Toward a Classification of the "Greguería"

Author(s): Richard L. Jackson

Source: Hispania, Vol. 48, No. 4 (Dec., 1965), pp. 826-832
Published by: American Association of Teachers of Spanish and Portuguese
Stable URL: http://www.jstor.org/stable/336736
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 TOWARD A CLASSIFICATIONOF THE "GREGUERIA"
L. JACKSON
RICHARD
CarletonUniversity

The study of the gregueria, a literary Numbers

genre named, popularized, and cultivated
by Ram6n G6mez de la Serna from 1910
until his death in 1963, would be incom-
plete without an attempted classification
of the many thousands of ingenious ex-
pressions which he created during his life-
time. The purpose of this paper is to pro-
vide a source of reference that will enable
the interested reader to have at his finger-
tips a selective tabulation of the variety
of typographical categories and most-used
word play types which contribute to the
verbal technique of the gregueriaof Ram6n
G6mez de la Serna, together with some of
his other major sources of inspiration. All
of the selections were taken from the 1955
edition of his Total de greguerias(Madrid:
Aguilar).
I. Typographical Categories
G6mez de la Serna has manifested a
predilection for the visual effect of typo-
graphy, having indulged in considerable
play with the humorous possibilities of
letters, numbers, and other typographical
signs.
Letters
La A es la tiendade campafiadel alfabeto(p.
164).
La B nunca acabade dispararsu flecha (p. 788).
Cuandola C tiene en la manola copade beber
se convierteen G (p. 898).
(p. 541).
LaF es el grifodel abecedario
La i es el dedo mefiique del alfabeto (p. 312).
La K es una letra con bast6n (p. 957).
La fi tiene el cefio fruncido (p. 468).
M (La M es transitional
Colegio: finnnnnnninfifififinfifiinififinn
la maestra)(p. 1366).
La 0 es el bostezo del alfabeto (p. 1037).
Rrrrrrrr(Un regimientoen marcha) (p. 1438). letter H takes on an importance much
La S es el anzuelodel abecedario (p. 232).
La T es el martillo del abecedario(p. 92).
La U es la herradura del alfabeto(p. 978).
La X es el cors6 del alfabeto (p. 437).
La Y griega mayliscula es la copa de champafia tablishment of a
del alfabeto(p. 95).
826
El 4 tienela narizgriega(p. 566).
El 5 es un nmunero que baila(p. 578).
El 8 es el reloj de arenade los nimeros (p.
1474).
El 11 son los dos hermanitos que van al colegio
(p. 848).
Other typographicalsigns
El d61lares una S con bastoncito(p. 121).
Los guiones son los valles de lo escrito (p. 98).
El etc.etc.etc.es la trenzade lo escrito(p. 151).
La media luna mete la noche entre parintesis
(p. 274).
Las golondrinas el cielo (p. 372).
entrecomillan
Thus, aside from playing verbal dia-
grams with numbers and the alphabet the
author has done likewise with other writ-
ten signs which have served as initial stim-
uli in the gregueriabecause of their sound
and also because of their visual aspect.
For example, in the following gregueria:
La o dice adi6s con su paiuelo a los
niiios y a los hobios (p. 364), in addition
to the humorous repetition of the fi sound,
the idea here has also been suggested by
the shape of the letter fi as it appears on
the printed page-the tilde supposedly re-
presenting the floating handkerchief of the
fi waving good-by. The importantresult, as
illustrated by all the foregoing examples,
is that the typographicalsigns are released
from their real function and given new
meaning in the gregueria.
The existence of a group of greguerias
centered around the presence of the letter
H in words in Spanish, though unpro-
nounced, provides us with an excellent
category from letter play to
word play. In the following group the
more valid than the phonetic one in the
body of the word. G6mez de la Serna
seems to have been dedicated to the es-
separate meaning for this

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 GREGUERfAS 827
letterin the Spanishalphabetwhich,to viewpoints, he manages to add new aspects
a certain extent, has no phonetic justifica- and possibilities of truth, no matter how
tion. In the gregueria it has found a pur- humorously conceived.
pose for being-in fact, various purposes- Phonetic (pun)
in the context of a word made possible at
times because of its resemblance to some- Teniaojosde ajo(p. 902).
Cuandose sacala barajaes comocuandose saca
thing else. The resulting hypotheses and la navaja(p. 1032).
suggestions of G6mez de la Serna are Ostrogodos: grandes comedores de ostras (p.
humorous possibilities of his new reality: 1240).
Casi siempre el que cita a Fenel6n es un mel6n
Si el honorpierdesu hache, esti perdido(p. (p. 482).
715). In this group we have greguerias con-
Escribia habrigo con hache porque asi resultaba
mis abrigado(p. 16). taining at least two words resembling each
No s6 c6mo le queda aun la hache a nihilista other through some
(p. 334). similarity in sound.
Harmonia debe escribirsecon hache, porque esa Yet a small difference in them makes
H es la lira de la palabra(p. 423). them totally apart in meaning regardless
El colmo de la errata es poner "herrata"(p. of this similarity in phonetic structure.
293).
Basically, then, the kinship is auditory
II. Word Play without semantic backing.
One of the most significant aspects of
the verbal technique of the gregueria is Phonetic-conceptual
the constant use of a variety of word play Another form of word play involves an
involving sound, sense, and a combination interplay of like sounds resulting in what
of the two. We have tried to categorize would seem to be ordinary puns or in
most of the examples of word play in the some cases nonsensical coupling of the
Total de greguerias with the intention of same sounds simply for the sake of repe-
summarizingand clarifying the basic tech- tition. For example:
niques which he uses in these diverse ex- Diccionario quiere decir millonario en palabras
periments with language. Such a syste- (p. 159).
matic approach toward a tabulation of the The inspiration here is due to a word or
collection reveals the existence of five main part of a word which sounds like another
types of word play, all relying heavily on word of an entirely different meaning. But
the phonetic element. The five categories what distinguishes this type of gregueria
involve 1) the alteration of proverbs and from the ordinary pun is the semantic re-
sayings, 2) the purely phonetic ones, some lationship of the second or associatedword
resembling the pun, 3) the phonetic- with the first word of the statement. Dic-
conceptual ones, 4) those involving word tionaries contain a wealth of words and
division, and 5) mixed word formations by virtue of this fact, they are millionaires
involving contractions and inventions of in words. Thus, G6mez de la Serna does
new words. not simply play with words as sounds, as
Alteration is usually the case with puns, but often
also with the conceptual value of the terms.
Nuncaes tardesi la sopaes buena(p. 316).
Masvale soltarel pijaroque tenerloen la mano Bar:barbaridad alcoh6lica(p. 1493).
(p. 469). Losjuglaresde la junglasonlos monos(p. 834).
Dadmeun amigoy movereel mundo(p. 711). La coima es el caiman de los negocios sucios
(p. 965).
G6mez de la Serna has taken old prov- Frase artistica:la alegoriade la gloria (p. 586).
erbs and sayings and altered their struc- Biblirmanoes una especie de clept6manode los
libros
ture and content for humorous purposes. La ferreteria (p. 552).
es una farmacia ferruginosa (p.
By changing a word or two, shifting their 102).

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828 HISPANIA

There is a very thin line separating the Word division

phonetic (pun) group from that of the cD6nde esta el busto del arbusto? (p. 446).
phonetic-conceptual word play, because so Panaceaes la cestadel pan (p. 469).
many of both groups contain an equally Mon6logo quiere decir mono que habla solo
(p. 91).
impressive and significant relationship be- 4Hipop6tamo? Estoy cansado de ir al zoo y
tween the meaning of the two words shar- nuncale he oidoel hipo (p. 48).
Monomaniaco:monocon manias(p. 714).
ing the distinction caused by the phonetic La palabra arena enarena lo escrito (p. 980).
modification of both. This brings into the
Word division involves the multiple ap-
picture not only the approximation of
sound but also similarity in meanings. In plication of the same word or parts of it.
The principle is to use a word in its
fact, there are very few greguerias in the
collection which depend solely on the regular form and then again with a slight
alteration. The slighter the alteration the
repetition of like sounds for the sake of more convincing will be the different
rhythmic harmony. Most of them have an
additional conceptual element, such as in meanings expressed by the same word,
the following example: especially if the syllables can become new
words themselves. For example:
El pantap6nes el tap6nde los dolores(p. 318).
Mon6logo quiere decir el mono que habla
The association of like sounds in the two solo.
words pantop6n and tap6n is coupled by In other words, this type of word play re-
the concepts represented by each, which lies on the repetition of sounds and also
are similar. Pantop6n is the Spanish trade on this interplay of associated concepts
name for an analgesic, a substance used represented in the whole word, or in its
for stopping or cutting pain. Tapdn is a isolated parts.
plug, a stopper. We have a common func- Mixed word formation
tion coupled with the repetition of similar
sounds to make a word play. The phonetic Se llama cris6logo y era astr6logo. iEso es dema-
effect of the repetition of the kindred si6logo! (p. 667).
Hipocondriaco, no se por que, me parece algo
sounds in the two words would be lost asi como la mezcla disparatada de hipop6tamo
and the associationof tapdn and pantopodn y cocodrilo(p. 185).
cHa pensado alguien en una pelicula en esper-
would be unjustifiable if the similar con- anto? iSeria esperantosa! (p. 299)
cepts which they embody were not asso- The formation of a new word-from the
ciated in the reader's mind. fusion of two-which expresses simulta-
Phonetic-conceptual: repetition neously two ideas, is another word play
of identical word type in the gregueria. Specifically, this
-4Vino alguien? -Si, vino el vino (p. 464). device involves the modificationof a given
La Parca es parca en palabras (p. 912). word through appending a second element.
La violeta nos escribe en violeta (p. 912).
Descartes: el que se descart6 de muchas ideas For example, in the first gregueria of the
para quedars61ocon las buenas(p. 1282). group, in order to obtain the desired repe-
El caracol siempre esti subiendo su propia es- tition of like
calera-de caracol (p. 365). sounds, the author has ap-
Arr6jate a la nada y nada (p. 733). pended the suffix "-6logo" to the other-
in
G6mez de la Serna excels discovering wise unchangeable adverb form of "de-
the word with more than one semantic masiado." This condensation of a mental
value. In some of the above examples he process which synthesizes on a single word
utilizes repetition of the identical word is explained by Freud through his now-
for the phonetic effect as well as for this famous example taken from Heine- FA-
plurality in sense. The result is apparent MILLIONAIRE-which can be described
nonsense and obvious ambiguity. as a composite of two constituents "famil-

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 GREGUERIAS
iar" and "millionaire."He writes: "Here
the word which acts as the carrier of the
witticism appears in the first place simply
as a faulty word-formation as something
incomprehensible,inconceivable, and enig-
matic. It is for these reasons that it is con-
fusing. The comic element results from
the solution of the enigma and from the
understanding of the word . . . the comic
effect depends on the solution of the seem-
ingly senseless word. . . . Thus the wit
would have to be attributed to the forma-
tion of the word and to the character of
the word so formed."' Freud's explanation
of this type of word play is helpful in the
understanding of one of the essential fea-
tures of the gregueria: its condensation.
The presence and mixture of humor,
metaphor, and things provide three basic
ingredients for a successful gregueria. The
metaphorical basis of the gregueria is pri-
marily concerned with humorous resem-
blances between things or ideas to which
things refer. The word play aspect of the
gregueria, however, places emphasis on
the humorous phonetic resemblance be-
tween words themselves which, to a cer-
tain extent, have become things. Words
and their physical properties as well as
numbers and other typographical signs,
therefore, play an important role in the
composition of the gregueria.
III. Man in the Gregueria
The gregueria is a literary genre deal-
ing for the most part with what would
seem to be insignificant things and sub-
jects which usually escape notice and liter-
ary treatment, minimizing as a rule man
and his superior place in the hierarchy of
values. It would be surprising, therefore,
to discover in the collection the follow-
ing three categories which find inspira-
tion in great figures and other human
beings, were it not for the humorous in-
terpretation they undergo, generally in-
volving things which demand equal atten-
tion. This technique is a corollary of see-
ing everything in a new light. Man too is
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829
viewed from a different angle.
On great figures
iTintoretto! La mejor tintoreria del Arte (p.
647).
Lo mejor del teatro de Lope es que no tiene
telkfono (p. 1510).
Lo malo de La Bruyere es que tiene nombre de
queso(p. 564).
Victor Hugo naci6 para estatua (p. 795).
La Q de Quevedose parecea 61y tiene hasta
su bigoteperillin(p. 163).
cD6nde se inspir6 Goya para su Maja Desnuda?
Mirando las nubes, pues es la mujer acostada
en una nube (p. 1466).
Hay unos pollos de patas torcidas que se parecen
a CarlitosChaplin(p. 539).
On Women
Cuandola mujer se da polvosdespu6sde la
entrevista, parece que borra todo lo dicho (p.
486).
La mujer se pinta las ufias para tener diez cora-
zones a mano (p. 497).
Seis de la tarde: mujeres mirandose a los espejos
(p. 660).
Cuandola mujerse acercala rosa a la nariz
anhelatefiirselos labioscon ella (p. 108).
Cuando la mujer se detiene al quitarse los
guantes es que ha tenido el presentimiento de
que alguien la puede robar la mano (p. 203).
La mujer lima sus ufias como el joyero sus
joyas (p. 227).
On children
El peor borracho es el de leche en termos (p.
297).
El nifio nace suicida, pues siempre estA que-
riendo tirarse por el balc6n (p. 214).
El beb6se saludaa si mismodandola manoa
su pie (p. 403).
Hay unos nifios dormidos que parecen degollados
(p. 240).
Be6b que bosteza mucho, beb6 comil6n (p. 247).
IV. Other Sources of Inspiration
Finally, by classifying under subject
headings the following random examples
from the more than 13,000 in the Total
de greguerias we hope to give the reader
an idea of some of the many gregueristic
variations on subjects ranging from the
sublime-God-to the most minute-ants,
crickets, fleas, etc.-thus revealing further
the extent and nature of Ram6n G6mez
de la Serna's imaginative genius and the
inventive possibilities of his literary genre.
On God
Unid todas las estrellas con lineas de lipiz
luminosoy resultardla silueta de Dios (p.
830 HISPANIA
165).
Tif6n: el sif6n de Dios (p. 699).
Truenos: salvas en honor de Dios (p. 822).
Lo mis maravilloso de Dios es que cre6 las cosas
sin f6rmula, sin boceto ni anteproyecto (p.
519).
La electricidad forma parte del sistema nervioso
de Dios (p. 145).
Las tijeras del sastre vuelven a cortar al hombre
a la imagen y semejanza de Dios (p. 504).
On the moon
La luna es la lavandera de la noche (p. 201).
La luna es el ojo de buey del barco de la noche
(p. 149).
La luna es el espejo del lavabo de la noche
(p. 154).
La luna es el ojo de buey del barco de la noche
La luna es la lipida sin epitafio (p. 438).
La luna es la exclamaci6n de sorpresa de la
noche, su "ioh!" luminoso (p. 584).
La luna es el uinico viajero sin pasaporte (p.
956).
La luna es el espejo de la experiencia de los
siglos (p. 592).
La luna se esti gangrenando (p. 930).
La luna: el queso luminoso (p. 1446).
La luna es un Banco de metaiforas arruinado (p.
143).
On clouds
Hay unas nubes blancas que parece que intentan
construir un gran Capitolio de paz en el cielo
(p. 20).
Hay unas nubes largas y finas que son como
costillas del cielo (p. 307).
Hay nubes que Ilevan una carta urgente y otras
que van a la batalla de las Term6pilas sin
saber que Ilegan tarde (p. 370).
Hay nubes que actuian como hamacas de la luna
(p. 752).
Hay nubes que son como alas extraviadas (p.
465).
Hay nubes a las gue se les ha caido al suelo su
pafiuelo de sombra (p. 477).
Hay dias en que las nubes corren en bicicleta
(p. 491).
Nubes: rios vagabundos (p. 1333).
Nadie lo notari, pero esas nubes estain al rev6s
(p. 706).
On stars
La estrella parpadea porque tiene suefio (p.
497).
La estrella al caer se humaniza, porque cae como
un cohete que muere (p. 258).
Las estrellas telegrafian temblores (p. 335).
Estrellas: candiles de los siglos (p. 1409).
Al mirar al cielo de la noche piensa el pobre:
"icuintas estrellas y que poco dinero!" (p.
297).
A la estrella llena de suefio se la ve cerrar los
ojos (p. 237).
Via 1ictea: cenicero de colillas estelares (p. 661).
Via lIctea: el gran brasero del cielo (p. 1164).
Estrellas: clavos de oro clavados en las puertas
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inmensas del cielo (p. 1195).
Las estrellas son pozos de luz (p. 1163).
On the sun
El sol es el gran ajustador de la miquina humana
(p. 1507).
El sol es la panacea universal: nos hace vivir a
nosotros, pero tambien a los microbios (p.
204).
El sol que sale despu&s de la tormenta, a las
cuatro de la tarde, cree que puede comenzar
el mediodia a esa hora, que a'in puede resar-
cirse (p. 530).
El hombre piensa todos los dias que el sol camina
hacia el ocaso; pero el sol, inm6vil, sonrie
porque somos nosotros los que caminamos
hacia el ocaso (pp. 621-2).
Los girasoles estan hiptonizados por el gran
faquir el Sol; por eso vuelven la cabeza hacia
d1 (p. 127).
On ants
4Y si las hormigas fuesen ya los marcianos
establecidos en la Tierra? (p. 246)
Las hormigas blancas son la resurecci6n de los
muertos (p. 124).
Esa hormiga con su hojita a cuestas parece llevar
su balandro a la regata (p. 567).
Las hormigas son los gl6bulos rojos de la tierra
(p. 154).
Las hormigas llevan el paso apresurado como si
fuesen a cerrar la tienda (p. 157).
El mundo estari definitivarhente viejo cuando
las hormigas negras se vuelvan hormigas
blancas (p. 303).
On crickets
El grillo es el sereno nocturno de las plantas
(p. 110).
El grillo mide las pulsaciones de la noche (p.
182).
Los grillos parece que estain serrando un cascabel
(p. 525).
El grillo es el telegrafista de gardia (p. 486).
El grillo hace caminar la noche (p. 569).
Los grillos planchan la cinta de la noche (p.
1331).
El grillo devuelve todas las ilusiones del verano
pasado (p. 1377).
Los grillos cayeron de la luna y por eso s6lo
cantan de noche (p. 1432).
On fleas
Si a las pulgas no les hubiese dado por ser
saltarinas, serian irresistibles (p. 125).
La pulga hace guitarrista al perro (p. 350).
La pulga posee el mejor muelle saltarin (p. 974).
On screws
Un tornillo entre los clavos siempre se equivoca
(p. 704).
Los tornillos son los gusanos de hierro (p. 241).
Los tornillos son clavos peinados con raya en
medio (p. 1504).

GREGU•iiAS
On elevators
El ascensor llama en todas las puertas por los
que pasan pero s6lo una le hace caso (p. 273).
El ascensor esti leno de seriedad (p. 753).
Ascensor: prisi6n momentinea (p. 698).
Parece mentira, pero al ascensor le cuesta mas
bajarque subir (p. 114).
La puerta del ascensor es el cepo de las despe-
didas (p. 51).
On the navel
Al ombligo le falta el bot6n (p. 394).
El ombligo se qued6 guifiando el ojo (p. 621).
Timbre: ombligo sonoro (p. 682).
El tomate tiene ombligo (p. 1393).
El lagrimal es el ombligo del dolor (p. 485).
El nudo de la maderaes su ombligo (p. 127).
On statues
Las estatuas no vuelven la cabeza, porque saben
que si la volviesen se convertirifan
en efimeros
seresmortales(p. 736).
Las estatuas viven porque comen palomas (p.
1435).
Las estatuas son, a veces, somnimbulasy apare-
cen en pedestales lejanos al suyo (p. 1020).
Las estatuas son las que mejor ven la identidad
de los tiempos (p. 128).
La estatua ecuestre no es buena si el caballo no
le da una coz al que lee el discurso(p. 334).
Los ojos de las estatuas lloran su inmortalidad
(p. 38).
La modestiade la estatuaes el busto (p. 952).
On kisses
El beso es hambre de inmortalidad(p. 463).
El beso es una nada entre parentesis(p. 196).
El beso es la huella de un matasellos en una
tarjetapostal (p. 36).
El beso mis comprometedorque una firmaen
ess en blanco (p. 743).
un cheque
El beso siemprees un cero al aire (p. 1240).
El primerbeso es un robo (p. 788).
Beso: un poco de aire comprimido(p. 1021).
On smoke
El humo es la traducci6na la nada de lo que era
algo (p. 1065).
El humo es la oraci6n del hogar (p. 587).
El humo no logra pintarle bigotes al cielo (p.
364.).
El humo es la prestidigitaci6ndel fuego (p. 32).
El humo sube al cielo cuando debia bajar al
tinfierno(p. 218).
On cheese
El queso es el ahorrode la leche (p. 754). El reloj que se atrasaes un reloj ahorrativo(p.
El queso roqueforttiene gangrena (p. 258).
El queso es un productorde suefios fermentados El reloj es una bombade tiempo,de mis o menos
(p. 490).
El queso con agujeroses un queso con eclipses El reloj se sonrfe a ciertas horas de nuestro em-
(p. 205).
El queso es la tarjeta del ganado vacuno (p. El reloj de pulsera se atrasaen los hipotensosy
169).
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831
Queso: inmortalidadde la leche (p. 710).
On skulls
La calaveraes un reloj muerto (p. 398).
Esponjas: calaverasde las olas (p. 272).
En las 6rbitas de la calavera se ocultan los
ratonesde la muerte (p. 359).
Las olas esculpen en las rocas calaveras de
gigantes (p. 195).
Es dificil imaginar que una monda calaverasea
una calaverade mujer (p. 234).
On cats
El gato cree que la luna es un plato con leche
(p. 1373).
El gato s6lo admira al hombre cuando echa un
lefio mis a la chimenea (p. 443).
El gato sabe cuindo hay que cerrar el portal
(p. 1182).
El gato nos toma por un poste en que rascarse
(p. 1182).
El gato es c6mplice del miedo (p. 688).
El gato huye de nosotros como si nos hubiese
robadoel reloj (p. 823).
El gato tiene pelo de presidiario(p. 79).
On monkeys
El mono usa guantes en los pies (p. 585).
El mono siempre esti cejijunto (p. 278).
El mono tiene cara de criado del hombre (p.
279).
El mono tiene su humorismoen el rabo(p. 348).
El mono nos observa como si nos tomase por
pedagogos(p. 419).
El mono no entiende pero estAsiemprequeriendo
entender (p. 465).
Cuando es demasiadotocada or la radio una
danza, llega a ser la danza de los monos (p.
476).
On motorcycles
La motocicletava disparandosu pistola espanta-
perros(p. 610).
El motociclistaes, despuds de todo, el nifio que
se ha escapadocon su cochecitoa toda veloci-
dad (p. 926).
Motocicleta:tiene cuerpo de miquina de cosery
destripamiento de caballo de los toros (p.
907).
La motorcicletaparece haber tomadobicarbonato
(p. 103).
La motocicleta incendiada de velocidad corre
suicidindose con pistola automitica (p. 217).
Motocicleta: cabra loca (p. 839).
Motocicleta:sobrinoloco (p. 703).
On watches
220).
tiempo (p. 196).
pedernido olvido del tiempo (p. 495).
se adelanta en los hipertensos (p. 545).
832 HISPANIA

El reloj no existe en las horas felices (p. 125). La vida vuelve a comprar lo que vende (p.
El reloj es el guardapelodel tiempo (p. 411). 1252).
El reloj se suelta la corbataantes de dar la hora La propiavida es una rata que se le va comiendo
(p. 459). a uno (p. 1523).
Reloj: flor de metal (p. 72). Vivir es cantar como el incansable grillo (p.
Reloj: moneda gorda y con hora (p. 1185). 1325).
Con una mano invisible el reloj se atusa los Si vivir no fuese morir ique hermososeria vivir!
bigotes (p. 1287). (p. 778).
No es la esfera de los relojes, es la c6rnea de los
relojes (p. 239).
On life NOTE

La vida es concebir lo inconcebible (p. 1406). 1 Sigmund Freud, Wit and Its Relation to the
La vida es ofr un conciertoy marcharsede este Unconscious, from The Basic Writings of Sig-
mundo (p. 289). mund Freud, ed. A. A. Brill (New York: The
La vida es decir iadi6s! en un espejo (p. 332). Modern Library,1938), p. 636.

OUR NEXT MEETING

The next annual meeting of the AATSP will take place in Chicago, December
28-30, 1965. For future details see Official Announcements.

THINK A YEAR AHEAD!

Research and development (as well as training) opportunities exist as
never before for teachers and prospective teachers of Spanish and Portuguese.
The fields of Latin American literature, language, culture, teaching
methodology, and their application to the national need are particularly in
need of creative scholarship.
Support for worthy projects may now be sought in directions too
numerous to mention in detail: but principally from the federal government,
the foundations, the O.A.S., and the research boards of U.S. colleges and
universities.
Be alert to these possibilities for improvement of yourself and the
profession.
Remember that applications and plans must usually be made at least
a year in advance.

NOTE TO AUTHORS AND PUBLISHERS

Please send books for review to Prof. Donald Bleznick, Spanish Department,
Pennsylvania State Univ., University Park, Pennsylvania.

MANUSCRIPTS
Please send your articles to Editor-elect Dr. Irving P. Rothberg, Dept. of
Romance Languages, Univ. of Massachusetts, Amherst, Mass.

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