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See Vernon A. Chamberlin, «Idealism Versus Reality: Galdós' Critique of Platonism», Hispania, 67 (1984), 43-51. One must question why Chamberlin believes that Galdós was seeking to reproduce the history of Greek philosophy in his characters' perspectives and how the reader's appreciation of the novel is altered with knowledge of this pattern. (N. del A.)



Benito Pérez Galdós, «Fortunata y Jacinta» (MS Spanish 93, Houghton Library, Harvard University), p. 14. (N. del A.)



Galdós remembered his original association of books and eroticism and once did use it. In the middle of a paragraph concerning Juanito's amorous appetites and his periodic interest in his wife, the narrator says: «Un texto desdeñado de puro sabido vuelve a interesar cuando la memoria principia a perderle y la curiosidad se estimula» (Benito Pérez Galdós, Fortunata y Jacinta, ed. Pedro Ortiz Armengol [Madrid: Hernando, 1979], p. 225. All subsequent references are to this edition and will be noted in the text). (N. del A.)



Sarah E. King, «Food Imagery in Fortunata y Jacinta», Anales Galdosianos, 18 (1983), 80. (N. del A.)



King, p. 80. (N. del A.)



Stephen Gilman, «The Birth of Fortunata», Anales Galdosianos, 1 (1966), 74. (N. del A.)



Vernon A. Chamberlin, Galdós and Beethoven: Fortunata y Jacinta, A Symphonic Novel (London: Tamesis, 1977), pp. 21-48. (N. del A.)



Galdós also followed this same musical precedent when writing Tristana. For details, see Vernon A. Chamberlin, «Tristana: Sonata Form and Narrative Transformation», Kentucky Romance Quarterly, 31 (1984), 201. (N. del A.)



Los españoles pintados por sí mismos (Madrid: I. Boix, 1843), I, 94. (N. del A.)



Recently an 1857 Russian-language travel book concerning Spain was re-edited with illustrations, including the one of the hungry man looking at meat: V. P. Botkin, Pisma ob ispanii (Letters Concerning Spain), ed. B. F. Egorov and A. Zviguilsky (Leningrad: Nauk, 1976), p. 16. (N. del A.)