Fernando Valentín Segura Hoyos (Santander, 14/II/1872 – 1/IX/1939) He is one of the authors who disappeared from the first to the second edition of the Writers Anthology published by Professor Lázaro Serrano, but at the Center for Montañeses Studies we have thought that the commemoration of the century and a half of his birth is a good occasion to dedicate this section of memory to him. We must not forget that he was a great journalist, amen writer, playwright, coplero, etc. Tireless worker to what his nature led him to and accentuated the extensive family he had to support,
He 25 March 1974 The poet and historian Matilde Camus published in the Monday Sheet an article from his series “Mountain Poets” dedicated to the journalist and writer Fernando Segura Hoyos. It is probably the most complete text that had been written until then about this author.. In it he said, When talking about the family «The couple had six children, what, fortunately, "they live today", however, On the other side of the advertisement for a travel agency appeared the obituary of one of the daughters. Apart from this sad anecdote, The article provides us with a lot of information about what is considered one of the main journalists in the history of Cantabria.. In addition to Matilde, there have been many authors who have dealt with Fernando Segura: José del Río «Pick», Alejandro Blanco Rodríguez «Pertinax», José Simón Cabarga or José Ramón Saiz Viadero, inter alia.
Fernando Segura was the son of the Santander musician Vicente Segura Ricci and the Campurrian Dolores Hoyos Ibert., parents also of another journalist, José, who would be director of The Cantabrian. Fernando felt the call of letters and journalism from a very young age. He began his journalistic career early since in 1887 debuted in Madrid Comedian, with his middle name and last name “Valentín Hoyos”. Identity discovered, José Estrañi made it public and dedicated some verses to his new colleague. esproncedians: With that nothing, Fernandín,/ sign with your own name,/ and let's see if they acquire renown,/ from one to the other border. The following year he began to sign collaborations with his name in The Watchtower.
Fernando Segura's professional career has been very extensive. He started correcting tests in The Atlantic. In the decade of 1890 joined some of the local headers: Advertising, The Watchtower, Trade Bulletin, The Cantabrian. In some Basques: The Basque Union, The Spanish Post, The Basque People. And from other provinces: Black and White, ABC, Pen and Pencil, etc. His longest career was in Trade Bulletin, of 1897 a 1917, until its closure, and in The Cantabrian, of 1917 a 1937, also for the closure, two periods of twenty years that guarantee the quality of his journalistic work.
in the magazine The Mountain, from Havana, This double poetic-plastic portrait of Alfredo Felices and himself was published:
The Mountaina, 20/I/1921
a.pdf
MAIN WORK BY FERNANDO SEGURA HOYOS
COMEDIES, DRAMAS AND MONOLOGUES
The firecracker, comic toy in 1 act (“La Guirnalda” Hall in Santander, 23 of April 1892).
Impetus bad contents or La Casa de Socorro, comedy in 1 act (Theater Santander Main, 9 July 1895).
The first concert, apropósito en 1 act (Santander Main Theater, 13 February 1898).
Guipuzcoa, apropósito en 1 act (San Sebastian Main Theater, 22 February 1898).
Irun, comic toy in 1 act (Lara Theater Madrid, 11 December 1899).
The pejiguera, comic toy in 1 act (Lara Theater in Madrid, 16 May 1902).
Soul cheap, dramatic sketch in 1 act (Santander Main Theater, 7 June of 1902).
The abrupt, comedy in 1 act (Santander Main Theater, 24 February 1905).
Flora winter, comedy in 2 actos (Santander Main Theater, 22 February of 1906).
The Pyrenees, comedy in 3 actos (Pradera de Santander Hall, 15 January 1910).
The old cowbell, scenic story in 1 act (Catholic Circle Hall from Santander, 5 February 1910).
The breakfast, comic pastime (monologue) in 1 act (Hall of the Catholic Circle of Santander, 5 February 1910).
The old joy, comedy in 3 actos (Pradera de Santander Hall, 29 November of 1911).
The hydrophobic president, apropósito en 1 act (Narbón Pavilion of Santander, 2 May 1912).
natural flowers, apropósito en 1 act (Pereda Theater of Santander, 19 January 1920).
my flag, allegorical painting in 1 act (Pereda Theater of Santander, 19 September 1921).
What the blind see, comedy in 1 act (Cantabria Hall in Laredo, 22 March 1922).
The blind pot, monologue in 1 act (Villaverde de Pontones Square, 9 July 1922).
The bush of carnations, story scenic in 1 act (published in The Cantabrian, 10 April 1923).
Costa bravo, drama one 1 act (San José de Suances School, 21 March 1929).
ZARZUELAS
Drink, toy comic-lyrical in 1 act. Book in collaboration with Emilio Cortiguera Olaran. Music by Adolfo Vicente Wünsch Pérez, Luis Castillo Camus and Sr. Calvo (Theater Santander Main, 30 January 1896).
The mountain knife, zarzuela in 1 act. Music by Cosme Bauzá Gomila (Main Theater from Santander, 4 January 1905).
The angelic sweetness, lyrical comedy in 1 act. Collaborative book with José Bretón. Music by Francisco Cotarelo Romanos (Main Theater of Santander, 3 January 1908).
The last guard, zarzuela in 1 act. Music by Francisco Cotarelo Romans (Apollo Theater of Santander, 6 May 1908).
The Atalaya hill, zarzuela in 1 act. Music by Celestino Peredo Iribar (Santander Theater-Variety Hall, 28 April 1909).
The street of San Francisco, lyrical sainete in 1 act. Music by Antonio Porras (Santander Theater-Variety Hall, 24 February 1911).
Cagigas, dissicator, zarzuela in 1 act. Carlos's music Schumann Hardy (Its premiere was announced at the Pradera Hall in Santander in January of 1916, but it did not come to pass).
WORK POETICS
my first book (1892).
In the blue space (1913; award-winning work with the natural flower at the León Floral Games).
Abundant comic rhymes published in the magazines Madrid Comedian (Madrid, 1887, jewel. “Valentín Hoyos”; 1905), Comic Week (Barcelona, 1888-1893), Faces and masks (Montevideo, 1891), fashion day (Barcelona, 1892), pen and pencil (Barcelona, 1893), etc.
Poems published in The Watchtower (Santander, 1895-1896, 1907 y 1922), in The Saeta (Barcelona, 1897), in The Cantabrian (Santander, 1904 y 1920-1925), in Cuba Musical (Havana, 1905), in The Mountain (Havana, 1917, 1920-1925), etc. Also in specific publications such as Homeland Album from Santander (1898).
NOVELS
The donation (1892).
The path (1901; novel short published in Black and White from Madrid, prior competition, by decision of the jury that made up Benito Pérez Galdós, José Echegaray and José Ortega Munilla).
The drowsiness (1901).
toy of the wind (1903).
The lame one from Machichaco (published in Cantabrian Magazine from Santander, 28 January 1911).
STORIES
You notice! (published in Comic Week from Barcelona, 24 October 1889).
The information (published in Barcelona Comic from Barcelona, 19 May 1894).
The medallion (published without signature in The Notice from Santander, 28 y 31 of March and 2 April 1896).
A promenade (published without signature in The Notice from Santander, 2, 4 y 7 April 1896).
At the fish market (published without signature in The Notice from Santander, 4, 7 y 9 April 1896).
The guard room (published without signature in The Notice from Santander, 11, 14 y 16 April 1896).
The casino blind man (note) (published without signature in The Notice from Santander, 30 April and 2 May 1896).
The launch (published without signature in The Notice from Santander, 12 y 14 May 1896).
The tile (published in The Mountain Eco from Madrid, 2 y 9 June 1900).
Mr. Peter (published in Santoña from Santoña, 7 September 1901).
Laughter in the Cubilón (published in The Watchtower from Santander, 8 April 1907).
love bread (published in The Week from Santander, 19 October 1907).
The denouncing Christ, traditional story (published without signature in Cantabrian Magazine of Santander, 14 y 21 November 1909).
Kings Tale. A magical punishment (published in Mountain letters from Santander, 1 January 1910).
A tale from beyond the sea (published in The Mountain from Havana, 28 December 1918).
The cold kisses (published in The Mountain from Havana, 15 March 1919).
The eyes of art (published in The Mountain from Havana, 22 March 1919).
Don Ciquiel's rooster(published in The Mountainfrom Havana, 19 April 1919).
In danger of rage! Brief tale of the village (published in The Mountain from Havana, 21 June 1919).
through the snout… (published in The Mountain from Havana, 11 October 1919).
A very simple story (published in The Mountain from Havana, 27 December 1919).
The tale of the vihuelas (published in The Cantabrian from Santander, 4 April 1920).
Lecture against motion sickness. Santander story (published in The Mountain from Havana, 24 April 1920).
With sugar and cinnamon! (published in The Cantabrian from Santander, 11 April 1920 and in The Mountain of the Havana, 24 July 1920).
Aurora's coronation. How a reign began (published in The Cantabrian from Santander, 23 May 1920).
The wonders(published in The Mountain from Havana, 26 June 1920).
The black sparks (published in The Cantabrian from Santander, 29 June 1920).
The joy of the house (published in The Cantabrian from Santander, 6 July 1920 and in The Mountainfrom Havana, 11 September 1920).
Laughter for the whole year (published in The Cantabrian from Santander, 27 July 1920).
A moan from the land (published in The Mountain from Havana, 31 July 1920).
The stone guest (published in The Cantabrian from Santander, 3 of August of 1920 and in The Mountain from Havana, 10 June 1923).
A shipwreck in the bay (published in The Mountain from Havana, 7 of August of 1920).
Restituto Gabaldon (published in The Cantabrian from Santander, 17 of August of 1920).
The glory of Entrambaspeñas (published in The Cantabrian from Santander, 24 of August of 1920).
The “Barrilete” hobby (published in The Cantabrian from Santander, 31 of August of 1920).
A moan in the walls (published in The Cantabrian from Santander, 8 September 1920).
The claws of Justice (published in The Cantabrian from Santander, 14 September 1920).
Accidentally (published in The Cantabrian from Santander, 21 September 1920).
The doctor's pharmacy (published in The Cantabrian from Santander, 28 September 1920 and in The Mountainfrom Havana, 25 December 1920).
Lie down, Baldomera! (published in The Mountain from Havana, 20 November 1920).
The return of the spirits. As the hail fell (published in The Mountainfrom Havana, 27 November 1920).
When he goes to throw himself into the sea (published in The Mountain from Havana, 11 December 1920).
comic-lyrical monologue. Not even three! (published in The Mountain from Havana, 10 January 1921).
Uncle Celenque's offspring (published in The Mountain from Havana, 10 February 1921).
The devil himself (published in The Mountain from Havana, 30 April 1921).
When the mountains arrive. Santander scenes (published in The Mountain from Havana, 10 May 1921).
The revelation of a numen. Santander story (published in The Mountain from Havana, 30 May 1921).
For fatal traffic (published in The Mountain from Havana, 30 June 1921).
How Venancio became a widow (published in Cantabria from Santander, 28 of August of 1921).
The bombastic (published in The Cantabrian from Santander, 27 September 1921 and in The Mountainfrom Havana, 30 April 1923, here with the title The botch).
Snapshots of the village. A theatrical performance (published in The Mountain from Havana, 10 October 1921).
The return home (published in The Cantabrian from Santander, 25 October 1921).
Cross and dash! tale of wolves (published in The Mountain from Havana, 10 December 1921).
A very bitter message (published in The Cantabrian from Santander, 24 December 1921).
The silver bell (published in The Cantabrian from Santander, 27 December 1921).
The hell branch (published in The Cantabrian from Santander, 10 January 1922).
The fool of Valdelpozo (published in The Cantabrian from Santander, 21 January 1922 and in The Mountainfrom Havana, 10 of August of 1923).
A dawn in a sunset (published in The Cantabrian from Santander, 24 January 1922).
Students who study Philosophy books!… (published in The Cantabrian from Santander, 12 February 1922 and in The Mountain from Havana, 10 October 1923).
The little mermaid of the sea (published in The Mountain from Havana, 20 February 1922).
Our race does not decline! Scenes from Santander life (published in The Mountain from Havana, 28 February 1922).
Clover and orange blossom (published in The Cantabrian from Santander, 11 March 1922 and in The Mountain from Havana, 10 December 1922).
Petro's tears (published in The Mountain from Havana, 20 March 1922).
The torn pocket (published in The Cantabrian from Santander, 4 April 1922 and in The Mountain of the Havana, 10 May 1922).
The kiosk bookseller (published in The Cantabrian from Santander, 25 April 1922 and in The Mountain of the Havana, 10 of August of 1922).
Ceciliuca the nanny (published in The Cantabrian from Santander, 27 June 1922).
Some horrendous crimes! (published in The Mountain from Havana, 31 July 1922).
Greed breaks the bag (published in The Mountain from Havana, 30 of August of 1922).
The Sidora donkey (published in The Cantabrian from Santander, 3 October 1922).
local politics (published in The Cantabrian from Santander, 28 November 1922).
The ammunition tailor (published in The Cantabrian from Santander, 24 December 1922).
A radical remedy (published in The Mountain from Havana, 10 January 1923).
At the general (published in The Cantabrian from Santander, 30 October 1923).
The son of Carnival (published in The Cantabrian from Santander, 19 February 1928).
Pepín went to the mass rooster!… (published in The Cantabrian from Santander, 25 December 1928).
LETTERS FOR SINGABLES
Estrañi's rubbish (to Havana), music by Mario del Villar Sabater (1916).
Esperanza (barcarola), music by Mario del Villar Sabater (1916).
The wall (mazurka), music by Maximino Enguita Martínez (the letter, 1916; the music, reused now, 1881).
Current couplets, music by Eusebio Peredo (1918).
How much does the woman suffer?! (cuple), music by Carlos Schumann Hardy (1920).
The soldier goes to Melilla!! (patriotic march), music by Carlos Schumann Hardy (1921).
morning song, music by Pedro Rodríguez Vilches (1924).
Dear village, music by Celestino Peredo Iribar (1925).
To the sound of the waves (barcarola), music by Abelardo Bretón Matheu (1925).
Anthem of the dressmakers, music of Francisco Asenjo Barbieri (the letter, 1931; the music, reused now, 1874).
PROLOGUES
A Gossip, of Germán de la Pedrosa Rueda (1892).
A Germs, poems, by Demetrio and Julián Herrero García (1918).
A All the way up, poems,by Francisco Fuentenebro (1936).
SEVERAL
Brief history of the Santander press (1891; published for deliveries in Advertising from Santander).
Our public papers. Messy notes by a former journalist (1891).
Musicians and painters. Notes and traits (1891-92; unfinished, published by installments in The Advertising from Santander).
Mountain Airs (del natural) (1896). Contains the following works, published without author name in The Notice: “The Medallion” (28 y 31 of March and 2 April), “A seafront promenade” (2, 4 y 7 April), “At the fishmonger” (4, 7 y 9 April), “The life (spring)” (9 y 11 April), “The guard room” (11, 14 y 16 April), "Dusk" (16 y 18 April), “The bulls” (18 y 21 April), “The wafers” (21 y 23 April), “Carnivals” (23, 25 y 28 April), “End of the year” (28 April), “The blind man in the casino” (note)” (30 April and 2 of may), “The snow” (2 y 5 of may), “The funny ones” (5 y 7 of may), “The launch” (12 y 14 of may) and “The Cards” (14 y 16 of may).
“The song of the river. in the book Songs of the Mountain. Collection of popular songs from the province of Santander (1901; pp. 37-39).
“Pots”. In Santander and its province. Guide to the Mountain and its capital, by Alberto Gayé Hernandez (1903; pp. 501-511).
Frederick of Road (1909).
Santander on the fly: impressions of the moment (1910).
Santander: fairs and festivals (1914).
Santander industrial guide (1923).
Miguelin, book of reading for children (unpublished).
JOURNALIST WORK
Truly colossal, appeared at least in the following newspapers and magazines: Advertising (Santander, 1891-1892); The Atlantic (Santander, 1892-1893); The Watchtower (Santander, 1893-1896, 1903 y 1908); Barcelona Comic (Barcelona, 1894); The Basque Union (San Sebastian, 1896-1897); The Notice (Santander, 1897-1898); Trade Bulletin (Santander, 1898-1917); The Cantabrian (Santander, 1898, 1901, 1903-1905, 1909 y 1917-1937, with the pseudonym “Nostradamus” since 1926, used especially in the section “The Thousand and One Afternoons”); The Mountain Echo (Madrid, 1900-1901); The Cuckoo (Santander, 1901); New World (Madrid, 1901); ABC (Madrid, 1903); Summer Magazine (Santander, 1905-1907); The Pilgrimage (Santander, 1906); Summer Week (Santander, 1907); Cantabrian Magazine (Santander, 1908-1911); Celipuco (Santander, 1909, unique number); Understand (Santander, 1909); The Voice of Liébana (Pots, 1909-1910); Mountain letters (Santander, 1909); Graphic News (Santander, 1912); The Illustrated Union (Málaga, 1912); Echoes of Society (Santander, 1913); Solitaire (Santander, 1913-1914); The News (Santander, 1915, with the pseudonym “Simplicius”); The Mountain (Havana, 1916-1925); Spain Neutral (Santander, 1917); The Home (Santander, 1917); Cantabria (Santander, 1921); Comic Politics (Havana, 1925); The Basque People (Bilbao, 1928); The Advance (Salamanca, 1930); Burgos newspaper (Burgos, 1932).
WORKS REISSUED AT THE TIME CONTEMPORARY
The thousand and one afternoons of Nostradamus (1988). Collects works published by Segura in The Cantabrian under that title and with said pseudonym.
Stories in the Santander press (2012). It includes an introductory biographical work of Lucía Fernández Segura and collects the following stories: “Bread of love”, “The denouncing Christ. story traditional”, “By the snout”, “A very simple story”, “The tale of the “vihuelas”, “With sugar and cinnamon!”, “The Coronation of Aurora. How it started reign”, “A moan of the land”, “The Stone Guest”, “A shipwreck in the bay”, “Restituto Gabaldón”, “The glory of Entrambaspeñas”, “The very demon", “Students who study Philosophy books…”, “The Little Mermaid of the sea”, “The clover and the orange blossom”, “The Broken Pocket”, “The kiosk bookseller”, “Some horrendous crimes!”, “Greed breaks the bag”, “Local politics”, “A "radical remedy", “The botch”, “The son of Carnival” and “Pepín went to the mass of the rooster!…”.
********
THEY HAVE WRITTEN ABOUT FERNANDO SEGURA
Santander in my memory, by Gerardo from Alvear (Santander, 2001), pp. 65-68:
“A guy Fernando Segura was formidable, little, weak in body, loaded on shoulders, very thin face, pale, olive, nariz ganchuda, with a small scarf indefinite color in winter, turned over the coat the color of a fly's wing, a very old peaked cap placed forward, that almost covered his clamp lenses. The veiled and hoarse voice, dragging the syllables with a tone characteristic of him. He would have been about forty years old then., very intelligent and very original. He was a journalist The Cantabrian, where he wrote a humorous section as a continuation of the nonsense of Don José Estrañi, who was director of this Santander newspaper.
One morning of January of wind and rain came down very quickly Alberto (López) Argüello along the Cuesta del Hospital that led to the Atarazanas street, defending themselves from the drizzle that gets under the umbrella. She was Safe in a doorway and I had stopped to chat with he. When he sees Argüello passing by on the opposite sidewalk, he shouts:
-Lord Arguello, Mr. Arguello!
Arguello, always so correct, cross the street, holding the umbrella against the wind so that he doesn't turn it around and thinking that something very important would have to be said to him. Safe:
-What does he want Safe friend?
-What does he think? Mr. Argüello of life?
The poor man remained Argüello was stunned by such a question and that for this reason he would have called him so urgently; question that required such a long and complicated answer, and then to say goodbye very kindly, He continued on his way covered by the drizzle.
Another morning so unpleasant like that, I was in a hurry because Pepe Cabrero was waiting for me., always so punctual. Fernando Segura emerges from the corner of Cuesta del Hospital, where he lived. He stops in front of me and cuts me off:
-What do I do with the corpse?
-Well what a question... But what corpse are you talking about??
-has died a man in my house.
-How has it been that? Is it your family? Is it friend?
-Nothing of the sort, had picked him up.
-But, man, having so many children.
-Where do they eat ten, they eat eleven, and the unfortunate man ate little... What do I do with the corpse?
-Well do it bury.
-Facing, facing, facing, that is said very easily, but... I don't have two pesetas.
-Bueno, friend Fernando, I'll see if I can... but now Pepe Cabrero is waiting for me.
And I left Segura with the same chant: what do I do with the corpse?
He didn't ask me money to resolve your conflict, and I assumed I would do it for some charitable society. Although he frequently told me, always in verse, in a piece of paper that he put under the door surely one of his many children by command of his father:
'Dear Gerardo: send me a hard;
I had a bad time,
and I assure you
that it is not a story'.
Like this or in similar hallelujahs gave me saber blows from time to time. I always sent him what little that he asked me. some nights, I was at the La Mundial brewery, in what was then La Ribera, Segura entered with her somewhat threadbare mask., if He would sit at the table where I would have a beer and he would tell me:
-If I get it right meaning of any word in the dictionary, opening it wherever you want, Can you buy me a double beer??
-Yeah, since then.
Then I was going to look for a volume of the Dictionary of the Academy's language (in this brewery There was a small bookstore that contained this dictionary, and I don't think there was another, not in Santander anymore, but in Spain, with this luxury), and he gave it to me.
-Open where you want.
That's how I did it and any word I said to him he said its meaning without being wrong, as if I would have studied it before; it would be a coincidence, but that's how it was. He drank with relish a double shot of beer:
-Open for another page.
That's how I did it, was right, taking another double. Three times he was right, and drank three doubles. Then, Now with the confidence that comes from drinking a little..., he told me:
-my wife is very affectionate, and once in bed I read the newspaper, but she... continues with cuddling. So I read aloud: 'News from Cuba: A husband kills his wife...'. ‘Calla, calla, don't continue...' and he falls asleep. It's very good, but, dear Gerardo, I have “many children already”.
It also says Alvear (p. 101):
“Although Fernando Segura I have put him among the original guys from that Santander, because it was, it was also, as well as a journalist, writer and poet humorous”.
The Cuckoo (Santander), 30 June 1901 (Section “Memories of an apprentice”):
“At that time I was a poor devil with a mind full of illusions and with very few years in my baggage life. Without knowing why - perhaps because of the invincible tendency of my spirit- had a great vocation for the profession of journalist. I remember that one day, studying my Rhetoric lesson, On the old and dirty leaves I wrote a verse, and then another... and another... Already at that time the name of Segura, of the award-winning writer who has recently triumphed in Castro, was very popular and loved in Santander; and one night, eager to meet you and ask for your support, me I directed the editorial office of the newspaper where I worked...
-the lord “Sure,” I asked.; and the regent introduced me to a narrow and semi-furnished room that there was, independent of the work table…
My astonishment is not had limits when, believing I was meeting “tête a tête” with a graying man in the fight and in the study, They introduced me to a pale young man, very pale; the skinny face, deserted with laughter; with his forehead bent over a pile messy pages, with his head sunk on his shoulders...
Our interview was short. When he knew my purpose of dedicating myself to arduous work of journalism, against my parents' wishes, who wanted to dedicate me to trade, His advice fell on my dreaming soul with all the hurtful rudeness of an immense block.
spoke to me sadly, bitterly, and his words, impregnated with brutal discouragement, they looked more than like a teenager, of an old exhausted and defeated fighter...
-Young -me he answered-. Follow the path your parents show you; say goodbye to your poet's loves and look in commerce for what surely will not be conquered (because no one has conquered it) In the field of literature…
When I left there, The impression I had in my soul could not be more cruel.; they had me torn away my illusions, leaving me feeling intensely sad, I felt something like a merciless bite.
on the street, the atmosphere of that warm night kissed my forehead. Upstairs the editorial office vibrated with a hustle and bustle of machines and only the incessant noise produced by the anvil could be heard work…
They have passed some years. The fight for life took me very far to fulfill the brutal biblical sentence, and rolling, traveling around the world I have remembered a lot of the teacher's words; each one of them has brought a hot tear to my eyes and I have felt like breaking my poor pen over the heads of many idols fake…
Maybe he doesn't know agree; but I always remember, because he said it… Fernando Segura. If another I would have said it!…
He has fought a lot, and has always triumphed.
The others…
Jesus of Amber”.
The Globe (Madrid), 18 March 1905:
"CHRONICLE
Noble feathers
(…).
Retozon, sparkling, full of grace and wit, is the pen by Fernando Segura, a mountain writer of singular talents. Your chronicles entail a healthy joy, touch of benevolent irony, who knows how to laugh, without making blood, of the ridiculous human vanities.
Fertile in excess, lavishes witticisms in the countless articles you write. It is not coarse salt, forced grace and, therefore, repulsive, the one that seasons his prose. See in them a restless spirit, no disillusioned with life, that is content and rejoices, laughing frankly and making people laugh with pleasure.
To more than one excellent chronicler, He is a dramatic author of push. More for him, The doors of the Madrid theaters are closed to lime and song.
(…).
angel War*”.
* Pseudonym of José Betancort Cabrera.
The Watchtower (Santander), 10 September 1924:
“PEOPLE SANTANDER FEATHER
FERNANDO SAFE
It was night and yet it was raining, but it was raining buckets. It seemed that the water was thrown from the sky with a hose that not outside the fire service, and the traffic on the street, to obscure and flooded, It was such a heroic act., at least, like those made by Popular Sergeant Vassal. a friend of ours, well-known person and journalist hobby, He returned from the theater wrapped in a raincoat, covering himself with a umbrella, plus blotting paper patches at strategic points. No another living being was crossing the boulevard then. Suddenly, in the distance it glowed a light: It was a lit cigar.. After the cigar, the shadow of a man was guessed, and this man, when being within recognition distance, it could be seen that he was wearing a light wool suit, already made a soup, and a straw hat, that for effect of continuous watering began to bloom.
-He is a neurasthenic who seeks suicide by soaking - our friend thought, decided to notify the guard.
But what would not be his astonishment when When they arrive in front of him the two recognize each other and fall into each other's arms..
-¡Fernando!
-¡Emilio!
It was Fernando Segura, the very popular journalist whose genius could fill the Franco Warehouse.
our friend, which we will follow calling Emilio, he couldn't get out of his astonishment.
-But with this rain! ¡You're fumbling! You go to die...
-I'm so worried that I don't notice the water!
-But if it already reaches your spleen!!
-Don't worry…
-Tell me at least your concern. Is it a matter of money, of women, a case of conscience?
-This morning I read a article by Domingo Fernández Cueto and I still don't know what it says.
The episode paints the popular profiler The Cantabrian. Domingo Gutiérrez Cueto, the cultured reader will remember him, was another dear friend of ours, highly educated lawyer and notable writer who died a few years ago years, whose writings were very convoluted due to wanting to appear judgmental and intentional.
Another feature of the 'Profilero': it was over poet Alberto López Argüello arrived in Santander and was introduced to. Argüello waits for those first obligatory phrases, on his land, about whether like ours. But safe, taking terrible bites of a cigar, directs him this puzzling question:
-And what does Mr. Argüello think of life?
So, in question-snack class and to open your mouth.
Another day the painter finds him Gerardo Alvear in the company of a municipal guard. Segura presents you in this shape:
-The guard friend... Here is a painter, the You two are the most unfortunate in society. Nobody pays attention to you...
These traits paint the man. Of writer we will say that he began his profession as a child, correcting tests The Atlantic. there the enormous journalistic wood that he had inside was revealed. Then, when founded The Watchtower, appeared in its writing with 'Amadís', Ignacio Zaldivar, Sanchez Castro, Jesús Cospedal and other notable writers.
Segura was a journalist since his childhood. of battle, that is to say, a journalist for everything. From the feature article to the telegraphic newsletter, going through the verses and the humorous comment, the bullfighting magazine, the artistic chronicle, the events section, he did everything and all admirably. It was a case of astonishing fertility, that still continues, to despite the years and physical damage. Segura, more than a man of flesh and bone, It has been a newspaper making machine.
He is also a poet: in different literary fairs, his name was awarded. He is an agile and entertaining storyteller., some of his stories are novels in embryo; and above all, dramatic author.
For the theater he had extraordinary skills. In Madrid, Lara's company premiered a beautiful comedy for her, Irun, which was very celebrated. Later he released several other, as well as some zarzuelitas. Lately he dedicated himself to brand new, in the now defunct Variety Rooms and Apollo of our city, works inspired by the streets and neighborhoods of Santander. We remember The Atalaya slope y The last guard, whose action took place in the Río de la Pila.
From one of these works is the next joke: a mother, who has three daughters, He complains that the three of them have abandoned.
-The oldest - refers- felt since girl the religious vocation and went with the Lord...
Those who hear it turn their faces contrite.
-Blessed of God!
The mother continues:
-The second, a sapling, I also left by the cloister. He also went with the Lord...
There is a long exciting pause.
Follow the mother:
-And the third…
An old woman interrupts:
-Did he also go to the Lord?
-No; That one went with the young man...
But there is still more: Segura staged the picturesque and bohemian life of the popular Telesforo Martínez. A comedy about That motif was premiered at the Pradera Hall to benefit Don Telesforo.
Segura's fame transcended outside of the province and was claimed from other parts. He brilliantly performed the journalism in San Sebastián and Don Torcuato Luca de Tena counted on him when founding the ABC.
No he worked more than in the first issue of this newspaper. Upon finding out that he was going to be editor-in-chief a journalist who had been very disliked in San Sebastian, He took the hat and returned to Santander.
Of The Watchtower went to Newsletter of Commerce, where he worked for many years until death of that veteran of the Spanish press. Then he entered The Cantabrian, where he writes the 'Comic Profiles', that have replaced the 'Pacotillas' of Strange. Despite the section being titled 'Comic Profiles', it includes Fernando everything: even the death news of friends.
Segura said, mocking mocking, fist truths. We will cite a case:
A virtuous gentleman had just died, whom Segura loved and respected very much. In the mortuary house he found another man who didn't like him.
Seeing this one, he told her in a judgmental tone:
-You already see it, Segura, the good ones they leave, the bad ones stay...
And Fernando Segura responded quickly:
-we stay, don Fulano, we we stay…
Segura is the antithesis of Nieto. Works non-stop almost since dawn. To be completely original locked up to work in the phone booth The Cantabrian. and there, in that niche, almost without breathing and with artificial light, read two or three hundred newspapers a day; the abound; write the 'Profiles'; write the background; three or four chronicles about various topics...
When it seems that humanly not can give more of itself, start receiving visitors.
He is already a venerable priest who has commissioned the text of a sermon; They are already the 'Three Frescatis', trio of cheeks who are preparing to go out for Carnival and whose speeches make them Safe; already the owner of a shoe store who expects from him a sheet dedicated to his shoes and all in verse; and the postmen, who have been commissioned to do the rounds in which they congratulate, to the neighbors, the Holy Kings…
All these things and a hundred thousand more Segura gets into the phone booth.
How many beautiful speeches read in official acts by stuffy gentlemen are their work! Once one of these characters gave a speech, Segura told those of us around him:
-Now he's going to say: 'As long as I run mountain blood runs through my veins.
And indeed, the good lord, as if It would have been difficult for him to think about it., he started to say:
-'As long as blood runs through my veins...'.
Blood almost ran in the living room of acts. Because we started laughing without respect for the solemnity of the place, and the unconditional supporters of the 'speaker' wanted to 'mess us up'.
PICK”.
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