[Footnote 41: #cuando seguramente … nada más#, when one has a lover (lo) _one certainly holds that opinion. Women never
defend men in general, they defend a particular man_.]
[Footnote 42: #La rabieta … palabra#, the fit of temper that came on you, of the silent kind, such that you would not speak …]
[Footnote 43: #un dedo manchado de tinta#; there appears to be in
this scene a reminiscence of Beaumarchais' Barbier de Séville,
Act II, sc. II, where Bartholo discovers the secret letter-writing of
Rosine by means of an ink-stained finger and a missing sheet of paper.]
[Footnote 44: #Si es más bueno#, why, he's the kindest man.]
[Footnote 45: #por# (su) #mal genio#.]
[Footnote 46: #para seguir la vida tan sola#; sola agrees, not with vida, but with yo, the implied subject of seguir.]
[Footnote 47: #ningún# is used on account of the negative idea contained in #eres muy niña para juzgar#, = no puedes juzgar.]
[Footnote 48: #acaso venga#; the subjunctive is used here in what appears to be an independent clause; but in reality acaso = es posible que, and the subjunctive is due to the governing idea of doubt.]
[Footnote 49: #Cualquiera fía en tus negativas#, who can trust your denials? The use of cualquiera with negative force arose no doubt from the ironical sense so often present in Spanish exclamations. It does not appear to be treated adequately in the grammars, but is frequent in conversational language; e.g.: "A cualquier hora le digo yo a doña Lorenza todo eso" (= nunca; Quinteros, La casa de García, I, 10) "Cualquiera sabe quién fue su padre" (= nadie; Santiago Rusiñol, La alegría que pasa, translation of Vital Aza, scene 7).]