Patro nia, kiu estas en la ĉielo, sankta estu via nomo; venu regeco via; estu volo via, kiel en la ĉielo, tiel ankaŭ sur la tero. Panon nian ĉiutagan donu al ni hodiaŭ; kaj pardonu al ni ŝuldojn niajn, kiel ni ankaŭ pardonas al niaj ŝuldantoj; kaj ne konduku nin en tenton, sed liberigu nin de la malbono.
Estimata Sinjoro. Per tiu ĉi libreto mi havas la honoron prezenti al vi la lingvon internacian Esperanto. Esperanto tute ne havas la intencon malfortigi la lingvon naturan de ia popolo. Ĝi devas nur servi por la rilatoj internaciaj kaj por tiuj verkoj aŭ produktoj, kiuj interesas egale la tutan mondon.
In summing up the merits and defects of Esperanto we must begin by admitting that it is the most reasonable and practical artificial language that has yet appeared. Its inventor has had the double advantage of being able to profit by the mistakes of his predecessors, and of being himself, by force of circumstances, a better linguist. It must further be admitted that he has made as good a use of these advantages as was perhaps possible without systematic training in scientific philology in its widest sense. This last defect explains why the enthusiasm which his work has excited in the great world of linguistic dilettantes has not been shared by the philologists: in spite of its superiority to Volapük, they see in it the same radical defects. Whether they are rash or not in predicting for it a similar fate, remains to be seen. The Esperantists, warned by the fate of Volapük, have adopted the wise policy of suppressing all internal disunion by submitting to the dictatorship of the inventor, and so presenting a united front to the enemy. One thing is clear: either Esperanto must be taken as it is without change, or else it must crumble to pieces; its failure to work out consistently the principle of the maximum of internationality for its root-words is alone enough to condemn it as hopelessly antiquated even from the narrow point of view which regards “international” as synonymous with “European”—a view which political development in the Far East has made equally obsolete.
(H. Sw.)
ESPINAY, TIMOLÉON D’ (1580-1644), French soldier, was the eldest of the four sons of François d’Espinay, seigneur de Saint Luc (1554-1597), and was himself marquis de Saint Luc. In 1603 he accompanied Sully in his embassy to London. In 1622, in his capacity as vice-admiral of France, he gained some advantages over the defenders of La Rochelle, obliging the Huguenot commander, Benjamin de Rohan, seigneur de Soubise, to evacuate the islands of Ré and Oléron. In 1627 he was named lieutenant-general of Guienne and marshal of France.
ESPINEL, VICENTE MARTINEZ (1551-1624), Spanish poet and novelist, was baptized on the 28th of December 1551, and educated at Salamanca. He was expelled from the university in 1572, and served as a soldier in Flanders, returning to Spain in 1584 or thereabouts. He took orders in 1587, and four years later became chaplain at Ronda, absented himself from his living, and was deprived of his cure; but his musical skill obtained for him the post of choirmaster at Plasencia. His Diversas Rìmas (1591) are undeniably good examples of technical accomplishment and caustic wit. Espinel, however, survives as the author of a clever picaresque novel entitled Relaciones de la vida del Escudero Marcos de Obregón (1618). It is, in many passages, an autobiography of Espinel with picturesque embellishments. Marcos is not a chivalresque “esquire,” but an adventurer who seeks his fortune by attaching himself to great men; and the object of the author is to warn young men against such a life. Apart from the unedifying confessions of the hero, the book contains curious anecdotes concerning prominent contemporaries, and the episodical stories are told with great spirit; the style is extremely correct, though somewhat diffuse. Le Sage has not scrupled to borrow from Marcos de Obregón many of the incidents and characters in Gil Blas—a circumstance which induced Isla to give to his Spanish translation of Le Sage’s work the jesting title, Gil Blas restored to his Country and his Native Tongue. In the 1775 edition of the Siècle de Louis XIV. Voltaire grossly exaggerates in saying that Gil Blas is taken entirely from Marcos de Obregón. Espinel was a clever musician and added a fifth string to the guitar. He revived the measure known as décimas or espinelas, consisting of a stanza of ten octosyllabic lines. Most of the poems which he left in manuscript remain unpublished owing to their licentious character.
Bibliography.—J. Perez de Guzmán’s edition of Marcos de Obregón (Barcelona, 1881) includes a valuable introduction; Léo Claretie, Le Sage romancier (Paris, 1890), discusses exhaustively the question of Le Sage’s indebtedness to Espinel. For some previously unpublished poems see Pedro Salvá y Mallén, Catálogo de la biblioteca de Salvá (Valencia, 1872).