121
In Part III of Fortunata y Jacinta, Fortunata experiences a similar ambivalent feeling toward the city while living in the outlying Puerta de Moros area: she is drawn toward the urban center but at the same time feels intimidated by it: «En un mes no pasó Fortunata más acá de Puerta de Moros, y una vez que lo hizo, detúvose en Puerta Cerrada. Al sentir el mugido de la respiración de la capital en sus senos centrales, volvióse asustada a su pacífica y silenciosa calle de Tabernillas» (Benito Pérez Galdós, Fortunata y Jacinta [Madrid: Hernando, 1975], p. 629). (N. del A.)
122
Again, an interesting parallel with Fortunata suggests itself. Tristana has no sense of direction, and Fortunata does not know north from south: «Esto le sonaba a cosa de viento, pero nada más» (Fortunata y Jacinta, p. 319). A Jungian explanation for this phenomenon would be that both women are dominated by the swirling movement of a powerful unconscious mind and are correspondingly weak in the linear perception of reality proper to the conscious mind. (N. del A.)
123
Lope's house is the setting for part of chapters 10 and 11, but these chapters are dominated by the paseos of Tristana and Horacio. In chapter 29 the new house on the Paseo del Obelisco tentatively emerges as a setting, but it is only sketched out and does not serve as the setting for a developed scene. (N. del A.)
124
Cuatro Caminos is today the busy northern intersection of the Avenida de Reina Victoria, Calle de Raimundo Fernández Villaverde, Paseo de Santa Engracia, and Calle de Bravo Murillo. Its emergence as an important plaza in the late nineteenth century is a direct result of the growth of Chamberí and Madrid's northerly expansion. Cuatro Caminos was generally regarded at that time as Madrid's northern limit. Though definitely a suburban location, it was close enough to the city center to attract strollers and picnickers en Sundays and holidays. Its semirural character and views of the mountains made the area especially appealing for these purposes, and many merenderos, or outdoor cafés, sprang up to serve the crowds who flocked there for relaxation and recreation. Another factor that led both to the growth and the recreational appeal of the area was the inauguration in 1858 of the Aguas del Lozoya: Madrid's new water supply system with its network of canals and reservoirs, located just south of Cuatro Caminos, The Partidor alluded to in the text was an installation located 800 meters from the main reservoir; it was the distribution center for the incoming waters. It was linked to Cuatro Caminos by the Camino de Aceiteros and was the location of a public park and several merenderos. The Depósito de Aguas located near Lope's house is the new reservoir, whose construction was begun in 1872, after Madrid's demand for water had outgrown the capacity of the original reservoir. The new reservoir is located between Bravo Murillo (then the Carretera de Francia) and Santa Engracia. The «antiguo Depósito de aguas», referred to in chapter 9 (p. 71), is the original, smaller reservoir. It is located just across Bravo Murillo from the new reservoir. On the history of the Madrid waterworks, see Ángel Fernández de los Ríos, Guía de Madrid (1876), Edición facsímil (Madrid: Monterrey, 1982), pp. 403-13; and Pedro de Répide, pp. 88-92. On the history of Cuatro Caminos, see Répide, pp. 188-89. (N. del A.)
125
Presumably, chapter 9 is also set in the streets or in some exterior location. However, the chapter consists mainly of Horacio's monologue, and no clear sense of place is conveyed during most of the chapter. (N. del A.)
126
The «deseo de un más allá» that drives Tristana and Horacio is a wry reprise of the «ansia infinita de lo desconocido» that impelled Tristana's neurotic mother to hop constantly from one house to another in search of the perfect dwelling place. The potential destructiveness of compulsive outward movement has thus already been suggested in the early chapters of the novel; it will be confirmed in the experiences of Tristana. (N. del A.)
127
The ten chapters that contain no specific place references are chapters 3, 4, 6, 13, 14, 19, 20, 23, 24, 26. Distribution of place references among the remaining chapters is as follows: Ch. 1, 6 references; Ch. 2, 1; Ch. 5, 3; Ch. 7, 18; Ch. 8, 13; Ch. 9, 19; Ch. 10, 8; Ch. 11, 2; Ch. 12, 2; Ch. 15, 9; Ch. 16, 6; Ch. 17, 2; Ch. 18, 2; Ch. 21, 2; Ch. 22, 7; Ch. 25, 1; Ch. 27, 3; Ch. 28,7; Ch. 29, 5. (N. del A.)
128
The letters actually continue sporadically until chapter 24, but it is only in chapters 17-19 that they dominate the novel to the point of displacing the narrative line and visible setting. (N. del A.)
129
The meta-artistic and intertextual dimensions of Tristana are important features not directly related to this study. The best existing studies of these dimensions of Tristana are Germán Gullón and Roberto Sánchez. (N. del A.)
130
See Engler. (N. del A.)