131
The metaphor of the mare magnum musical suggests interesting comparisons with the lake of Unamuno's San Manuel Bueno, mártir. In both novels a certain mode of unconsciousness, represented by a body of water, becomes the antidote for life's asymmetry. Pursuing this line of inquiry, one might also contemplate the possible symbolic function of the water reservoirs in Tristana. (N. del A.)
132
The Implied Reader (Baltimore: The Johns Hopkins University Press, 1974), p. 37. (N. del A.)
133
Diane Urey, Galdós and the Irony of Language (Cambridge: Cambridge University Press, 1982), p. 2. (N. del A.)
134
Pertinent studies of narrative voice in Galdós' contemporary novels include Kay Engler's «Notes on the Narrative Structure of Fortunata y Jacinta», Symposium, 24 (1970), 111-27, and her book-length study, The Structure of Realism: The Novelas Contemporáneas of Benito Pérez Galdós (Chapel Hill: North Carolina Studies in the Romance Languages and Literatures, 1977). See also John W. Kronik, «Galdosian Reflections: Feijoo and the Fabrication of Fortunata», Modern Language Notes, 97 (1982), 272-310; Harriet Turner, «Strategies in Narrative Point of View: On Meaning and Morality in the Galdós Novel», in Homenaje Antonio Sánchez Barbudo, ed. B. Brancaforte et al. (Madison: University of Wisconsin, 1981), pp. 61-77; and Ricardo Gullón, Psicologías del autor y lógicas del personaje (Madrid: Taurus, 1979). (N. del A.)
135
Engler, The Structure of Realism, p. 140. (N. del A.)
136
Responses to first-person narrative intrusions in Galdós' contemporary novels have emphasized the concept of verisimilitude and have linked it to conventional attitudes toward the realistic novel. In Técnicas de Galdós (Madrid: Taurus, 1970), p. 206, Ricardo Gullón asserts that the use of the narrator/character gives the narrator considerable influence over his reader, who feels like a confidant, reading about real people instead of fictitious entities. Germán Gullón takes us a step forward by recognizing the truly creative nature of this relationship within the Galdosian world: «El lector es parte de las novelas de Galdós: se le incluye en ellas, dando por supuesto no sólo que está enterado de los acontecimientos, sino que se interesa en ellos y va formando juicio sobre lo que está pasando y sobre las consecuencias de cuanto los personajes dicen y hacen» (El narrador en la novela del siglo XIX [Madrid: Taurus, 1976], p. 112). (N. del A.)
137
The present study will consider the Torquemada series as a single work, referring to it as Torquemada. The view that the series is a single novel, conceived as a whole, has been well demonstrated. See Robert J. Weber, «Galdós' Preliminary Sketches for Torquemada y San Pedro», Bulletin of Hispanic Studies, 44 (1967), 16-27. One of the most perceptive articles written en Torquemada is Harold L. Boudreau's «The Salvation of Torquemada: Determinism and Indeterminacy in the Later Novels of Galdós», Anales Galdosianos, 15 (1980), 113-28, which convincingly supports the view of a single Torquemada. His analysis of the thematic structure reveals a naturalistic experiment that exposes the protagonist to forces pressuring him to change. The miser's inability to do so, through four volumes, reveals the authenticity of his character. Boudreau also denies the oft held view that Torquemada ends with the ambiguity of the protagonist's conversion. (N. del A.)
138
Cuadernos Hispanoamericanos, No. 250-252 (1970-71), pp. 374-81. (N. del A.)
139
The terms employed in this study are derived from the sixth chapter of Wayne Booth's The Rhetoric of Fiction (Chicago: University of Chicago Press, 1961), pp. 149-65. (N. del A.)
140
Benito Pérez Galdós, Torquemada en la hoguera, Torquemada en la cruz, Torquemada en el purgatorio, Torquemada y San Pedro (Madrid: Alianza Editorial, 1967), p. 12. All quotations taken from the Torquemada series are from this edition and will be cited in the text in parentheses according to volume and page number. (N. del A.)