131
Cf. pp. 1572-73.
132
This statement contains an echo not only of Tristana's earlier rejections of matrimony (pp. 1549, 1572), but also of Horacio's grandfather tying him to the leg of a table (p. 1557).
133
See Chamberlin, pp. 84-85.
134
Especially in chapters 17, 18, and the first two paragraphs of 19.
135
The Catholic Encyclopedia (New York: Appleton, 1911), Vol. 12, p. 139.
136
Willi Apel and Ralph Daniel, The Harvard Brief Dictionary of Music (Cambridge: Harvard Univ. Press, 1966), p. 62.
137
Tristana continues so completely passive and defeated that «la señorita no tuvo nada que oponer al absurdo proyecto. Lo aceptó con indiferencia... y casi no se dio cuenta que la casaron» (p. 1611).
138
Although Galdós owned the sheet music of several of Beethoven's sonatas, I take his statement in Tristana, «todas las sonatas de Beethoven», to indicate that he was thinking generically, rather than following the sonata form movement of a specific composition. (In his drama Electra, Galdós has one of his characters say, «Ya sabe usted que el gran Beethoven es mi pasión. Me había dicho que Electra le interpreta bien, y esperaba oírle la 'Sonata Patética'...» [I, x]. Therefore this sonata, opus 13 [which Galdós possessed and which has been used by other authors] would seem a likely first choice, if one wanted to examine all the individual sonatas and their possible relationship to Tristana.)
139
Benito Pérez Galdós, Tristana in Obras completas, III (Madrid: Aguilar, 1977), p. 349. All subsequent references from this work are cited in parenthetical form in the text.
140
Germán Gullón, «Tristana: literaturización y estructura novelesca», Hispanic Review, 45 (1977), 13, 27. At different moments the careful reader will be reminded of Cervantes, Dante, Fernando de Rojas, Molière, Calderón de la Barca, Moratín, the story of Tristan and Isolde, Baltasar de Alcázar, Lazarillo de Tormes, and previous works by Galdós himself. Besides Gullón, several other critics in particular have traced the wealth of intertextual reference in Tristana: Francisco Ayala, «Galdós entre el lector y los personajes», Anales Galdosianos, 5 (1970), 5-13; Suzanne Raphaël, Pref., Tristana, bilingual ed. (Paris: Aubier Flamarion, 1972), 13-26; Roberto G. Sánchez, «Galdós's Tristana, Anatomy of a 'Disappointment'», Anales Galdosianos, 12 (1977), 111-127.