Ford apunta la deuda de Kafka para con Dickens y es posible que en el autor inglés, maestro de Galdós, encontremos la clave de los elementos «kafkianos» en nuestro autor.
Agradezco al profesor Smith el haberme facilitado una copia de su ponencia.
For the relationship between Galdós's Doña Perfecta and Turgenev's Fathers and Sons, see Chamberlin, Chamberlin and Weiner, and Cardona. The last critic argues persuasively that, with regard to influence, Galdós and Turgenev stand somewhat reversed: while Galdós may have read Fathers and Sons, which had circulated in French translations (1863, 1865), before writing Doña Perfecta, thus accounting for certain similarities, it is perhaps more likely that Galdós read the later translation into French (1880) found in his library. Even more striking, as Cardona notes, are the similarities between Doña Perfecta (1876) and Turgenev's Virgin Soil, published the next year (1877). In 1843, the year of Galdós's birth, Turgenev had met the Spanish «diva», Paulina García de Viardot, and learned Spanish. He had initiated the correspondence with Galdós, and his novel Virgin Soil clearly evinces the influence of Doña Perfecta (203-04).
For references to Tolstoy see Bergamín, Casalduero, Colin (1967, 1970), Franz and Turner (1992).
I am recalling here Norman O. Brown's explication (6) of the Freudian view that «the difference between 'neurotic' and 'healthy' is only that the 'healthy' have a more socially useful form of neurosis».
For a schematic treatment of the theme of religion in the Spanish novel of the last third of the nineteenth century, see my The Spanish Novel («passim»).
Cf. Juana Truel (1976), who establishes tenuous, and to my mind unconvincing, parallels between Eugénie Grandet and Doña Perfecta.
The «melodrama» to which Zahareas refers has much in common with the techniques and recourses of the «novela de folletín» and «novela popular». For discussions of Galdós and the popular novel, see Ynduráin, Beyrie, and Dendle («El audaz»).
The English version of Varey's work was originally published by Grant and Cutler in 1971.
Announced by the train conductor and not, as Harriet S. Turner claims (130), by Pepe Rey.
See, for example, articles in the Revista Europea between June 1874 and November 1875 by Samuel Baker, David Livingstone, Gabriel Marcel, and the anonymous author of «El viaje del Dr. Nachtigal». The phrase «corazón de África» appears in Baker (529); «el centre, de África» and «el interior» in Livingstone (340, 343).