Luna's _Second Part of Lazarillo of Tormes_ is not the "First Part." But even so, it has its merit. Luna liked to tell stories, and he was good at it. Some scenes are witty and highly entertaining. When Lazaro meets his old friends, the bawd and the "maiden," at an inn, the action is hardly dull. The "quarter of kid" becomes the center of attraction from the time it appears on Lazaro's plate until he falls and ejects it from his throat, and it is used skillfully and humorously to tell us a great deal about each of the characters present. Another scene worth calling to the reader's special attention is the chapter in which a feast is held that erupts into a brawl, after which the local constabulary arrives. Luna's account is a very close predecessor of the modern farce. Many of the elements seem to be present: a lack of reverence, a situation used for comic effects, the chase through many rooms to find the guests, the beatings that the constable's men are given by the pursued, being "breaded" in flour, "fried" in oil, and left out on the street where they run away, ashamed to be seen. It is as though we are catching a glimpse of the Keystone Cops, seventeenth-century style. And the variations from seventeenth to twentieth century do not appear to amount to a great deal. University of California at Los Angeles December 1972 ROBERT S. RUDDER Translator's Note My translation of the first Lazarillo follows Foulche Delbosc's edition, which attempts to restore the editio princeps but does not include the interpolations of the Alcala de Henares edition. The translation of the first chapter of the anonymous sequel of 1555 follows at the end of the first part because it serves as a bridge between the first novel and Luna's sequel. For Juan de Luna's sequel, the modern edition by Elmer Richard Sims, more faithful to the manuscript than any other edition, has been utilized. A word of thanks is due to Professor Julio Rodriguez Puertolas, whose own work was so often interrupted by questions from the outer sanctum, and who nevertheless bore through it all with good humor, and was very helpful in clearing up certain mysteries in the text. The seventy-three drawings [not included in this electronic text] were prepared by Leonard Bramer, a Dutch painter who was born in 1596 and died in 1674. Living most of his life in Delft, he is best known for his drawings and for his illustrations of Ovid's writings and of other works of literature. The original drawings are in the keeping of the Graphische Sammlung in Munich. R.S.R. THE LIFE OF LAZARILLO OF TORMES, HIS FORTUNES AND MISFORTUNES AS TOLD BY HIMSELF Prologue