# Spanish by Choice/Novelas Cortas 06/Print version
## Novelas Cortas: Las Dos Glorias
### Introduction

The short story “Las Dos Glorias” appears in the book “Novelas Cortas” by Pedro Antonio de Alarcón with notes by W.F. Giese. LibriVox recording read by Karen Savage.

### Text

Un día que el célebre pintor flamenco Pedro Pablo Rubens$^{[26-1]}$
andaba recorriendo los templos de Madrid acompañado de sus afamados discípulos, penetró en la iglesia de un humilde convento, cuyo nombre no designa la tradición.
Poco o nada encontró que$^{(100)}$ admirar el ilustre artista en aquel pobre y desmantelado templo, y ya se marchaba renegando,
como solía, del mal gusto de los frailes de Castilla la Nueva,$^{[26-2]}$ cuando reparó en cierto cuadro medio oculto en las sombras de feísima capilla;$^{[26-3]}$ acercóse a él, y lanzó una exclamación de asombro.
Sus discípulos le rodearon al momento,$^{[26-4]}$ preguntándole:
—¿Qué habéis encontrado, maestro?
—¡Mirad!—dijo Rubens señalando, por toda contestación, al lienzo que tenía delante.$^{[26-5]}$
Los jóvenes quedaron tan maravillados como el autor del
Descendimiento.$^{[26-6]}$
Representaba aquel cuadro la Muerte de un religioso.— Era éste muy joven, y de una belleza que ni la penitencia ni la agonía habían podido eclipsar, y hallábase tendido sobre los ladrillos
de su celda, velados ya los ojos por la muerte, con una mano extendida sobre una calavera, y estrechando con la otra, a su corazón, un crucifijo de madera y cobre.
En el fondo del lienzo se veía pintado otro cuadro, que figuraba estar colgado$^{[26-7]}$ cerca del$^{(101)}$ lecho de que se suponía haber
salido el religioso para morir con más humildad sobre la dura tierra.
Aquel segundo cuadro representaba a una difunta, joven hermosa, tendida en el ataúd entre fúnebres cirios y negras y suntuosas colgaduras....
Nadie hubiera podido mirar estas dos escenas, contenida la una en la otra, sin comprender que se explicaban y completaban recíprocamente. Un amor desgraciado, una esperanza muerta, un desencanto de la vida, un olvido eterno del mundo: he aquí el poema misterioso que se deducía de los dos ascéticos
dramas que encerraba aquel lienzo.
Por lo demás, el color, el dibujo, la composición, todo revelaba un genio de primer orden.
—Maestro, ¿de quién puede ser esta magnífica obra?—preguntaron a Rubens sus discípulos, que ya habían alcanzado
el cuadro.
—En este ángulo ha habido un nombre escrito (respondió el maestro); pero hace muy pocos meses que ha sido borrado.—En cuanto a la pintura, no tiene arriba de treinta años, ni menos de veinte.
—Pero el autor....
—El autor, según el mérito del cuadro, pudiera ser Velazquez,$^{[27-1]}$ Zurbarán, Ribera, o el joven Murillo, de quien tan prendado estoy.... Pero Velazquez no siente de este modo. Tampoco es Zurbarán, si atiendo al color y a la manera de ver
el asunto. Menos aún debe atribuirse a Murillo ni a Ribera: aquél$^{(102)}$ es más tierno, y éste es más sombrío; y, además, ese estilo no pertenece ni a la escuela del uno ni a la del otro. En resumen: yo no conozco al autor de este cuadro, y hasta juraría que no he visto jamás obras suyas.—Voy más lejos: creo que
el pintor desconocido, y acaso ya muerto, que ha legado al mundo tal maravilla,$^{[27-2]}$ no perteneció a ninguna escuela, ni ha pintado más cuadro que éste, ni hubiera podido pintar otro que se le acercara en mérito.... Ésta es una obra de pura inspiración, un asunto propio,$^{[27-3]}$ un reflejo del alma, un pedazo de la
vida.... Pero.... ¡Qué idea!—¿Queréis saber quién ha pintado ese cuadro?—¡Pues lo ha pintado ese mismo muerto que veis en él!
—¡Eh! Maestro.... ¡Vos$^{[27-4]}$ os burláis!
—No: yo me entiendo....
—Pero ¿cómo concebís que un difunto haya podido pintar su agonía?
—¡Concibiendo que un vivo pueda adivinar o representar su
muerte!—Además, vosotros sabéis que profesar de veras$^{[28-1]}$ en ciertas Órdenes religiosas es morir.
—¡Ah! ¿Creéis vos?...
—Creo que aquella mujer que está de cuerpo presente$^{[28-2]}$ en el fondo del cuadro era el alma$^{[28-3]}$ y la vida de este fraile que agoniza contra el suelo; creo que, cuando ella murió, él se creyó también muerto, y murió efectivamente para el mundo; creo,
en fin, que esta obra, más que el último instante de su héroe o de su autor (que indudablemente son una misma persona), representa la profesión de un joven desengañado de alegrías terrenales....
—¿De modo que puede vivir todavía?...
—¡Sí, señor, que puede$^{[28-4]}$ vivir! Y como la cosa tiene fecha, tal vez$^{(103)}$ su espíritu se habrá serenado$^{[28-5]}$ y hasta regocijado, y el desconocido artista sea ahora un viejo muy gordo y muy alegre....—Por todo lo cual ¡hay que$^{(104)}$ buscarlo! Y, sobre
todo, necesitamos averiguar si llegó a pintar más obras....—Seguidme.
Y así diciendo, Rubens se dirigió a un fraile que rezaba en otra capilla y le preguntó con su desenfado habitual:
—¿Queréis decirle al Padre Prior que deseo hablarle de
parte del Rey?
El fraile, que era hombre de alguna edad, se levantó trabajosamente, y respondió con voz humilde y quebrantada:
—¿Qué me queréis?—Yo soy el Prior.
—Perdonad, padre mío, que interrumpa vuestras oraciones
(replicó Rubens). ¿Pudierais decirme quién es el autor de este cuadro?
—¿De ese cuadro? (exclamó el religioso.) ¿Qué pensaría V. de mí si le contestase que no me acuerdo? —¿Cómo? ¿Lo sabíais, y habéis podido olvidarlo?
—Sí, hijo mío, lo he olvidado completamente.
—Pues, padre... (dijo Rubens en són de burla$^{[29-1]}$ procaz), ¡tenéis muy mala memoria!
El Prior volvió a arrodillarse sin hacerle caso.$^{(105)}$
—¡Vengo en nombre del Rey!—gritó el soberbio y mimado flamenco.
—¿Qué más queréis, hermano mío?—murmuró el fraile, levantando lentamente la cabeza.
—¡Compraros$^{[29-2]}$ este cuadro!
—Ese cuadro no se vende.
—Pues bien: decidme dónde encontraré a su autor....—Su Majestad deseará conocerlo, y yo necesito abrazarlo, felicitarlo...,
demostrarle mi admiración y mi cariño....
—Todo eso es también irrealizable....—Su autor no está ya$^{(106)}$ en el mundo.
—¡Ha muerto!—exclamó Rubens con desesperación.
—¡El maestro decía bien! (pronunció uno de los jóvenes.) Ese cuadro está pintado por un difunto....
—¡Ha muerto!... (repitió Rubens.) ¡Y nadie lo ha conocido! ¡Y se ha olvidado su nombre!—¡Su nombre, que debió ser inmortal!$^{[29-3]}$ ¡Su nombre, que hubiera eclipsado el
mío!—Sí; el mío..., padre.... (añadió el artista con noble orgullo.) ¡Porque habéis de saber$^{[29-4]}$ que yo soy Pedro Pablo Rubens!
A este nombre, glorioso en todo el universo, y que ningún hombre consagrado a Dios desconocía ya, por ir unido$^{[29-5]}$ a cien cuadros místicos, verdaderas maravillas del arte, el rostro pálido del Prior se enrojeció súbitamente, y sus abatidos ojos se clavaron en el semblante del extranjero con tanta veneración
como sorpresa.
—¡Ah! ¡Me conocíais! (exclamó Rubens con infantil satisfacción.) ¡Me alegro en el alma! ¡Así seréis menos fraile conmigo!—Conque... ¡vamos!$^{[29-6]}$ ¿Me vendéis el cuadro?
—¡Pedís un imposible!—respondió el Prior.
—Pues bien: ¿sabéis de alguna otra obra de ese malogrado genio? ¿No podréis recordar su nombre? ¿Queréis decirme cuándo murió?
—Me habéis comprendido mal.... (replicó el fraile.)—Os he dicho que el autor de esa pintura no pertenece al mundo; pero esto no significa precisamente que haya muerto....
—¡Oh! ¡Vive! ¡vive! (exclamaron todos los pintores.) ¡Haced que lo conozcamos!
—¿Para qué? ¡El infeliz ha renunciado a todo lo de la tierra! ¡Nada tiene que ver$^{(107)}$ con los hombres!... ¡nada!...—Os suplico, por tanto, que lo dejéis morir en paz.
—¡Oh! (dijo Rubens con exaltación.) ¡Eso no puede ser, padre mío! Cuando Dios enciende en un alma$^{[30-1]}$ el fuego sagrado
del genio, no es para que esa alma se consuma en la soledad, sino para que cumpla su misión sublime de iluminar el alma de los demás hombres. ¡Nombradme el monasterio en que se oculta el grande artista,$^{[30-2]}$ y yo iré a buscarlo y lo devolveré al siglo$^{[30-3]}$ —¡Oh! ¡Cuánta gloria le espera!
—Pero... ¿y si la rehusa?—preguntó el Prior tímidamente.
—Si la rehusa acudiré al Papa, con cuya amistad me honro, y el Papa lo convencerá mejor que yo.
—¡El Papa!—exclamó el Prior.
—¡Sí, padre; el Papa!—repitió Rubens.
—¡Ved por lo que$^{[30-4]}$ no os diría el nombre de ese pintor
aunque lo recordase! ¡Ved por lo que$^{(108)}$ no os diré a qué convento se ha refugiado!
—Pues bien, padre, ¡el Rey y el Papa os obligarán á decirlo! (respondió Rubens exasperado.)—Yo me encargo de que así suceda.
—¡Oh! ¡No lo haréis! (exclamó el fraile.)—¡Haríais muy mal, señor Rubens!—Llevaos$^{[30-5]}$ el cuadro si queréis; pero dejad tranquilo al que descansa.—¡Os hablo en nombre de Dios!—
¡Sí! Yo he conocido, yo he amado, yo he consolado, yo he redimido, yo he salvado de entre las olas de las pasiones y las desdichas, náufrago y agonizante, a ese grande hombre, como vos decis, a ese infortunado y ciego mortal, como yo le llamo; olvidado$^{[31-1]}$ ayer de Dios y de sí mismo, hoy cercano a la suprema
felicidad!...—¡La gloria!...—¿Conocéis alguna mayor que aquélla a que él aspira? ¿Con qué derecho queréis resucitar en su alma los fuegos fatuos de las vanidades de la tierra, cuando arde en su corazón la pira inextinguible de la caridad?—¿Creéis que ese hombre, antes de dejar el mundo, antes de
renunciar a las riquezas, a la fama, al poder, a la juventud, al amor, a todo lo que desvanece a las criaturas, no habrá sostenido ruda batalla con su corazón? ¿No adivináis los desengaños y amarguras que lo llevarían$^{[31-2]}$ al conocimiento de la mentira de las cosas humanas?—Y ¿queréis volverlo a la pelea cuando ya
ha triunfado?
—Pero ¡eso es renunciar a la inmortalidad!—gritó Rubens.
—¡Eso es aspirar a ella!
—Y ¿con qué derecho os interponéis vos entre ese hombre y el mundo?—¡Dejad que le hable, y él decidirá!
—Lo hago con el derecho de un hermano mayor, de un maestro, de un padre; que todo esto soy para él.... ¡Lo hago en el nombre de Dios, os vuelvo a decir!—Respetadlo..., para bien de vuestra alma.
Y, así diciendo, el religioso cubrió su cabeza con la capucha
y se alejó a lo largo del templo.$^{[31-3]}$
—Vámonos$^{[31-4]}$ (dijo Rubens.) Yo sé lo que me toca$^{(109)}$ hacer.
—¡Maestro! (exclamó uno de los discípulos, que durante la anterior conversación había estado mirando alternativamente al
lienzo y al religioso.) ¿No creéis, como yo, que ese viejo frailuco se parece muchísimo al joven que se muere en este cuadro?
—¡Calla!$^{[31-5]}$ ¡Pues es verdad!—exclamaron todos.
—Restad las arrugas y las barbas, y sumad los treinta años
que manifiesta la pintura, y resultará que el maestro tenía razón$^{(110)}$ cuando decía que ese religioso muerto era a un mismo tiempo retrato y obra de un religioso vivo.—Ahora bien:$^{(111)}$ ¡Dios me confunda si ese religioso vivo no es el Padre Prior!
Entretanto Rubens, sombrío, avergonzado y enternecido profundamente,
veía alejarse al anciano, el cual lo saludó cruzando los brazos sobre el pecho poco antes de desaparecer.
—¡Él era..., sí!... (balbuceó el artista.)—¡Oh!... Vamonos.... (añadió volviéndose a sus discípulos.) ¡Ese
hombre tenía razón! ¡Su gloria vale más que la mía!— ¡Dejémoslo morir en paz!
Y dirigiendo una última mirada al lienzo que tanto le había sorprendido, salió del templo y se dirigió a Palacio,$^{[32-1]}$ donde lo
honraban SS. MM. teniéndole a la mesa.$^{[32-2]}$
Tres días después volvió Rubens, enteramente solo, a aquella humilde capilla, deseoso de contemplar de nuevo$^{(112)}$ la maravillosa pintura, y aun de hablar otra vez$^{(113)}$ con su presunto autor.
Pero el cuadro no estaba ya en su sitio.
En cambio se encontró con que$^{[32-3]}$ en la nave principal del templo había un ataúd en el suelo, rodeado de toda la comunidad, que salmodiaba el Oficio de difuntos....
Acercóse a mirar el rostro del muerto, y vió que era el Padre Prior. —¡Gran pintor fué!... (dijo Rubens, luego que la sorpresa y el dolor hubieron cedido lugar a otros sentimientos.)—¡Ahora es cuando más se parece a su obra!
Madrid, 1858.

### Notes

(The first figures refer to the original pages of text, and second figures to the reference figures in text).
26-1: Pedro Pablo Rubens: Peter Paul Rubens, the great Flemish painter (1577-1640). He enjoyed much royal patronage, and consequently much of his work is now in the galleries of Spain and France.
26-2: Castilla la Nueva: the southern portion of the province of Castile, in central Spain, the northern portion being called Castilla la Vieja.
26-3: de feísima capilla: una is understood before feísima.
26-4: al momento: instantly.
26-5: delante: in front (of himself).
26-6: Descendimiento: descent (from the cross).
26-7: que figuraba estar colgado: which was represented as being hung.
27-1: Velázquez, etc.: this list includes the greatest names in the history of Spanish painting. They were all contemporaries, though Murillo (1618-1682) was considerably younger than the others.
27-2: tal maravilla: such a marvel. Observe the frequent omission of the indefinite article before tal. Cf. note a otro, p. 10, 1, and also un tal García, p. 33, 4.
27-3: propio: personal.
27-4: Vos: you (singular). It is used nominatively and after prepositions, taking a verb in the second person plural. It is more formal than tú and less so than usted.
28-1: de veras: cf. note con todas las veras, p. 4, 7.
28-2: está de cuerpo presente: is lying in state.
28-3: el alma: cf. note al ave, p. 25, 3.
28-4: que puede: que is redundant.
28-5: se habrá serenado: cf. note no habría andado, p. 8, 6.
29-1: en son de burla: by way of a jest. Cf. note haga són, p. 25, 5.
29-2: compraros: to buy of you. Cf. note tomado a este hombre, p. 4, 3.
29-3: inmortal: observe the variation from the English form, as in Spanish c and n are the only consonants doubled. The Spanish equivalents of English words with initial imm are written inm.
29-4: habéis de saber: cf. note había de conocer, p. 3, 4.
29-5: por ir unido: because of its being associated.
29-6: ¡vamos!: cf. note vamos, p. 5, 11.
30-1: un alma: cf. note al ave, p. 25, 3.
30-2: el grande artista: the apocopated form gran, usual before initial consonants, is not favored before vowels.
30-3: siglo: world (lit. cycle, century). Cf. English use of
secular.
30-4: por lo que: a preposition that logically divides lo que is regularly prefixed.
30-5: Llevaos: observe the dropping of final d when os is suffixed.
31-1: olvidado: oblivious. A number of past participles are employed with the value of present participial adjectives. Cf. divertido, amusing.
31-2: llevarían: must have brought. Cf. note no habría andado, p. 8, 6.
31-3: a lo largo del templo: (the length of the church) down one of the longitudinal aisles.
31-4: vámonos: observe the dropping of the final s of the first person plural when nos is suffixed.
31-5: ¡Calla!; What! A number of imperative verb-forms are used with the value of mere interjections. Cf. note vamos, p. 5, 11.
32-1: Palacio: cf. note Palacio, p. 14, 7.
32-2: teniéndole a la mesa: inviting him to dinner.
32-3: se encontró con que: cf. note me encontré con que, p. 25, 4.

### Idiomatic Commentary

100. No encuentra nada que admirar. — He finds nothing to admire.
101. Cerca del lecho. — Near the bed.
(Review 77, 23, 14, 81, 9, 47, 18).
102. Aquél es desgraciado, — The former is wretched,
éste es feliz. — the latter is happy.
(Review 15, 61, 97, 89).
103. Tal vez. — Perhaps.
104. Hay que hacerlo. — It is necessary to do it.
(Review 12, 9, 98).
105. No le hizo caso. — He paid no attention to him.
106. No está ya en el mundo. — He is no longer in the world.
Ya no está aquí. — He is no longer here.
(Review 23, 27, 7).
107. No tengo nada que ver con él. — I have nothing to do with him.
108. He aquí en lo que piensa. — That is what he is thinking of.
Eso es de lo que hablaba. — That is what he was talking of.
(Review 1, 15, 12, 79, 82, 46).
109. Le tocó hablar primero. — It fell to him to speak first.
Me toca hacer esto. — It is my duty to do this.
110. Mi mujer siempre tenía razón. — My wife was always right.
(Review 1, 78, 106, 80, 62, 46).
111. Ahora bien. — Now then!
112. Lo hice de nuevo. — I did it again.
113. Lo hizo otra vez. — He did it a second time.
(Review 39, 15, 61).

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* Include an unaltered copy of this License.
* Preserve the section Entitled "History", Preserve its Title, and add to it an item stating at least the title, year, new authors, and publisher of the Modified Version as given on the Title Page. If there is no section Entitled "History" in the Document, create one stating the title, year, authors, and publisher of the Document as given on its Title Page, then add an item describing the Modified Version as stated in the previous sentence.
* Preserve the network location, if any, given in the Document for public access to a Transparent copy of the Document, and likewise the network locations given in the Document for previous versions it was based on. These may be placed in the "History" section. You may omit a network location for a work that was published at least four years before the Document itself, or if the original publisher of the version it refers to gives permission.
* For any section Entitled "Acknowledgements" or "Dedications", Preserve the Title of the section, and preserve in the section all the substance and tone of each of the contributor acknowledgements and/or dedications given therein.
* Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles.
* Delete any section Entitled "Endorsements". Such a section may not be included in the Modified version.
* Do not retitle any existing section to be Entitled "Endorsements" or to conflict in title with any Invariant Section.
* Preserve any Warranty Disclaimers.
If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version's license notice. These titles must be distinct from any other section titles.
You may add a section Entitled "Endorsements", provided it contains nothing but endorsements of your Modified Version by various parties—for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard.
You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one.
The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version.

## 5. COMBINING DOCUMENTS

You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice, and that you preserve all their Warranty Disclaimers.
The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work.
In the combination, you must combine any sections Entitled "History" in the various original documents, forming one section Entitled "History"; likewise combine any sections Entitled "Acknowledgements", and any sections Entitled "Dedications". You must delete all sections Entitled "Endorsements".

## 6. COLLECTIONS OF DOCUMENTS

You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.
You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.

## 7. AGGREGATION WITH INDEPENDENT WORKS

A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an "aggregate" if the copyright resulting from the compilation is not used to limit the legal rights of the compilation's users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.
If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document's Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.

## 8. TRANSLATION

Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.
If a section in the Document is Entitled "Acknowledgements", "Dedications", or "History", the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.

## 9. TERMINATION

You may not copy, modify, sublicense, or distribute the Document except as expressly provided under this License. Any attempt otherwise to copy, modify, sublicense, or distribute it is void, and will automatically terminate your rights under this License.
However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation.
Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice.
Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, receipt of a copy of some or all of the same material does not give you any rights to use it.

## 10. FUTURE REVISIONS OF THIS LICENSE

The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/.
Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation. If the Document specifies that a proxy can decide which future versions of this License can be used, that proxy's public statement of acceptance of a version permanently authorizes you to choose that version for the Document.

## 11. RELICENSING

"Massive Multiauthor Collaboration Site" (or "MMC Site") means any World Wide Web server that publishes copyrightable works and also provides prominent facilities for anybody to edit those works. A public wiki that anybody can edit is an example of such a server. A "Massive Multiauthor Collaboration" (or "MMC") contained in the site means any set of copyrightable works thus published on the MMC site.
"CC-BY-SA" means the Creative Commons Attribution-Share Alike 3.0 license published by Creative Commons Corporation, a not-for-profit corporation with a principal place of business in San Francisco, California, as well as future copyleft versions of that license published by that same organization.
"Incorporate" means to publish or republish a Document, in whole or in part, as part of another Document.
An MMC is "eligible for relicensing" if it is licensed under this License, and if all works that were first published under this License somewhere other than this MMC, and subsequently incorporated in whole or in part into the MMC, (1) had no cover texts or invariant sections, and (2) were thus incorporated prior to November 1, 2008.
The operator of an MMC Site may republish an MMC contained in the site under CC-BY-SA on the same site at any time before August 1, 2009, provided the MMC is eligible for relicensing.

# How to use this License for your documents

To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page:
    Copyright (c) YEAR YOUR NAME.
    Permission is granted to copy, distribute and/or modify this document
    under the terms of the GNU Free Documentation License, Version 1.3
    or any later version published by the Free Software Foundation;
    with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts.
    A copy of the license is included in the section entitled "GNU
    Free Documentation License".
If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, replace the "with...Texts." line with this:
    with the Invariant Sections being LIST THEIR TITLES, with the
    Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.
If you have Invariant Sections without Cover Texts, or some other combination of the three, merge those two alternatives to suit the situation.
If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software.