131
A. F. Lambert, «Galdós and Concha-Ruth Morell», AG, VIII (1973), 33-49. I am indebted to Don Alfonso Armas Ayala, the director of the Casa-Museo, for permission to quote from the letters, and to Don Tomás Padrón Cordero, of the Casa-Museo, for bringing these letters to my attention and aiding me in my research. I am particularly grateful to the Committee on Faculty Research and Development of North Carolina State University for funding my research in the Casa-Museo.
132
Benito Pérez Galdós, Obras completas, VI (Madrid: Aguilar, 1961), 603.
133
Lambert, p. 34.
134
In Galdós' Memorias de un desmemoriado, OC, VI, 1684.
135
The note at the end of Tristana reads «Madrid, enero de 1892». Obras completas, V (Madrid: Aguilar, 1965), 1612. All subsequent references to Tristana in the text of this article are to this edition.
136
Isidora Rufete, of La desherada (1881).
137
Doublé refers here to a false glory which she contrasts to the real glory of Galdós.
138
Bolo is a theatrical term for a sort of vaudeville comedian.
139
Dante, Inferno, 3:140 - «tu duca, tu signore e tu maestro».
140
This, I think, is Concha's invention. I have not located the line in Dante.