See ff. 34-35 for more of Alelí's idiosyncrasies. (N. del A.)

The manuscript of Un faccioso más y algunos frailes menos is not extant. (N. del A.)

The Tormento manuscript, ms. 21298, is housed in the Biblioteca Nacional in Madrid. For the most part, Galdós's handwriting is legible, but one must become accustomed to his abbreviations (especially of que) and to his habit of combining words. I have selected the 1906 edition (Perlado, Páez, y Compañía) of Tormento, primarily because it contains far fewer errors than the Aguilar editions. (N. del A.)

In this paper I am primarily interested in those segments of the manuscript that fill in certain gaps in the published text. Scholars of Tormento should know, however, that there are other differences between the manuscript version and the published text. Galdós apparently had trouble, for example, remembering the names of certain characters, for throughout much of the manuscript the novelist varyingly refers to Pedro Polo's colleague as Padre Nones, Padre Pastor, and Padre Gracián. There are likewise several curious plot twists such as the one involving the maid, Celedonia. In the printed text, this inept housekeeper survives a serious illness, but at one point in the manuscript she dies (f. 519), while at another she goes off to the Philippines with a sister who is shortly to be married (f. 318). A more absurd plot development is the attempt by the aging but eager Doña Cándida to make Agustín Caballero her next husband (f. 198). On the back of f. 2, there is a letter from Sánchez Calvo, the man to whom Galdós presented the original manuscript of Tormento, and who describes the condition of the manuscript and then mentions that the «maestro» wrote the dedication «en el momento de honrarme con su [illegible] donativo». The sisters' bedroom features a statue of Espartero mounted on horseback and a picture: El Suplicio de María Entrando en la Torre de Londres (f. 169). Galdós describes the area outside Pedro Polo's home in striking detail (f. 237). The background details of Francisco Bringas differ somewhat from those in the published text. He has never travelled outside of Madrid, he eats «garbanzos» every day, and he is a connoisseur of the drinking waters of Madrid (f. 25). Rosalía refuses to eat in the Fonda Española because that is where the liberals and revolutionaries «celebraban los convitazos» (f. 41). The relationship between Felipe Centeno and Agustín Caballero also differs from that in the published text. Caballero, weak in both geography and spelling, has to ask Centeno about the Danube river and the word «idiosyncrasy» (f. 201). At one point, Caballero even comes to an ironic conclusion: «Felipe, tú sabes más que yo» (f. 201). During Caballero's visit to Marcelina Polo, the priest's sister tears up the incriminating letters and throws the pieces over the balcony and consequently Caballero does not see the handwriting (f. 531). One reason why Ido del Sagrario desperately needs a job is that his wife has overspent the domestic budget: «Por concluir, mi mujer ha querido echar lujo, ha comprado muebles para la casa, abundante ropa» (f. 36 l). There is considerable confusion about what historical events Padre Nones has witnessed (f. 308, f. 269). In another plot twist, Caballero removes the best furniture from his new home, much to Rosalía's chagrin, and sets up house for his «querida», Amparo (f. 537). (N. del A.)

Lou Charnon-Deutsch writes: «Here again, the objects of the house are personified to give a grotesque air to the dwelling. Accordingly the reader is invited to associate the dilapidared kitchen and the entire apartment with the dubious moral character of Refugio who is the focus of attention» (39). (N. del A.)

The spelling, accentuation, and punctuation of the original manuscript have been retained. It should be noted that Galdós was not overly concerned with punctuation or accents. He frequently ended sentences with an arbitrary number of dots and often did not use accents, question marks, or exclamation points. (N. del A.)

Tormento, of course, was published in 1884. For more on this negative episode in the Cánovas administration, see Schnepf («Significance»). (N. del A.)

Compare this reaction to her response in the published text: «No sorprendió á Rosalía hallar á su primo en la casa tan á deshora. Había ido á ver cómo seguía el pequeñuelo» (72). (N. del A.)

I am referring here to the illicit affair between Pedro Polo and Amparo Sánchez Emperador that actually begins in Galdós's earlier novel, El Doctor Centeno. Textual evidence shows that their liaison begins on September 19, 1863. Tormento begins four years later in the fall of 1867. We should not forget that 1867 also marks both the arrival of Agustín Caballero in Madrid and the decline of Polo's fortunes. (N. del A.)

The fact that Galdós takes pains to elicit reader sympathy for Polo in the original manuscripts of both El doctor Centeno and Tormento is another indication that this contention by Gullón may be correct. See Schnepf («Galdós's El doctor Centeno Manuscript»). (N. del A.)