Sotileza

José María de Pereda y Sánchez Porrúa, though traditionally considered a costumbrista writer often advised by Marcelino Menéndez Pelayo to stick to local Santander themes, demonstrates in *Sotileza* (first published in 1885) a depth that transcends mere regional depiction. Here, his genius is dedicated to painting the souls of his characters. While the atmosphere of the “Calle Alta” (High Street) vividly comes to life, it does so not only through descriptions but through the human, captivating dialogues of characters like Silda, Andresillo, Aunt Sidora, or La Carpia, whose words resonate across time and customs.

Sotileza presents a human drama where circumstances, with the predictability of a Greek tragedy, shape events beyond the characters' wills. The young Silda transforms into “Sotileza” (a nickname implying craftiness or subtlety), embodying an inscrutable wisdom hidden beneath an attractive exterior. The fishing village setting is merely a detail, no matter how magnificently developed; Sotileza herself is a sun around which other characters orbit, their lives influenced by her even when she is offstage. Pereda masterfully encapsulates the universal greatnesses and miseries of the human condition in this orphan and her world.

The language of Sotileza merits special attention. At times hermetic and abstruse, filled with localisms, regional idioms, and maritime jargon, Pereda's sentences never fail to exhibit their sonority and rhythm. From this cadence, one can grasp the joys and sorrows of those who speak them, transcending precise meanings, much like understanding a melody without knowing the lyrics. Pereda envisioned his readers as his “contemporaries from Santander who are still alive,” asking them in the prologue to “accurately declare if the language spoken in these pages is theirs; if the customs, laws, vices, and virtues, souls and bodies depicted here are theirs.” This approach allows his work to unfold like an engaging conversation.

This is an annotated edition, designed to subtly assist the reader where their understanding might falter, without interrupting the author's narrative flow. The aim is to allow enjoyment of the music of the language, and if the lyrics are understood, all the better. Should the reader finish this book with a hint of Santanderino rhythm in their thoughts, having spent a few hours with a fascinating storyteller, this edition will have fulfilled its purpose.