21
Galdós refers to Caballuco as Pepe's «troyano antagonista» just after speaking of Caballuco's horse and just before Pepe calls him «un animal» (p. 173). Caballuco, of course, is just as hollow morally and intelectually as the Trojan horse was in reality.
22
Unlike Valera's positive, happy title protagonist, who early in the novel decides to stop wearing black mourning clothes (pp. 89, 124), Doña Perfecta always does so.
23
For a discussion of the increasing animalization of these characters and its coordination with the intensification of references to blackness in the final chapters of Doña Perfecta, see Vernon A. Chamberlin, «Doña Perfecta: Light and Darkness, Good and Evil», Galdós. Papers Read at the Modern Language Symposium, Mary Washington College of the University of Virginia (Fredricksburg, 1967), pp. 57-70
24
Literatura as System (Princeton: Princeton University Press, 1971), p. 128.
25
Walter T. Pattison, Benito Pérez Galdós (Boston: Twayne, 1975), pp. 63-65, 90-93.
26
Vernon A. Chamberlin and Jack Weiner, «Galdós' Doña Perfecta and Turgenev's Fathers and Sons: Two Interpretations of the Conflict Between Generations», PMLA, 86 (1971), 19-24; Stephen Gilman, «Novel and Society: Doña Perfecta», Anales Galdosianos, 11 (1976), 15; and Juana Truel, «La huella de Eugénie Grandet en Doña Perfecta», Sin Nombre, 7, Núm. 3 (1976), 105-15.