[Footnote 120: #Como los dos … habláis mal#, as both of you have every reason to speak well of me, I feel sure that you are speaking ill.]
[Footnote 121: #Cosas … piedras#, you have whims, O Cid, that would rouse a stone. These lines are taken from a ballad (romance), no. 818 in Durán's large Romancero general. The ballad is not a very old one (it was first printed in Escobar's Romancero del Cid, 1612); the language is an imitation, and a poor one, of medieval forms. The restoration of the Latin initial f for its Spanish development h, the use of the article before a noun in the vocative, and the older #tenedes# for tenéis, are such imitations.]
[Footnote 122: #de alguna manera#, in some way. #Señora# in this passage is a mere title in the first two instances; in the third it means lady.—#no porque crea#, not because I believe.]
[Footnote 123: #Tú verás cómo escribes#, be careful how you write, that is, how you spell.]
[Footnote 124: #haches#. The word alcahuete or alcahueta, 'a go-between', has a particularly evil connotation in Spanish.]
[Footnote 125: #¿qué entrar y salir trae ese majadero?# What does that fool go in and out so much for?]
[Footnote 126: #para contestarte que sí#, to have me tell you 'yes'. The grammar of this sentence is loose, for strictly the supplied subject of contestar should be tú, since tú is the subject of both inflected verbs. The sense however leaves no choice but to supply yo.]
[Footnote 127: #a ello#, for the purpose.]
[Footnote 128: #mi nombre y mis dos apellidos#; the two surnames are those of one's father and of one's mother, and placed in that order. Thus in the name Juan López y Herrera, the nombre or Christian name is Juan, and the apellidos are the father's name López, and the mother's, Herrera.]
[Footnote 129: la carta está #lista#.]