101
Obras completas, V, 1576.
102
Clarín formuló una observación similar: «a veces parece que el autor se burla de la bondad de su héroe y le convierte en caricatura». Op. cit., p. 264.
103
A minimally altered version of this paper was presented at the Galdós Seminar, conducted under the auspices of the Modern Language Association at its Annual Meeting. December 28, 1974 in New York City.
104
William G. Shoemaker, «Galdós' Literary Creativity: D. José Ido del Sagrario», in Estudios sobre Galdós (Valencia: Editorial Castalia, 1970).
105
Ricardo Gullón, «El amigo Manso: Nivola galdosiana», in Técnicas de Galdós (Madrid: Taurus Ediciones, 1970), p. 80.
106
Benito Pérez Galdós, El amigo Manso (Buenos Aires: Espasa Calpe, 1955), p. 65. Future references to this edition will be cited parenthetically in the text.
107
Shoemaker, p. 117.
108
Benito Pérez Galdós, Fortunata y Jacinta (Madrid: Ediciones Hernando, 1968), p. 1036.
109
The term is that of A. J. Greimas in his Sémantique structurale (Paris, 1966) and is discussed in Frederic Jameson's The Prison-House of Language (Princeton, 1972), pp. 123-129. Although separate attempts have been made to relate both Máximo and Maximiliano to Galdós' personal life (without seeing a relationship between the two characters) such possibilities would not seem to relate to the concerns of the present study. (See Walter T. Pattison, «El amigo Manso and El amigo Galdós», Anales Galdosianos, II, (1967), 135-153, and J. C. Ullman and G. H. Allison, «Galdós as Psychiatrist in Fortunata y Jacinta», Anales Galdosianos, IX, (1974), 7-36.
110
Suggestive evidence that Galdós intends this statement to relate to mansedumbre (lack of virility, vital force) can be found in his El caballero encantado (Chapter 3) when the following words, with a contrary intent, are said of the father of the Infantes de Lara: «Eso es un hombre, eso es un caballero, un español de cuerpo entero y con toda la barba». (Obras completas, ed. F. C. Sáinz de Robles, 2nd ed. (Madrid: Aguilar, 1951), VI, p. 230). The novelist is, of course, using a traditional symbolism already prominent in the Poema de mío Cid.