21
Susanne K. Langer, Feeling and Form (New York: Charles Scribner's and Sons, 1953), 101.
22
José Ortega y Gasset, Obras completas, II (Madrid: Revista de Occidente, 1963), 310-311.
23
Benito Pérez Galdós, La Fontana de Oro, in Obras completas [Novelas, I], introducción de Federico Carlos Sáinz de Robles (Madrid: Aguilar, 1971), 73. In future references to this novel, the page number and the abbreviation «FO» will appear in the text.
24
Carey, op. cit., 89-90.
25
See T. Folley, «Clothes and the Man: An Aspect of Benito Pérez Galdós' Method of Literary Characterization», in Bulletin of Hispanic Studies, XLIX (1972), 30-39. Folley concentrates principally on clothing in Galdós' Torquemada novels, but his comments are important to consider in reading all of Galdós' works.
26
Bachelard, op. cit., 78
27
For example: Isidora de Rufete's bed, which resembles a catafalque; Rosalía de Bringas' putting up a portrait of Isabel II alongside a portrait of an «illustrious» ancestor, don Juan de Pipaón, and removing a painting of Christ; or Víctor Cadalso's mysteriously locked trunk in Miau.
28
Graham Greene, The Honorary Consul (London: The Bodley Head, 1973), 48-49.
29
E. M. Forster, Howard's End (New York: Vintage Books, 1921), 161.
30
Dickens frequently uses the bird cage to represent imprisonment, confinement or frustration. One thinks immediately of Miss Flite in Bleak House, who promises to release her encarged birds when her Chancery suit is complete, or of the bird cage in the Fleet Prison where Mr. Pickwick is confined after Mrs. Bardell's suit, which cage Sam Weller calls «Veels within veels, a prison in prison». Charles Dickens, The Pickwick Papers (London: Oxford University Press, 1948), 571.