11
Ibid., p. 761.
12
Ibid., p. 790.
13
Ibid., p. 674. The parallel is also apparent when Balzac suggests that «le désordre du mobilier» may be attributed to the disorder of her life.
14
Ibid., p. 843.
15
Ibid., p. 684.
16
Ibid., p. 683.
17
Ibid., p. 678. This is emphasized again a few pages later when Balzac describes her as a «fille de dix-huit ans qui ne savait ni lire ni écrire, à qui toute science, toute instruction était nouvelle...», p. 690.
18
Ibid., p. 703.
19
VI, p. 1660.
20
As I understand it, narremes are, as their suffix implies, standardized narrative building blocks which appear and reappear interchangeably throughout the genre. I refer instead to a private «language» accumulated by Galdós in the course of his own reading experience and in terms of his own interests and temperament. Unlike the structuralists who would talk about the text in and of itself, I am here concerned with the making of a major text by a major author. How was Fortunata y Jacinta possible? How did Galdós' individual form of consciousness make it possible? These are questions that it is not possible to answer either scientifically or definitively, but they are better questions for those of us who are concerned with humanism than those currently in fashion.