only I want developer make to implement on this cool app is real-time processing though it's not too slow.

After set outline of your print, setting color from second right button shows ink color setting panel.This cool processing is based on Japanese famous geek engineer Hirax's one of huge archive. His humorous, informative and filled of deep wisdom blog impress many programmers in Japan. His blog “Dekirukana?(Can I do it?)” since 1998 is filled with fascinate toys for image processing engineers and programers. It's jewel box for our Japanese engineer.Developer gravity loves time seems to decide this cool app's price to be free from his respect to Nancy Seki and hirax.I'll keep in use NancyKPH for printing wood cut impressive picture on my hand.

protest culture 2011 (movie set in the year 1963) 'Kokurikozaka kara'

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cross-posting from H-JAPAN on August 17, 2011 by Peter Cave @manchester.ac.uk
Subject: The Supposedly Docile Japanese Public and 'Kokurikozaka kara'

As a coda to this interesting discussion on 'the supposedly docile Japanese public', last Saturday I went to see the latest Studio Ghibli film, 'Kokurikozaka kara'. An NHK Special programme about the making of this film a week or two ago described it as a story about first love. It is that, but it's a lot more. It's a fascinating tale about high school students at a private Yokohama high school in 1963, who engage in lively debates and engage in constructive opposition to plans to demolish a historical building where they hold their bungei-bu activities. The film portrays their behaviour in an entirely favourable way. I have no idea whether it bears any resemblance to the reality of high school students in the early 1960s, or whether it's more Miyazaki Hayao's ideal of what they should have been (or a mixture of the two) - this is the time between Anpo and the Gakusei Funso of the late 60s, of course, so perhaps 1963 allows Miyazaki to subtly associate the story with that period and yet not directly link it to its most controversial episodes. For me, the film had a strong resonance with the current protests and debate over nuclear power, the implicit messages being, 'Think for yourself!' 'Don't just accept what the authorities do!' and 'Take action!' ...

2 Ocak 2013 Çarşamba

Evaluating Both Style and Substance in One's Sources

Though Villagutierre's Spanish style is far superior to that of such writers as Fernando Montesinos and Antonio de la Calancha, it is, nevertheless, atrocious. Although he wrote about 1700, Villagutierre's style is excessively archaic; his grammatical construction can hardly be called construction at all, so formless and ambiguous is it. Villagutierre never hesitates to write several long sentences without a single main verb between them, nor does he often refrain from going on and on for a page or so without using a period. In the use of capitals he is most whimsical; usually he has them when they are called for, but he has many that are out of place as well.

The style of Cogolludo, on the other hand, is very good, and that, be it noted, despite the fact that Cogolludo wrote prior to 1688. One remarks with considerable surprise that in several cases Villagutierre and Cogolludo use almost the same words. For example, in speaking of the visit which Cortes made to the island of Tayasal, Cogolludo says: "... y aun que la ida de Cortes se tuvo por ossadia, y demasiada confianza..." Villagutierre, in the same connection says: "... que lo tenian a grandissima temeridad, y ossadia, y por demasiada confianza ...." This is an interesting point, and perhaps it is significant that Cogolludo's book was published in 1688, whereas Villagutierre was not brought out until 1701. It is to be noted that Cogolludo, the earlier writer, uses only two epithets, and that Villagutierre, the later writer, uses the same two, plus a new one of his own. I know of two other cases where equally close and significant similarity exists between the two. It is possible, then that Villagutierre copied (not to say plagiarized) the work of Cogolludo without giving credit for it. But the important point for us in this matter does not concern the personal integrity of Villagutierre. Rather does the importance of the matter lie in this: if Villagutierre was acquainted with the history of Yucatan by Cogolludo to such a degree that he frequently borrowed whole phrases from it, he must have had a very good reason for diverging widely now and again from the version of events given by Cogolludo. Such a reason could only be supplied by the fact that Villagutierre possessed information which he regarded as superior to and more official than that of Cogolludo. Therefore, since in several instances (as in the account of the events leading up to the visit of Cortes to Tayasal) Villagutierre occasionally departs from the footsteps of Cogolludo, we may safely assume that he was at once more critical and better informed than the latter, whom, however, he valued enough to be willing to draw from his work much of his information and even some of his phraseology.

protest culture 2011 (movie set in the year 1963) 'Kokurikozaka kara'

Just symmetry, it's introduction.

To contact us Click HERE
Symmetry

price: ¥230($1.99)developer: gravity loves timeiTunes

It's my URL! ServersMan

To contact us Click HERE
ServersMan

price: FREEdeveloper: FreeBit Co., Ltd.size: 3.3MBiTunes

Impressive tool doesn't go behind Photoshop

To contact us Click HERE
re:NancyKPH

price: FREE!developer: gravity loves timeiTunes

1 Ocak 2013 Salı

Reassessing Ferdinand and Isabella's Legacy

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From Imperial Spain: 1469-1716, by J. H. Elliott (Penguin, 2002), 2nd ed., Kindle Loc. 2181-2234:

The reign of Ferdinand and Isabella was called by Prescott ‘the most glorious epoch in the annals’ of Spain. Generations of Spaniards, contrasting their own times with those of the Catholic Kings, would look back upon them as the golden age of Castile. The conquest of Granada, the discovery of America, and the triumphant emergence of Spain on to the European political stage lent unparalleled lustre to the new State created by the Union of the Crowns, and set the seal of success on the political, religious, and economic reforms of the royal couple.

Against the conventional picture of a glorious spring-time under Ferdinand and Isabella, too soon to be turned to winter by the folly of their successors, there must, however, be set some of the less happy features of their reign. They had united two Crowns, but had not even tentatively embarked on the much more arduous task of uniting two peoples. They had destroyed the political power of the great nobility, but left its economic and social influence untouched. They had reorganized the Castilian economy, but at the price of reinforcing the system of latifundios and the predominance of grazing over tillage. They had introduced into Castile certain Aragonese economic institutions, monopolistic in spirit, while failing to bring the Castilian and Aragonese economies any closer together. They had restored order in Castile, but in the process had overthrown the fragile barriers that stood in the way of absolutism. They had reformed the Church, but set up the Inquisition. And they had expelled one of the most dynamic and resourceful sections of the community – the Jews. All this must darken a picture that is often painted excessively bright.

Yet nothing can alter the fact that Ferdinand and Isabella created Spain; that in their reign it acquired both an international existence and – under the impulse given by the creative exuberance of the Castilians and the organizing capacity of the Aragonese – the beginnings of a corporate identity. Out of their long experience, the Aragonese could provide the administrative methods which would give the new monarchy an institutional form. The Castilians, for their part, were to provide the dynamism which would impel the new State forward; and it was this dynamism which gave the Spain of Ferdinand and Isabella its distinguishing character. The Spain of the Catholic Kings is essentially Castile: a Castile, overflowing with creative energy, which seemed suddenly to have discovered itself.
...

The Court was the natural center of Castile's cultural life; and since Spain still had no fixed capital it was a Court on the move, bringing new ideas and influences from one town to another as it travelled round the country. Since Isabella enjoyed a European reputation for her patronage of learning, she was able to attract to the Court distinguished foreign scholars like the Milanese Pietro Martire, the director of the palace school. Frequented by foreign scholars and by Spaniards who had returned from studying in Italy, the Court thus became an outpost of the new humanism, which was now beginning to establish itself in Spain.

One of the devotees of the new learning was Elio Antonio de Nebrija (1444–1522), who returned home from Italy in 1473 – the year in which printing was introduced into Spain. Nebrija, who held the post of historiographer royal, was a grammarian and lexicographer, and an editor of classical texts in the best humanist tradition. But his interests, like those of many humanists, extended also to the vernacular, and he published in 1492 a Castilian grammar – the first grammar to be compiled of a modern European language. ‘What is it for?’ asked Isabella when it was presented to her. ‘Your Majesty,’ replied the Bishop of Avila on Nebrija's behalf, ‘language is the perfect instrument of empire.’

The Bishop's reply was prophetic. One of the secrets of Castilian domination of the Spanish Monarchy in the sixteenth century was to be found in the triumph of its language and culture over that of other parts of the peninsula and empire. The cultural and linguistic success of the Castilians was no doubt facilitated by the decline of Catalan culture in the sixteenth century, as it was also facilitated by the advantageous position of Castilian as the language of Court and bureaucracy. But, in the last analysis, Castile's cultural predominance derived from the innate vitality of its literature and language at the end of the fifteenth century. The language of the greatest work produced in the Castile of the Catholic Kings, the Celestina of the converso Fernando de Rojas, is at once vigorous, flexible, and authoritative: a language that was indeed ‘the perfect instrument of empire’.

Odessa's meshchane estate

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From Odessa: Genius and Death in a City of Dreams, by Charles King (W. W. Norton, 2011), pp. 134-136:

From the perspective of the tsarist state, Russian society was divided into identifiable and highly regulated "estates," or sosloviya in Russian. Membership could be fluid, at least across several generations, and in many cases one's estate was never as predetermined or immutable as one's sex or eye color. But it was still a fundamental part of a Russian subject's social identity. In contrast to what Marxists would identify as "class," an individual's estate membership had little to do with his or her place in the hierarchy of economic production, much less with wealth or income. Like for the impoverished nobles in the works of Tolstoy or Chekhov, estate status was part of one's birthright, the genetic code of Russian society as a whole, not a reflection of economic power. When the state came to sort and categorize its own citizens, the labels that presented themselves in the late nineteenth century were clear: nobles, clergy, military, civil servants, and a group known as the meshchane—by far the largest estate in Odessa.

The meshchane—a word that might be translated as the petty bourgeoisie—were the large group of semi-skilled workers, tradesmen, shopkeepers, and Russian subjects caught between the castes of large-scale landowners and their former serfs living in grinding poverty in the close-in suburbs. They eked out a living on the fringes of Odessa's trading economy, vulnerable to the pendulum swings of commerce and the periodic blights afflicting agriculture. Unlike the wealthiest members of society, they had little recourse when times were hard, other than to join the day laborers hanging around the docks or hoping to pick up a job as a porter at one of the city's bazaars. Unlike their peasant neighbors, they had few real connections to the countryside that might allow them to weather economic fluctuations in town. Already by the middle of the nineteenth century, Odessa was largely a city of these vulnerable meshchane. In 1858 the nobility comprised 3 percent of the city's population, merchants nearly 5 percent, foreigners (that is, people who were not Russian subjects) just over 4 percent, peasants nearly 4 percent, and the military under 7 percent. The remainder—nearly 70 percent of the city's total—were meshchane.

With a transient foreign population and a constant stream of newcomers arriving by ship and overland carriage—far moire than in the empire's twin capitals, St. Petersburg and Moscow—Odessa was ripe for the kind of swindles, trickery, and palm-greasing that helped ease the economic burden of the petty bourgeoisie. When visitors complained of the hotelier who charged extra for bedding, the cobbler who charged twice to repair the same shoe, or the droshky driver who charged different rates for the same ride, it was the city's huge estate of meshchane who were the makers of the city's reputation. They could be found in virtually any profession. In 1892 over half the city's 607 prostitutes reported that they were meshchane by estate.

"New Spain's Century of Depression"

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From Imperial Spain: 1469-1716, by J. H. Elliott (Penguin, 2002), 2nd ed., Kindle Loc. 4988-5028:

The imperialism of Philip II's reign had been based on a Spanish-Atlantic economy, in that it was financed out of the resources of America and of a Castile which itself received regular injections of silver from the silver-mines of the New World. During the last decade of the sixteenth century American silver was still reaching Spain in very large quantities, and the port of Seville had an undeniable air of prosperity; but the comforting appearances masked the beginning of a radical change in the structure of the entire Spanish-Atlantic system.

This change was, in part, a direct result of Spain's war with the Protestant powers of the north. In the first two decades after the outbreak of the Netherlands revolt, the Dutch had continued to trade with the Iberian peninsula. Spain was dependent on northern and eastern Europe for its supplies of grain, timber, and naval stores, a large proportion of which were transported in Dutch vessels. Irked by Spain's continuing dependence on the Dutch, and anxious to strike a blow at the Dutch economy, Philip II placed an embargo on Dutch ships in Spanish and Portuguese ports in 1585, and again in 1595. The Dutch appreciated as well as Philip II that any interference with their peninsular trade threatened them with disaster. They needed Spanish silver and colonial produce, just as they also needed the salt of SetÃºbal for their herring industry. Faced with embargoes on their peninsular trade, they therefore reacted in the only possible way, by going direct to the producing areas for the goods they needed – to the Caribbean and Spanish America. From 1594 they were making regular voyages to the Caribbean; in 1599 they seized the salt island of Araya. This intrusion of the Dutch into the Caribbean disrupted the pearl fisheries of Santa Margarita and dislocated the system of maritime communications between Spain's colonial possessions. For the first time, Spain found itself heavily on the defensive in the western hemisphere, its overseas monopoly threatened by increasingly audacious Dutch and English attacks.

The presence of northern interlopers in the American seas was a serious danger to the Spanish commercial system; but potentially even more serious was the simultaneous transformation in the character of the American economy. During the 1590s the boom conditions of the preceding decades came to an end. The principal reason for the change of economic climate is to be found in a demographic catastrophe. While the white and the mixed population of the New World had continued to grow, the Indian population of Mexico, scourged by terrible epidemics in 1545–6 and again in 1576–9, had shrunk from some 11,000,000 at the time of the conquest in 1519 to little more than 2,000,000 by the end of the century; and it is probable that a similar fate overtook the native population of Peru. The labour force on which the settlers depended was therefore dramatically reduced. In the absence of any significant technological advance, a contracting labour force meant a contracting economy. The great building projects were abruptly halted; it became increasingly difficult to find labour for the mines, especially as the negroes imported to replace the Indians proved to be vulnerable to the same diseases as those which had wiped out the native population; and the problem of feeding the cities could only be met by a drastic agrarian reorganization, which entailed the creation of vast latifundios where Indian labour could be more effectively exploited than in the dwindling Indian villages.

The century that followed the great Indian epidemic of 1576–9 has been called ‘New Spain's century of depression’ – a century of economic contraction, during the course of which the New World closed in on itself. During this century it had less to offer Europe: less silver, as it became increasingly expensive to work the mines, and fewer opportunities for the emigrants – the 800 or more men and women who were still arriving in the 1590s in each flota from Seville. At the same time, it also came to require less of Europe – or at least of Spain. European luxury products found themselves competing with the products of the Far East carried to America in the Manila galleon. But much more serious from the point of view of Spain was the establishment in its American possessions of an economy dangerously similar to its own. Mexico had developed a coarse cloth industry, and Peru was now producing grain, wine, and oil. These were exactly the products which had bulked so large in the cargoes from Seville during the preceding decades. In fact, the staple Spanish exports to America were ceasing to be indispensable to the settlers, and in 1597 Spanish merchants found it impossible to dispose of all their goods: the American market, the source of Andalusia's prosperity, was for the first time overstocked.

From the 1590s, therefore, the economies of Spain and of its American possessions began to move apart, while Dutch and English interlopers were squeezing themselves into a widening gap. It was true that Seville still retained its official monopoly of New World trade, and that Sevillan commerce with America reached an all-time record in 1608, to be followed by a further twelve years in which trade figures, while fluctuating, remained at a high level. But, as an index to national prosperity, the figures are deprived of much of their significance by the fact that the cargoes were increasingly of foreign provenance. The goods which Spain produced were not wanted by America; and the goods that America wanted were not produced by Spain.

Spain's Era of Desengaño: ‘Queremos comer sin trabajar’

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From Imperial Spain: 1469-1716, by J. H. Elliott (Penguin, 2002), 2nd ed., Kindle Loc. 5112-5153:

The great plague of 1599–1600 wiped out at a single blow much of the population increase of the sixteenth century, and opened a new era in Castilian demographic history: an era of stagnation, and perhaps of demographic decline.

The economic consequences of the plague were to be seen in the labour crisis with which the new century opened, and can be traced in the 30 per cent increase in salaries in the three years that followed it. GonzÃ¡lez de Cellorigo, an official in the chancellery of Valladolid who published in 1600, under the shadow of the plague, a brilliant treatise on the problems of the Spanish economy, accurately prophesied its effects: ‘Henceforth we can only expect that everything requiring human industry and labour will be very expensive… because of the shortage of people for tillage and for all the types of manufactures that the kingdom needs.’ The acute labour shortage, and the consequent upswing of salaries, were, as GonzÃ¡lez de Cellorigo appreciated, irreparable disasters for the Castilian economy, since they destroyed the possibility that the years of peace might be used to build up Castilian industry to a point at which it would again be able to compete with foreign industries in the home and overseas markets.

But the most serious long-term consequences of the plague may have been psychological rather than economic. Already, before it was struck by the plague, Castile was weary and depressed. The failures in France and the Netherlands, the sack of Cadiz by the English, and the King's request for a national donativo in 1596 as bankruptcy struck, completed the disillusionment that had begun with the defeat of the Invincible Armada. Then, to crown it all, came the plague. The unbroken succession of disasters threw Castile off balance. The ideals which had buoyed it up during the long years of struggle were shattered beyond repair. The country felt itself betrayed – betrayed perhaps by a God who had inexplicably withdrawn His favour from His chosen people. Desolate and plague-stricken, the Castile of 1600 was a country that had suddenly lost its sense of national purpose.

Castilians reacted to the moment of disillusionment in different ways. Optimism had gone, to be replaced by bitterness and cynicism, or else by the resignation of defeat. The new mood of fatalism and disillusionment naturally tended to reinforce certain latent tendencies that had already been encouraged by the unusual circumstances of the sixteenth century. During that century, events had conspired to disparage in the national estimation the more prosaic virtues of hard work and consistent effort. The mines of PotosÃ brought to the country untold wealth; if money was short today, it would be abundant again tomorrow when the treasure fleet reached Seville. Why plan, why save, why work? Around the corner would be the miracle – or perhaps the disaster. Prices might rise, savings be lost, the crops fail. There seemed little point in demeaning oneself with manual labour, when, as so often happened, the idle prospered and the toilers were left without reward. The events of the turn of the century could only increase this sense of insecurity and strengthen an already widespread fatalism. It was fatalism that characterized the outlook of the pÃcaro, and the seventeenth century was essentially the age of the pÃcaro, living on his wits – hungry today, well fed tomorrow, and never soiling his hands with honest work. ‘Queremos comer sin trabajar’: we want to eat without working. The words could be applied to Castilians in many walks of life, from the townsman living comfortably on his annuities to the vagabond without a blanca in his purse.

It was in this atmosphere of desengaÃ±o, of national disillusionment, that Cervantes wrote his Don Quixote, of which the first part appeared in 1605 and the second in 1614. Here, among many other parables, was the parable of a nation which had set out on its crusade only to learn that it was tilting at windmills. In the end was the desengaÃ±o, for ultimately the reality would always break in on the illusion. The events of the 1590s had suddenly brought home to more thoughtful Castilians the harsh truth about their native land – its poverty in the midst of riches, its power that had shown itself impotent. Brought face to face with the terrible paradoxes of the Castile of Philip III, a host of public-spirited figures – such men as GonzÃ¡lez de Cellorigo and Sancho de Moncada – set themselves to analyse the ills of an ailing society. It is these men, known as arbitristas (projectors), who give the Castilian crisis of the turn of the century its special character. For this was not only a time of crisis, but a time also of the awareness of crisis – of a bitter realization that things had gone wrong. It was under the influence of the arbitristas that early seventeenth-century Castile surrendered itself to an orgy of national introspection, desperately attempting to discover at what point reality had been exchanged for illusion. But the arbitristas – as their name suggested – were by no means content merely to analyse. They must also find the answer. That an answer existed they had no doubt; for just as Sancho Panza had in him something of Don Quixote, so also even the most pessimistic arbitrista was still something of an optimist at heart. As a result, the Government of Philip III found itself bombarded with advice – with innumerable projects, both sensible and fantastic, for the restoration of Castile.

Evaluating Both Style and Substance in One's Sources

Though Villagutierre's Spanish style is far superior to that of such writers as Fernando Montesinos and Antonio de la Calancha, it is, nevertheless, atrocious. Although he wrote about 1700, Villagutierre's style is excessively archaic; his grammatical construction can hardly be called construction at all, so formless and ambiguous is it. Villagutierre never hesitates to write several long sentences without a single main verb between them, nor does he often refrain from going on and on for a page or so without using a period. In the use of capitals he is most whimsical; usually he has them when they are called for, but he has many that are out of place as well.

The style of Cogolludo, on the other hand, is very good, and that, be it noted, despite the fact that Cogolludo wrote prior to 1688. One remarks with considerable surprise that in several cases Villagutierre and Cogolludo use almost the same words. For example, in speaking of the visit which Cortes made to the island of Tayasal, Cogolludo says: "... y aun que la ida de Cortes se tuvo por ossadia, y demasiada confianza..." Villagutierre, in the same connection says: "... que lo tenian a grandissima temeridad, y ossadia, y por demasiada confianza ...." This is an interesting point, and perhaps it is significant that Cogolludo's book was published in 1688, whereas Villagutierre was not brought out until 1701. It is to be noted that Cogolludo, the earlier writer, uses only two epithets, and that Villagutierre, the later writer, uses the same two, plus a new one of his own. I know of two other cases where equally close and significant similarity exists between the two. It is possible, then that Villagutierre copied (not to say plagiarized) the work of Cogolludo without giving credit for it. But the important point for us in this matter does not concern the personal integrity of Villagutierre. Rather does the importance of the matter lie in this: if Villagutierre was acquainted with the history of Yucatan by Cogolludo to such a degree that he frequently borrowed whole phrases from it, he must have had a very good reason for diverging widely now and again from the version of events given by Cogolludo. Such a reason could only be supplied by the fact that Villagutierre possessed information which he regarded as superior to and more official than that of Cogolludo. Therefore, since in several instances (as in the account of the events leading up to the visit of Cortes to Tayasal) Villagutierre occasionally departs from the footsteps of Cogolludo, we may safely assume that he was at once more critical and better informed than the latter, whom, however, he valued enough to be willing to draw from his work much of his information and even some of his phraseology.