Tirso de Molina's Marta the Divine (c. 1614-15) is a spirited comedy about an ingenious young woman who fakes religious piety in order to avoid an arranged marriage imposed upon her by her father. Marta's false religiosity becomes a cover for sneaking her boyfriend into her house and, to all intents and purposes, having a sexual relationship with him without her credulous father suspecting a thing. The stakes involved in this risky gambit are particularly high because her boyfriend, Felipe, is also the man who has killed her brother. In this fast-moving play that celebrates the victory of youth over age, of love over revenge, little is held sacred, as circumstances spiral to the point of outrageousness. Not surprisingly, Marta has been a controversial play over the years, condemned for immorality and salaciousness by some, championed as an anticlerical tract by others. Readers and audience members over the years have puzzled as to what Tirso wants us to make of the title character and her behaviour. Is she a cautionary example, a sly hypocrite, whom we are to hold at a critical distance? Or she is a sympathetic comic heroine, even a proto-feminist, whose cause we are to embrace? No matter one's perspective, Marta is memorable because of the audaciousness and resourcefulness of the title character. Marta is a great stage creation, and the plot Tirso builds around this trickster has the feel of the archetypal, transcending the time and place of its creation. At the same time, Marta is a surprisingly comprehensive satire of the Spanish empire of its day. Through a variety of subtle touches, Tirso paints a picture of an imperial capital plagued by avarice and hypocrisy. The play has some puzzling elements or 'problems' from a technical point of view, but the irresistible force of its comic energy has appealed to readers and audiences for nearly 400 years. This edition presents the play for the first time ever in English translation. The translation is accompanied by the Spanish text, translators' note and a substantial introduction.

Se explica que para la salud humana la satisfacción de "Las Hambres Básicas" de Caricias, Tiempo y Reconocimiento es tan importante como la ingesta de alimentos, oxígeno y agua. Comprenderemos qué son las Endorfinas -la droga de salud, la alegría, el bienestar y el bienhacer. Conoceremos variadas formas de producirlas en nuestro organismo, pero ante todo la que nos proporciona las cinco ganancias más codiciadas: envejecer despacio, mantener un sistema inmunológico invencible, disponer de una gran energía, vivir alegremente, y poder superar cualquier dolor físico o corporal. Esta forma única es la práctica de las Virtudes: Prudencia, Justicia, Fortaleza, Templanza, Fe, Esperanza y Caridad. Queda demostrado que para educar a nuestros hijos en la Virtud, la receta no consiste en "hacer que ellos hagan lo que creemos que ellos deben hacer", ni mucho menos en lograr que "ellos hagan lo que los padres queremos", sino algo muy distinto: que dentro de un "Sistema Incondicional" de Caricias, Tiempo y Reconocimiento, les hagamos vivir la fuerza de nuestro Amor, para que "ellos quieran hacer habitualmente lo que conviene al Bien Común y al Bien Integral" de todos los involucrados en el proceso educativo. Para esto hace falta desarrollar un Liderazgo Transformador: sólo quien se siente amado puede ser educado. Se propone el justo medio entre los dos extremos en pugna: ni moralismo rígido, ni naturalismo hedonista o utilitario, sino del equilibrio entre esos dos extremos. Como estrategias auxiliares se plantea lo que es la Reingeniería de Valores y Virtudes, se analizan las Bases Filosóficas para Jerarquizar los Valores Operantes, Reales; y se propone la sana jerarquía de los Nueve Valores Universales, así como el rechazo de los Contravalores. El libro concluye con una explicación apasionante: ¿Quién Soy Yo? A la vez que se exponen los Fundamentos Filosóficos de la Dignidad de la Persona.

The same way that lovers, poets and bohemians alike, since the beginning of time, who each has sung praises and laments in the name of love, this book, ROMANCE, gotas del corazn, (translated: ROMANCE, teardrops from the heart), Oscar Luis Guzmn sings his own praises to XOCHITL, his eternal muse; describing all his experiences in a truly eloquent way, starting with his youthful dreams, disdain, hopelessness, anticipation, and the joy of love; not forgetting, the hurt of the absence and/or the unexpected departure of a loved one. All his dreams passions and disillusions that lovers experience; even hatred and rancor for perceived injuries, and the insufferable pain that sometimes changes a man of reason into a caveman without hope and faith until he falls in love once again and the he starts to live again all is poetically described in ROMANCE, gotas del corazn