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SpanishPod101.com Learn Spanish with FREE Podcasts

Beginner 1 Lessons 1-40

1-40 SpanishPod101.com Learn Spanish with FREE Podcasts

Introduction

This is Innovative Learning.

Go to InnovativeLanguage.com/audiobooks to get the lesson notes for this course and sign up for your FREE lifetime account.

The course consists of lessons centered on a practical, real-life conversation.

In each lesson, first, we'll introduce the background of the conversation.

Then, you'll hear the conversation two times:

One time at natural native speed and time with the English translation.

After the conversation, you'll learn carefully selected vocabulary and key grammar concepts.

Next, you'll hear the conversation 1 time at natural native speed at the end of the lesson.

Finally, practice what you have learned with the review track. Repeat the words and phrases you hear in the review track aloud to practice pronunciation and reinforce what you have learned.

Before starting the lessons, go to InnovativeLanguage.com/audiobooks to get the lesson notes for this course and sign up for your FREE lifetime account.         

     

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#  $  Days of the Week

Spanish English   $      ,   ' 5    ( *    6) 5   )      ! '

Months of the Year

Spanish English   7  /! !

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Persona amar temer vivir (Person) (to love) (to fear) (to live) ( " !" * * " !?  ! * *  "  ! * *    ! * *   !)  ! * *   !  ! * * 

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 ) %  $   !  &   *  + #,  &  -  ./ .   & &  * $  )  +   &'  -/      !     $  '

  # & ( )*)++),-.)/ 0 #   1112  &-)-2  3 % 4 4  ' &2    -. ,))/         

01$.

    # 4      '5    ' 5    6  7  8  2   5  6 7 9 5 3 :5    ;&5  &< '5  2 = 2 5   6 5 5     7      5   6 '   5 & '&   7    &  & &     & ' 5    &< '    5 & 6 5  7 >  ' 617   5 3    2 = 2      !          ' 23$ %    $ '4 $"        1 " 256  .  & 6  .$ 6  4        ' 2!  $    $ 7$'4 ! $. 1   &$ ' 23$ .  &$  %. 6'4 $   $     # $% 28 .$ 6      & & 4 .   $     * ' 2   *$   '4

!  "  )  ,  9*$$ 1 $9 21 $ *$$4 & *   *$$   : #  #  *  .    ' - $#  + 1$        # %1 96 9  & ; 6%, #  # &    < 6   $$ !  $ #  ,  # %1   &  9 &9  9$#9' )  *  *  , 6 $#   *  &$ :, :  # :) %1  *$$  # &  #  ' ! *6 & 1 & %  *$: $  =$&  *  &$ :, :  # :) %1 >

Persona tocar aprender partir (Person) (to play) (to learn) (to depart) . (   #(  (  "   #"  " ( "   #"  "  "   #"  " $ # "   #"  "

  # & ( )*)++),-.)/ 0 #   1112  &-)-2  3 % 4 4  ' &2    -. ,))/         

     #   %  (   #(  (  "   #"  "  "   #"  " $ # "   #"  "

#    ! 919  #     &   $ * $1' )  6, :   #, 1#' )     ,  &   1  $   #  $&  $ *  &$ , ?$  0    $1,  *  $:   6  6 *   #:  . $1' ! 1 6  &# &  &6 & $1 *  @ABC/ , 6    +  %# ( , ?11. D  # )    ,    * 6  6 98 &#  9, +  .  *  & *$ ' ! * &  #    *  $      # 6   ?$  6 + &   =$       #  '

  $  98 #    . $ & '9 ? 9 6#  ## /  & #  '9

  # & ( )*)++),-.)/ 0 #   1112  &-)-2  3 % 4 4  ' &2    -. ,))/         

            

    0      0 !    0 !    0 " # $ A %  &  A '    B   (  .

)* ' +  

  ' * , -.//001 2 ' $  3334  *4#  5 ) 6 6  + *4   $ 0 01         

  

              !  " !#  $  !    !   $ % !# & # '   ( #  )  * !#   +'  #  +' #  $ , 

   -  " '   , ,  ,   ) #   #  )    " -  '     -  ' # $.  #  ,  ' / #    0 #   1 -  '    #  1 -  ' # 0  /                 !  " !#  $  !    !   $ % !# & # '   ( #  )  * !#   +'  #  +' # 

 / $ , 

   -  "3 '   , ,  ,   ) # 3 #  )3   " -  '     -  ' # $.  #  ,  ' / #    0 #   13 '    #  13 ' #

  ' * , -.//001 2 ' $  3334  *4#  5 ) 6 6  + *4   $ 0 01         

'"

    ' 6  7    !4     8 59 :  8    9 *  *    *$ ; $ +   *  8     3   *9 *+ *  5 ! *+   *<#+  *+  8*+  9 #   +  = +   # *  8 +  =9 > ? 3    #? =  ;#   !  8 =9 $ ? @  *     *+       8    ;9 :  * 89  # 4 ,      /   # 5  0 / " , , #6 A ) '     # 57" ,  '  '" -#6      4      (  # 54 3 ,8,  -" / #6  *   (  5  "  0  -  ' / 6 9+'    : 570  "  4 ":6 7 (%      # 5 -   "  ,   #6

%  &  1 (       7  /     4      ,  , /    ;,  58<6    ;,  58$<6      ;,  58<6 ('  0 ,      /      0  '  /  /-  ;,  # -   / - -3(   3 8   &   7     7  '     ( 4# 7 /8 - , ' -  &       ;,  / == 5 (6 =8 = 5  6   =  = 5  6>

Present Tense

Person amar correr partir

  ' * , -.//001 2 ' $  3334  *4#  5 ) 6 6  + *4   $ 0 01         

"    ?    %                   (   % !             

Future Tense

Person amar correr partir " % %  % ?     %                      (  % %  %      B           

'         ,,       "  0 '  /  ,      # @     -"  &   7   ' / .  , =/ "=#  .      -" / " , =3 ,:= =9 : -   ;,   /      /          ( #  "   =- ,=  =-  , ,= ' -      " , $ ,   0 =13  / =# +-( / - -    =3 ,:=  "    - -   - -        /  ';  (    " =9(" :=# A  8 -  /*         /    ( / /  .  8   0 =3 ,:=# 7 "  /  ,    0  /   # 1 "3   ,   '   //     " " =B = -  ,  /      /       (# 7  "  =-  =  =-   ,=# 7      /  ';  (  - ' =9 := 53  :6# 3     ' - /   

  ' * , -.//001 2 ' $  3334  *4#  5 ) 6 6  + *4   $ 0 01         

 8  ( 0 '      -    / ,  ,  8 / ,# (    ("    "    " -    8 ,,   #

  (  =$ ;  ;   ;  ,#= =7 '     /  " "#=

.

  ' * , -.//001 2 ' $  3334  *4#  5 ) 6 6  + *4   $ 0 01         

            

    +      +     +     +    ! H "  #  H $     M

 % & $ '  

  $ & ( )*+,,)++*)- . $ !    &)  / % 0 0  '&   ! +* +))-         

   

%1% $  2    3  4  & $ %56% 7 8 %& &  2   4      %1% 9  &  2   4   & $ %56% :  !   &; <7 &= %1% 7 8 :> 4  &    ?  ; $ %56% :> 4  &;    

%1%  @        $ %56% 9   %& !            %1% 9  !       &  & $ %56%   A &; %  ! = %1%     B @    &  '   ; $ %56% B @  

   

+ %1% $  2    3  4  & $ %56% 7 8 %& &  2   4      %1% 9  &  2   4   & $ %56% :  !   &; <7 C= %1% 7 8 :> 4  &    ?  ; $ %56% :> 4  &; $ @      &  

   

%1%  @        $ %56% 9   %& !   B        %1% 9  !   B   &  & $ %56% B A &; %  ! = %1%     B @    &  '   ; $ %56% B @  

  $ & ( )*+,,)++*)- . $ !    &)  / % 0 0  '&   ! +* +))-         

   !

    $ 0  2  D  D   & ?    D 2 & ED F  & D /   &? 'D      D  ED  F G   E 'F &   !D   '  D &   E !D  F   & D / A &D  &D  '& &? 'D      D   E&  D  'F     D  ' '   A  D D   E 'F  A ! '  ?  D /   D A  D   &? ' D    E? &D  &D  &F                        H       ! "       ! # $    %  ! "       !    $     ! "  &     ! ' %     ! "        ! (   )   * ! (   )     !

"  #  " % ++      %  &      &  %! ,    %  &  .  $ / /.  / /   0 "   1  %   +  +   2   "   1-  %  ! " %  &   ++. $%.   $    ! " .        2   "!

" $  2   "   % ++.         %  &  .   $      $. +-+.     $-    $%   +-+   .  / *  $%  % +--+  -         +-+3 "hab- + -r- + -á = habrá"! "  $ ++     + $ +              !

  $ & ( )*+,,)++*)- . $ !    &)  / % 0 0  '&   ! +* +))-         

Singular

á    +'     !+ "      ! +'       !+ "          - ! +'   4    !+ "        !

Plural

án    +' $5    !+ "   $  ! +'       !+ "      ! +'   $  !+ "     !

$      !  %     D   '           9!  &       %   &  & B '    &  D  &       !     ) %     %  D        M  & )   '  & @ &  '         &!   %&   '  @&   D  & D       &    D  ' !   & D &      ! '    &      I% J    & K I E !&     K B  &!  !F '  &  / A    ' D ! 2   & L                 @   !  

  $ & ( )*+,,)++*)- . $ !    &)  / % 0 0  '&   ! +* +))-         

                  

                      ! " #  $  %  / &    M

 '( & )  

  & ( * +,-..+/+0+1 2 & #  333  (+"  4 ' 5 5  )( 6 " 0 ++1         

   

& '78 ' 9: 6; 9<# "   ; 6 $7 =  >  (  > " >  ! ! '?' @ '(  A# " (B ' 8: < > " ( >  ( C ?  >    ()= & '78 '  >  ? #      

& '78 ' <# 6;     #   ; 6 $7 @       3       ! ! '?' '( '(     (B ' 8:   3  (    3     (# # & '78 '   :D      

   

& '78 ' 9:# 6; 9<# "   ; 6 $7 =  >  (  > " >   ! ! '?' '(  A# " (B ' 8: < > " ( >  ( C ?  >    ()= & '78 '  >  ? #   &"E     ( 

   

& '78 ' <# 6;     #   ; 6 $7 @            ! ! '?' '( '(     (B ' 8:    (    3    (# # & '78 '  :D     

  & ( * +,-..+/+0+1 2 & #  333  (+"  4 ' 5 5  )( 6 " 0 ++1         

! " #

    & 5   # F  # ()    G #  H >  (     ()       G    IH J  ( GH    4 (#  (F")  ()= #  )  ()     G ) #H J ) G 3#H       #  "    "                                          !         "# !     $   %    &        "    !   &    !    $   

/ $  %   "     " ''      " $ (        ()   "    " $ (   &   !  !&  !  !  *   $     " +  "     " $ (    '' ,   $$ $ $  -    $     " + &                 

Present Future  #  G    (H  >  G  3   (H  # " C G   " H  > " C G  3  " 4 H  #  # G     >  # G  3  "  "H %  #  G    4  >  G  3   H  H %  # "   G   > "   G    #   3  #   %  # C  G    4  > C  G  3 

  & ( * +,-..+/+0+1 2 & #  333  (+"  4 ' 5 5  )( 6 " 0 ++1         

  H   H

.    *   $     " +&  $ ''      -    $     " +&  $ ''   .  )    $       "&  " $         

&       3 #    E      #    3 #   # K "= " K G " "H 3     3        3 (  # K " 3(K 3"     K  K         ( ) #  E      '(           ' " "    "      "     "      (  3   #  (# E 3 ( #   E 3 3   " # )   ("(   3  "    #  I     #      ' "      (   #   E#  (  "   " 3  #  3  ( # 3 (  )   E  "     " )    "( ) #       L (    ?  ' " "  3  3 )  "     E 3    #  ("  )   ( #  M

  & ( * +,-..+/+0+1 2 & #  333  (+"  4 ' 5 5  )( 6 " 0 ++1         

      

    ,      ,     ,     , !" #  $  %   &""    K

 " & '  

  &   ()*++(,() - & #  .../  (/  0  1 1  '/   , ,(()         

   

%1221  4 5&"6  " 6   7 %3$ 18 &" 6    / %1221 "# !4  /  4 "  4 5&"6  "' 6 " 7 %3$ 93192 8"' 6 "  :/ %121 ;  < %  =" "  ! " / %3$    

%1221  4  . "  " "  7 %3$ 18  " "   =" '/ %1221  #  4  / 8 .4 "  4  . "   " 7 %3$ 93192 8 "  =" / %121 >  <    # "  ? .  .  / , %3$

   

%1221  4 5&"6  " 6   7 %3$ 18 &" 6    / %1221 "# !4  /  4 "  4 5&"6  "' 6 " 7 %3$ 93192 8"' 6 "  :/ %121 ;  < %  =" '  !@ " / %3$

   

%1221  4  . "  " "  7 %3$ 18  " "   =" '/

  &   ()*++(,() - & #  .../  (/  0  1 1  '/   , ,(()         

%1221  #  4  / 8 .4 "  4  . "   " 7 %3$ 93192 8 "  =" / %121 >  <    #A ? .  .  / %3$

!" #

    & 1  6  4 " 4 "  ' !4    4 4  B     /  " CD !  ? .4  ? .  . ' ! 4   B  D "6 4 0  . "4  . # E'4   "4 4 ="" B " ' !  4 "  D    4   ! ' ! 4     B  D "   ' ! 4 " B 4 "D  !  .   E'    4 ! B.D F " B 4 D                          ! !   ! "#    $ %  !   $ "&     ! '    $ %  (   ' !   ($ )     (         !(    *  "+   '   $  (   !  $ ,  ' - ' ! !   -'   

$  %  %      ' ./.0  ! , 1!  2 !  1 1 #      !     !     1     !  ( /     ! 1 !   1 ! 3  ! *  4

English Spanish  "

  &   ()*++(,() - & #  .../  (/  0  1 1  '/   , ,(()         

.      " " '  C  '     "'  :

   !   5!  !  ! 1    ! 1   56   5  5 !  !6 !  (  !  1  6  ! ! *' 55   '6  - 1   ! !      !     !   *  !     16 ' !(    &   !  (6    !         !  ( 5       !  ($5   ! ! *' 5 5       ! !   ! 6  2 !   ( 5"    *  $5

&""    K >      !  G:    G7      C      G  "    :=" G4 .  #     G !  :    G/ H       4  " 4 A ! "   .  . / "  C      .   G ! "  G G !   0 0 G/ >  "      !# ? ! "   "! / >  :        "! B// (I*D4  '"  "!   A  B// (I* J I*D4 # .  :        '"    B// I*(D/ H  4 G"    :=" G  A .  #/

  &   ()*++(,() - & #  .../  (/  0  1 1  '/   , ,(()         

       

    *      *     *     ,  ! , "  #   $    

 %& $ '  

  $ &  ()*++(,)(- . $ !  ///0  &(0  1 % 2 2  '&0   ) *((-         

   

#2332 % 5  &    0 #4"% %2%6% 7  8   ! 0 #2332 % ' 5  5 9:       ; #4"% %2%6% $  <       0 #2332 2  ! 5  0 7 & & 5 9:  '  ; #4"% =4%2=3      0 #232 >?@ #4"%    

#2332 6 /5 /     0 #4"% %2%6%  &   A /  /    ' ! /0 #2332 B 5  5  /       ; * #4"% %2%6%  A        '0 #2332 7    ' ! /5 0  0 %& & & 5  /   /!  '; #4"% =4%2=3 C/!  '   0 #2332 ?@ #4"%

   

#2332 % 5  &    0 #4"% %2%6% 7  8   ! 0 #2332 % ' 5  5 9:       ; #4"% %2%6% $  <       0 #2332 2  ! 5  0 7 & & 5 9:  '  ; #4"% =4%2=3      0

  $ &  ()*++(,)(- . $ !  ///0  &(0  1 % 2 2  '&0   ) *((-         

#232 >?@ #4"% $A     & 0

   

#2332 6 / B     0 #4"% %2%6%  & B A /  /    ' ! /0 #2332 B 5  5  /       ; #4"% %2%6%  A        '0 #2332 7    ' ! /5  0 %& & & 5  /   /!  '; #4"% =4%2=3 C/!  '   0 #2332 ?@ #4"% ,  !

    $ 2      5  A /!5 '  5    D    &&   5    E !  8  & B A / '     5  DE F   D 5  E   D  E  ' B 5 B '   A '     5 & D5  E F '&  D E   5  &' 5    5 5  D 5  G 5  0   E : 5   / 5  / ! &G'5   5 5 < D 5 &'    E    '5  A '  5  &  D '5  AE                       

  $ &  ()*++(,)(- . $ !  ///0  &(0  1 % 2 2  '&0   ) *((-         

            ! " #      $      %  &'    (      )   *  #   %  +, -   "    . /      ". , #             

"  #  !      00123          #    %           0103 4 *        05106      %   7'7  (  787 (   77    7 7  (        77      916      " (     *   (  7 11*7 7 11"7 7 11( 7 7 117

$   "       % 00  23:

English Spanish '  /' &             < ? &  ' &   &   &' /! '

$      % 5 B             '     ' /   /  A    0 H   5   A  &   !     B      !   A  0 %     5 &  !    5       5   !   ! ' ! B   !    A &  /   ! /A / 0        /!   A    % 0 7   '      5 /    / A !   ' !  !   A G  1  !   0

  $ &  ()*++(,)(- . $ !  ///0  &(0  1 % 2 2  '&0   ) *((-         

      

    ,      ,     ,     +   ! + "  #  Q $    Q

 %& $ '  

  $ &  ())**(+,-(. / $ !  0001  &(1  2 % 3 3  '&1   ,- ,((.         

   

#3443 678    9 #5"% :5%3:4 ; 8<   1 #3443 4=1 6>     9 #5"% :5%3:4  &?1     ' 1 #3443 @$  A % <  < 6>    & 9 #5"% %3%B% 4  &  &  1 #343 @78  A #5"%    

#3443 C = 0  0  !9 #5"% :5%3:4  = 0<   1 #3443 4=1 D 0   E    9 , #5"% :5%3:4 F &1 E     0!2  1 #3443 3A B 0<  <  0     0 9 #5"% %3%B%   0  E1 #343 D 0  !   A #5"%

   

#3443 678    9 #5"% :5%3:4 ; 8<   1 #3443 4=1 6>     9 #5"% :5%3:4  &?1     ' 1 #3443 @$  A % <  < 6>    & 9 #5"% %3%B% 4  &  &  1

  $ &  ())**(+,-(. / $ !  0001  &(1  2 % 3 3  '&1   ,- ,((.         

#343 @78   A #5"%

   

#3443 C = 0  0  !9 #5"% :5%3:4  = 0<   1 #3443 4=1 D 0   E    9 #5"% :5%3:4 F &1 E     0!2  1 #3443 3A B 0<  <  0     0 9 #5"% :5%3:4   0  E1 #343 D 0  !F  A #5"%

+   !

    $ 3    ! ' <   G !<  H ! 8  = 0 '    <  GH I   G  H   <  <       <  G !<  <  H   < 2  <  &J' <   G  & H   &J' <  < 2 G& &H                                                                        ! "      

  $ &  ())**(+,-(. / $ !  0001  &(1  2 % 3 3  '&1   ,- ,((.         

#            

"  #  $    "    % &'()*   +   ,      !    %        -            "        .-   /

English Spanish 0!2  ' 0!20 '&K 0!2  ' 8 0!2  ' 0!2' ' 0!2 E '  0!2 ' '  0!2 '  0!2 ''  !   Q $      =  <  !  0 &' &  =  =          &    1 F &  LML< 0  7<     = <  L= L1 N  0  &   0   < 0 0  &      < &   0     &&1     ! 0    =         <   &      &    0  L ML<  =     7  $O    &! < !       &  ' ' !  1 P <          &' 2     0    =  <  7<    1

  $ &  ())**(+,-(. / $ !  0001  &(1  2 % 3 3  '&1   ,- ,((.         

       

    ,      ,     ,     ,  !" # E $  %  E &""    +

'"( &   

  & (  )**)+),)- . & #  ///0  ()0  1 ' 2 2  (0 '  ,( ,))-         

   

%2332  5 6&"7    (((   ( 8 %4$' '2'9' 40 6:  ((   (  "  8 %2332  "  "   0 (" ( 5 6" ( !8 %4$' 4'23 6 ;"<7   (((   ( "  (<8 %232  "  "    !=0 ' (  (( 0 %4$'    

%2332  5 > / "   # ((( !# / 8 %4$' '2'9' 40    # ((( !# / ;" /#8 %2332       / 0 (" ( 5 ( # " ? /8 %4$' 4'23 #!  # ((( !# /  ;"  8 %232       /  0 @    ((0 , %4$'

   

%2332  5 6&"7    (((   ( 8 %4$' '2'9' 40 6:  ((   (  "  8 %2332  "  "   0 (" ( 6A ! 8 %4$' 4'23 6 ;"<7   (((   ( "  (<8 %232  "  "    !=0 ' (  (( 0 %4$' &?   ( "

   

%2332  5 > / "   # ((( !# / 8 %4$'

  & (  )**)+),)- . & #  ///0  ()0  1 ' 2 2  (0 '  ,( ,))-         

'2'9' 40    # ((( !# / ;" /#8 %2332 @     / 0 (" ( (@# ? /8 %4$' 4'23 #! /   # ;" 8 %232 @     /  0 @    ((0 %4$'

 !" #

    & 2    !/5  5  5     5  B!/C ((( !# ((  ((5    ! 5 ((  B ((5    "( C  "   / 5    5 # 0  " 5   (  B  / 5    (5  #C ;"<7B C   5 #! (D 5 ;"  B/ # E ? /C   5 1  5 /  (D 5  " B"((C                                           !      "   #             $    %         &  ' (     ) *    %        +        ,%   !    

$  %            -./01   +!   $  ! " %    &2

English Spanish  #1   "

  & (  )**)+),)- . & #  ///0  ()0  1 ' 2 2  (0 '  ,( ,))-         

 #1/  (  #1      #1 "  "  #1     #1 F     #1      #1     #1  " # " 

&""    :  "   G:" "#"G5  ?  5  !   / / (/(  "!   0  5    ""    ( "  /   < (5 (      / ( ( " "  " " " 0 :  < (      ( /# ?  ""  5 ?      ( #   " ?  &"  0  (5 ?  "    / ("     ?    !/         ""  0 @  (  !        "(  !    "( / "   0 "     /  "     #      5 "      5        + ! ( !/ 5 /     ( ! 5      ""     "( ,5))) # ( (  #      #     0 :       ?  "  / /       (#   "? /  /     " ( #   /     (0   !  /  #       ( #     #   5 #   (       #  ! F(0

  & (  )**)+),)- . & #  ///0  ()0  1 ' 2 2  (0 '  ,( ,))-         

       

    2      2     2     2    ( !  " # ( $ #   # +

 %  $ & # 

  $  ' ())*+*,*- . $  # ///0  *0  1 % #   &0 %  ,# 2**-         

   

345% 6%78 9 : ;< = 3>  ?@0 6$7  #A B #8 345% C= ?@0 6" D ?  # #  8 9 : 6E  8 345% 6F ?    8 9 :        # 0 345%   0 %A      G0    

345% < 8 9 : <= 3> #  ?@0 < /   = H8 345% C= ?@0 I      8 9 :   8 345% I# #  #8 9 : #  #/&  # #  0 345% I0 <  #  &  #  0

2    

345% 6%78 9 : ;< = 3>  ?@0 6$7  #A 8 345% C= ?@0 6" D ?  # #  8 9 : 6E  8 345% 6F ?    8 9 :        # 0 345%   0 %A      G0 $J    #    0

   

345% < 8 9 : <= 3> #H ?@0 < /   H8 345% C= ?@0 I      8 9 :   8 345% I# #  #8

  $  ' ())*+*,*- . $  # ///0  *0  1 % #   &0 %  ,# 2**-         

9 : #H #/&  # #  0 345% I0 <  #H &  #  0

  

    $ # 7  K   # L # M#  # = =  &  = # K =   L #    M#&= & =  0 = #    K# =  # L 6D ?    8 /# #  #8 # D  #  = D  K/#L N   K L N   K# L   #   # #  =  # &    # = 0 =  K =  L N  &   K##L N #  K#L   G  #   &    # = 0 =  K =  L N    K##L N    K# #   (  L  #               ! " ##       $ %   %! &%  '  %   (   %(! )   %     ** * +,#       +,# (! &  # # *  %* - .'   '  ! &  */ *  0  (  % 1 .%#  -     %   *  %  .%!

!  " #   %.%  #.#  % .  *(  & 2  ( 3  * 32 #  %(   ( 3( %   3 5 #   % .   %4 # 33 $ %#  * #    ( 3 %3  %!6 3  %3   (23  * 3  %( ( 3% %    %32 (  %   3-  -# # 3 % 3-  3 %    .   % .  *(6

English Spanish

  $  ' ())*+*,*- . $  # ///0  *0  1 % #   &0 %  ,# 2**-         

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Beginner Rise and Shine VI

Spanish 2 English 2 22 Vocabulary 3 Grammar Points 3 Cultural Insight 5 SpanishPod101.com Learn Spanish with FREE Podcasts

Spanish

FÉLIX Puedo llamar mañana en la mañana. JIMENA Estaré durmiendo. Los sábados duermo hasta tarde. FÉLIX Creo que ya entiendo. JIMENA ¿Qué entiende? FÉLIX Entiendo que no quiere hablar. JIMENA No es verdad. Quiero, pero en otro momento.

English

FÉLIX I can call tomorrow morning. JIMENA I will be sleeping. I sleep late on Saturday. FÉLIX I think that I understand now. JIMENA What do you understand? FÉLIX I understand that you do not want to talk. JIMENA It is not true. I want to, but at another time.

Spanish 2 FÉLIX Puedo llamar mañana en la mañana. JIMENA Estaré durmiendo. Los sábados duermo hasta tarde. FÉLIX Creo que ya entiendo. JIMENA ¿Qué entiendes? FÉLIX Entiendo que no quieres hablar. JIMENA No es verdad. Quiero, pero en otro momento.

English

FÉLIX I can call tomorrow morning. JIMENA I'll be sleeping. I sleep late on Saturday. FÉLIX I think that I understand now. JIMENA What do ya' understand? FÉLIX I understand that ya' don't want to talk.

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JIMENA It's not true. I want to, but at another time.

Vocabulary Spanish English Class mañana tomorrow, morning fem. , dormir to sleep durmiendo sleeping gerund tarde late, afternoon, evening fem. noun, adverb llamar to call (on the phone) verb ya now, already adverb

Vocabulary Sample Sentences

Me levantaba temprano cada mañana. I used to get up early every morning. Dormimos ocho ahoras anoche. "We slept for eight hours last night." Sus hijos están durmiendo. (Their children are sleeping.) El profesor llega tarde a su clase. (The professor arrives late to his class.) Es muy caro llamar a mi abuelo en España. "It is very expensive to call my grandfather in Spain." 3 Ya entiendes el vocabulario. (You already understand the vocabulary.)

Grammar Points

In today's lesson we discussed the verb "dormir" (to sleep). Let's take a deeper look at the grammatical aspects of this stem-changing verb. We call it a stem-changing verb because the stem of the of the verb "D-O-R-M", changes to "D-U-E-R-M" for all of the forms of the present tense indicative mood, except for the first and second person plural.

A similar stem change also occurs in the gerund form. As you will recall, the gerund form expresses ongoing action. In English, in the gerund end with "I-N-G", such as "walking" and "talking". Instead of using the "D-O-R-M" stem of the infinitive "dormir" (to sleep), we say "durmiendo"

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(sleeping). Remember that verbs in the gerund are generally used in connection with the verb "estar" (to be). For example: "estoy durmiendo" (I am sleeping).

Take a look at the table below to see how we conjugate the verb "dormir" (to sleep) in the present tense. Note the stem changes that occur. yo duermo nosotros dormimos (I sleep) (we sleep) tú duermes vosotros dormís (you sleep) (you all sleep) él duerme ellos duermen (he sleeps) (they sleep) ella duerme ellas duermen (she sleeps) (they sleep *feminine) usted duerme ustedes duermen (you sleep *formal) (you all sleep)

Now we will move on to discussing the gerund, an impersonal verbal form that expresses generalized or incomplete action. We saw that in English, this corresponds to the verb forms ending in "-ing", like needing, having and leaving. In terms of the formation, we saw the Spanish regular -AR ending "-ando" and the regular -ER and -IR ending "-iendo" for these forms, as in the examples "necesitando" (needing), "teniendo" (having) and "saliendo" (leaving). We're still holding off on the irregular forms until a future lesson.

4 Today, let's note the following distinction: The Absolute Future construction describes an action that comes after the moment of speech. When we add the Gerund to the form, we describes the duration of this action that has not happened yet. The following table demonstrates the two constructions: Person Absolute Future Future + Gerund First Sing. necesitaré (I will need) estaré necesitando (I will be needing) Second Sing. necesitarás (you will need) estarás necesitando (you will be needing) Third Sing. necesitará (he will needs) estarán necesitando (he will be needing First Pl. necesitaremos (we will need) estaremos necesitando (we will be needing) Second Pl. necesitaréis (you all will need) estaréis necesitando (you all will be needing) Third Pl. necesitarán (they will need) estarán necesitando (they will be needing)

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To distinguish the two usages, consider the example "Trabajaré a las seis" (I will work at six o'clock). By the use of this verbal tense, we know for example that the present time is prior to six o'clock. The action of the Absolute Future takes place after the moment of speech. The Future + Gerund simply stretches that future action out to show its direction, for example "Estaré trabajando a las seis" (I'll be working at six o'clock).

Cultural Insight

All this study of the verb "dormir" (to sleep) is enough to make any student sleepy. People in Hispanic countries have just the remedy for those heavy eyelids. Both in Spain and throughout America, the "siesta" (nap) is an honored tradition in which people return home from work or school to have lunch and take an afternoon nap. The original concept of a "siesta" was merely that of a midday break. This eventually turned into a special time for naps in Spain and many Latin American countries due to two main factors. First of all, lunch is generally the largest meal of the day in Hispanic culture. After eating a big meal, it was customary to lie down and sleep while digesting. Secondly, the heat during the summer months in some of these countries can be unbearable in the early afternoon. Thus, many people come home and sleep in the shade of their houses until the sun has gone down a bit and the heat has subsided. No wonder this tradition has lasted so long. Hey, everybody loves a nap, and you can't argue with a good idea.

5

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Beginner Lesson S1 I've got to read it for myself

39

Lesson Code: 295_B_S1L39_102208 Copyright www.SpanishPod101.com - All Rights Reserved SpanishPod101.com Learn Spanish with FREE Podcasts

Formal Spanish

ANA Oiga, José, ¿tiene, usted, una copia del libro El túnel? JOSÉ ¿La novela de Ernesto Sábato? ANA Sí, la misma. JOSÉ Lo dificulto. Es que suelo prestar mis libros y nunca vuelvo a verlos. ¿Por qué me pregunta? ANA Porque perdí mi copia justo cuando estaba por terminarlo. JOSÉ ¡Ah, pero usted se ha perdido lo más interesante...! ¿Quiere que le cuente cómo termina? ANA ¡Ay, no, no, no me diga nada! Tengo que leerlo yo misma para vivirlo. Me encantó la primera parte y el final me tiene intrigada, pero yo misma lo averiguaré. No me hable. ¡Chau! JOSÉ Jajaja, ¡chau! ANA Si encuentra su copia, me avisa. ¡Chau!

Formal English

ANA Hello, José, do you have a copy of the book The Tunnel? JOSÉ The novel by Ernesto Sábato? ANA Yes, that very one. JOSÉ I doubt it. The thing is, I tend to lend out my books and I never see them 2 again. Why do you ask? ANA Because I lost my copy just when I was about to finish it. JOSÉ Oh, but you have missed the most interesting part...! Do you want me to tell you how it ends? ANA Ah, no, no, do not tell me anything. I have got to read it myself in order to live it. I loved the first part and I'm intrigued about the ending, but I will figure it out myself. Do not say anything to me. Bye! JOSÉ Hahaha, bye! ANA If you find your copy, do let me know. Bye!

Informal Spanish

ANA Oye, José, ¿tienes una copia del libro El túnel? JOSÉ ¿La novela de Ernesto Sábato?

Lesson Code: 295_B_S1L39_102208 Copyright www.SpanishPod101.com - All Rights Reserved SpanishPod101.com Learn Spanish with FREE Podcasts

ANA Sí, la misma. JOSÉ Lo dificulto. Es que suelo prestar mis libros y nunca vuelvo a verlos. ¿Por qué me preguntas? ANA Porque perdí mi copia justo cuando estaba por terminarlo. JOSÉ ¡Ah, pero te has perdido lo más interesante...! ¿Quieres que te cuente cómo termina? ANA ¡Ay, no, no, no me digas nada! Tengo que leerlo yo misma para vivirlo. Me encantó la primera parte y el final me tiene intrigada, pero yo misma lo averiguaré. No me hables. ¡Chau! JOSÉ Jajaja, ¡chau! ANA Si encuentras tu copia, me avisas. ¡Chau!

Informal English

ANA Hey, José, do you have a copy of the book The Tunnel? JOSÉ The novel by Ernesto Sábato? ANA Yep, that very one. JOSÉ I doubt it. The thing is, I tend to lend out my books and I never see them again. Why do you ask? ANA Because I lost my copy just when I was about to finish it. JOSÉ Oh, but you've missed the most interesting part...! Do you want me to tell you how it ends? 3 ANA Ah, no, no, don't tell me anything. I've got to read it myself in order to live it. I loved the first part and I'm intrigued about the ending, but I'll figure it out myself. Don't say anything to me. Bye! JOSÉ Hahaha, bye! ANA If you find your copy, let me know. Bye!

Vocabulary Spanish English Class Root averiguar to figure out verb Latin, verificare (make true) perder to lose, to miss verb Latin, perdere (to destroy)

Lesson Code: 295_B_S1L39_102208 Copyright www.SpanishPod101.com - All Rights Reserved SpanishPod101.com Learn Spanish with FREE Podcasts

prestar to lend, to borrow verb Latin, praestare (to make available, to offer) nunca never, ever adverb Latin, nunquam (never, by no means) intrigado, -a intrigued adjective Latin, intricare (to entangle) copia copy fem. noun Latin, copia (abundance)

Vocabulary Sample Sentences

No sé bien a qué hora llega el bus, pero lo puedo (I don't really know what time the bus arrives, but averiguar. I can figure it out.) ¡Ya he perdido tres buses! (I've already missed three buses!) Siempre pierdes tu celular. (You always lose your cell phone.) ¿Me prestas tu computadora? (Will you lend me your computer?) ¿Me prestan cinco dólares, por favor? (Would ya'll lend me five dollars please?) Nunca lo probaré. (I'll never try it.) El libro me tiene intrigada. Lo tengo que terminar. (The book intrigues me. I have to finish it.) Perdí mi libro. ¿Tienes una copia? (I lost my book. Do you have a copy?)

4 Grammar Points

In Spanish, the use of commands (affirmative and negative) is very common. Today, we are looking at negative commands. Keep in mind that making a "command" does not mean that you are being bossy. In Spanish, there are both "informal" AND "formal" commands. Of course, the degree of politeness always depends on the context.

We see two examples of negative commands in the lesson conversation:

"No me digas nada." (Don't tell me anything.) "No me hables." (Don't tell me anything.)

A Negative Command can be either Singular or Plural and either Formal or Informal. There are a couple of rules to remember with regards to their formation. We will need to remember that to form

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negative commands, the word "no" must always be used before the verb. Let's start with the Informal

Singular Commands.

INFORMAL SINGULAR NEGATIVE COMMANDS Informal negative singular commands (i.e. "tú") always use the Present Subjunctive form of the second person singular.

INFORMAL PLURAL NEGATIVE COMMANDS Informal negative plural commands (i.e. "vosotros") always use the Present Subjunctive form of the second person plural.

FORMAL SINGULAR NEGATIVE COMMANDS Formal negative plural commands (i.e. "usted") always use the Present Subjunctive form of the third person singular.

FORMAL PLURAL NEGATIVE COMMANDS Formal negative plural commands (i.e. "vosotros") always use the Present Subjunctive form of the third person plural.

5 Observe these examples of negative commands: "¡No me llames nunca más!" (Don't ever call me again!) "No te preocupes. Va a estar bien." (Don't worry. It's going to be OK.) "No seas tacaño, dale una buena propina." (Don't be stingy, give him a good tip.) "No me malinterpreten, señores." (Don't misinterpret me, gentlemen.) "David, Alejandro, no me esperéis." (David, Alejandro, don't wait for me.) "Señora, no saque conclusiones precipitadas." (Ma'am, don't jump to conclusions.)

As you can see, it's very important to learn the forms of the Present Subjunctive in order to form negative commands. Also, we should mention that when we form commands (affirmative or negative), we are using "el modo imperativo" (the imperative mood). You will find that commands are much more common in Spanish than they are in English. Learning how to use the imperative mood is key.

Cultural Insight

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A narrative of art, love, and obsession, Ernesto Sábato's El Túnel is a work that takes a dark look at the mind of deranged painter antihero Juan Pablo Castel. The story centers around Castel's obsession with a woman he sees at one of his exhibitions. Castel decends into his obession, constantly thinking about the woman and what he might say in an array of hypothetical situations. When he finally does encounter her again, (this time in an elevator) he succeeds in making connection, learning her name which is María Iribarne. As the months progress his obsessions become delusions. He ends up convincing himself that she is a "whore" who sleeps with any man that is willing. These crazed thoughts eventually lead to Castel stabbing María to death. This novel, translated as "The Outsider", won Sábato national and international acclaim. Its psychological and existential look at love in the modern world is at once rational and at the same time disturbing.

6

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Beginner Lesson S1 The Other Path

Formal Spanish 2 Formal English 2 40 Informal Spanish 2 Informal English 3 Vocabulary 3 Grammar Points 4 Cultural Insight 6 SpanishPod101.com Learn Spanish with FREE Podcasts

Formal Spanish JORGE Claudia, creo que me quiero cambiar de carerra. Acabo de leer 'El otro sendero' y, pucha, quiero ser enconomista. CLAUDIA 'El otro sendero'... me parece que fue escrito por Hernán de Soto, ¿no es verdad? JORGE Así es. CLAUDIA Para ser franca, le comento que hace tiempo intenté leerlo, pero me pareceió aburrido. ¿De qué se trata? JORGE ¿¡Aburrido!? ¡Oíga, no se pase! ¿Sabe qué? En este libro, De Soto describe detalladamente cómo la clase baja peruana se hizo presente en el mercado sigiendo el camino de la informalidad. CLAUDIA ¿La informalidad? JORGE Claro. Póngase a pensar en Wilson o mejor aún en La Cachina. Lo que vemos aquí es la expressión revolucionaria de los pobres de este país, a los cuales no les quedaría otra, si no siguieran el sendero informal. CLAUDIA Asu... es interesante lo que usted me cuenta, pero de hecho tendría que leerlo yo misma para opinar. Formal English JORGE Claudia, I think I have to change my career. I have just read 'The Other Path' and, man!, I want to be an economist. CLAUDIA 'The Other Path'... I think it was written by Hernán de Soto, isn't that right? JORGE That is right. 2 CLAUDIA To be frank, I will tell you that a while back I tried to read it, but it seems boring to me. What is it about? JORGE Boring?! Listen, do not go overboard! You know what? In this book, De Soto describes in detail how the lower class of Peru made itself present in the market by following the road of informality. CLAUDIA Informality? JORGE Of course. Just think about Wilson, or even better, La Cachina. What we see here is the revolutionary expression of the poor people of this country, whom would not be left with any other option, if they didn't follow the informal path. CLAUDIA Wow... what you are saying is interesting, but I would really have to read it myself in order to give my opinion. Informal Spanish JORGE Claudia, creo que me quiero cambiar de carerra. Acabo de leer 'El otro

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sendero' y, pucha, quiero ser enconomista. CLAUDIA 'El otro sendero'... me parece que fue escrito por Hernán de Soto, ¿no es verdad? JORGE Así es. CLAUDIA Para ser franca, te comento que hace tiempo intenté leerlo, pero me pareceió aburrido. ¿De qué se trata? JORGE ¿¡Aburrido!? ¡Oye, no te pases! ¿Sabes qué? En este libro, De Soto describe detalladamente cómo la clase baja peruana se hizo presente en el mercado sigiendo el camino de la informalidad. CLAUDIA ¿La informalidad? JORGE Claro. Ponte a pensar en Wilson o mejor aún en La Cachina. Lo que vemos aquí es la expressión revolucionaria de los pobres de este país, a los cuales no les quedaría otra, si no siguieran el sendero informal. CLAUDIA Asu... es interesante lo que me cuentas, pero de hecho tendría que leerlo yo misma para opinar.

Informal English JORGE Claudia, I think I have to change my career. I've just read 'The Other Path' and, man!, I want to be an economist. CLAUDIA 'The Other Path'... I think it was written by Hernán de Soto, isn't that right? JORGE That's right. CLAUDIA To be frank, I'll tell you that a while back I tried to read it, but it seems 3 boring to me. What's it about? JORGE Boring?! Hey, don't go overboard! You know what? In this book, De Soto describes in detail how the lower class of Peru made itself present in the market by following the road of informality. CLAUDIA Informality? JORGE Of course. Just think about Wilson, or even better, La Cachina. What we see here is the revolutionary expression of the poor people of this country, whom would not be left with any other option, if they didn't follow the informal path. CLAUDIA Wow... what you're saying is interesting, but I'd really have to read it myself in order to give my opinion.

Vocabulary Spanish English Class Root aburrido, -a boring adjective Latin, abhorr?re (to

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shrink from) informalidad informality fem. noun Latin, inform?lis (not pertaining to shape or form) economísta economist masc. noun & fem. noun Greek, oikonomos (household manager) mercado market masc. noun Latin, mercatus (bargaining) mismo, -a same adjective Latin, metipse (the same) revolucionário, -a revolutionary adjective Latin, revolvere (to revolve) Vocabulary Sample Sentences La película estuvo bien aburrida. Dormí rico. (The movie was really boring. I slept great.) En el mercado peruano, existe un portencaje (In the Peruvian market, there's a surprise sorprendente de informalidad. percentage of informality.) Los economístas se reunieron en una conferencia (The economists gathered in a conference about sobre el tratado de libre comercio. the Free Trade Agreement.) El mercado está allá. (The market is over there.) Ellos tienen el mismo profesor. (They have the same professor.) Ellos pertenecen al movimiento revolucionario. (They belong to the revolutionary movement.) Grammar Points 4 In this lesson, we look at abstract of quality. The more familiar you become with nouns in Spanish, the easier it will be for you to intuit words which you are not completely sure about. Learning some general rules about the formation of nouns will help you become a better "gambler" in this sense, when you begin to step forth and start speaking Spanish without translating it from your native language.

What are Abstract Nouns of Quality? These are related to and they designate qualities or properties of people, places or things, like "informalidad" (informality), which is the quality of being "informal" (informal). Another example can be found in the abstract noun of quality "sensatez" (sensability) from the adjective "sensato" (sensible). And yet another example is seen in the case of "inteligencia" (intelligence) from "inteligente" (intelligent). Of course, all abstract nouns of quality cannot be classified into these three categories, but a good number of them can. Let's take a look below to see how this occurs:

Formation:

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1) Abstract Nouns of Quality with the Ending "-dad" or "-tad":

"maldad" (evilness) from the adjective "malo, -a" (evil); "posibilidad" (possibility) from the adjective "posible" (possible) "lealtad" (loyalty) from the adjective "leal" (loyal)

2) Abstract Nouns of Quality with the Ending "-ez":

"brillantez" (brightness) from the adjective "brillante"; "escasez" (scarcity) from the adjective "escaso, -a" (scarce); "sencillez" (simplicity) from the adjective "sencillo, -a" (simple)

3) Abstract Nouns of Quality with the Ending "-cía" :

"democracía" (democracy) from the adjective "demócrato, -a" (democratic); "urgencia" (urgency) from the adjective "urgente" (urgent); "emergencia" (emergency) from the adjective "emergente" (emerging)

Here are some sample sentences that utilize each type of Abstract Noun of Quality:

"Nos quedan muchas posibilidades." (We're left with a lot of possibilities.)

"La lealtad del los socios creció mientras más trabajaron juntos." (The partners' loyalty grew the longer 5 they worked together.)

"La brillantez de la mañana campesina sucitó en mí un sentimiento profundo de nostálgia." (The brightness of morning in the countryside gave rise to a deep feeling of nostalgia in me.)

"La escasez de agua causó un pánico en el metrópolo." (The water scarcity caused a panic in the metropolis.)

"Me gusta tu sensillez." (I like your simplicity / I like how simple you are.)

"¿Me permite usar el teléfono? Es una urgencia." (May I use the phone? It's an urgency.)

"¡Ven, apúrate, es una emergencia!" (Come, hurry up, it's an emergency!)

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*Notice that all of these abstract nouns of quality are feminine. This is not always the case, but with words that take the endings covered here (i.e. -dad/tad, -ez, -cía), as a general rule of thumb you can expect them to be feminine. There are other types of nouns which can be studied in relation to these, such as "primitive nouns" and "derived nouns". An example of this can be seen in the noun "pan" (bread), which is "primitive"; whereas "panadero" (baker) and "panadería" (bakery) are derived. We will go over these topics in other lessons.

Cultural Insight

The original Spanish-language title of The Other Path is El Otro Sendero, an allusion to countering Peru's "Shining Path" ("Sendero Luminoso") guerrillas. The Senderistas had in the past attempted to assassinate him. De Soto's main thesis affirms that an important characteristic of capitalsm is the functioning state protection of property rights in a formal property system where ownership and transations are clearly recorded. Soto argues that people in developing countries possess only informal ownership of land and goods. In his view, the success of the American and Japanese capitalism stems from a clear system of property rights which were create during the western expansion of the United States in the 19th century and Post World War II Japan respectively. The lack of such a system in developing countries then inevitably leads to an inability by the poor of these countries to use their now informal ownership as collateral to gain the credit necessary in most entrepreneureal endeavors. These informal property rights must be made formal in granting land titles as such. This transparency of ownership then would provide a foundation for the poor of these countries to elevate their status and achieve a semblance of upward mobility. 6

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Thank You

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