51
Of course, «Relimpo» also refers to the state of the family's coffers.
52
Robert Graves, The Greek Myths, 2 vols. Hammondsworth, Middlesex, 1955, vol. I, p.57.
53
The author recognizes his indebtedness to Irene A. Sharp (Lecturer in 'Cello, an Francisco State University and the San Francisco Conservatory of Music) for her aid in resolving questions related to the sonata form and in correcting usage of musical terminology in this section.
54
See: Gustavo Correa, Realidad, ficción y símbolo en las novelas de Pérez Galdós. Ensayos de estética realista, Bogotá, 1967, 51-62 and José Montesinos, Galdós, vol. 2, Madrid, 1969, 19-20. The score of Opus 13 is among the works of Beethoven to be found in Galdós' private library. See: José Pérez Vidal, Galdós, crítico musical, Madrid-Las Palmas, 1956, p. 209 (Cited from H. Chanon Berkowitz, La biblioteca de Pérez Galdós, Las Palmas, 1951).
55
The reader will bear in mind that the Second Theme is in a minor key; however, it «touches on» or «alludes to» B flat major each time that it is played.
56
Benito Pérez Galdós, Gloria, Hernando, Madrid, 1972, p. 28. Subsequent references indicated with «G» and page number.
57
Part Two of Isidora´s story may be read as that of a «pícara» going from «master to master». Mariano moves through a similar pattern. Once initiation into the picaresque has been completed in Part One, there seems to be little room for the characters' reform. However, this kind of «determinism» in not of the kind treated by those trying to show links between this novel and Naturalism.
58
Protagoras, Trans. W. K. C. Guthrie and Republic, Trans. Paul Shorey, in Plato. The Collected Dialogues, Edith Hamilton and Huntington Cairns, Ed. New York, 1961. Subsequent references as «PRO» and «REP».
59
I should like to thank professor A. I. Watson, and particulary Dr. G. M. Scanlon, for their extremely helpful commenets on the original version of this article. (N. del A.)
60
«La función del trasfondo histórico en La desheredada», AG, I (1966), 53-62.