81
K. M. Sayers, «El sentido de la tragedia en Ángel Guerra», Anales Galdosianos, V, (1970), 81-85.
82
V. Colin, «Tolstoy and Ángel Guerra», in Galdós Studies, ed. J. E. Varey (London, 1970), 114-135.
83
Page references are to Benito Pérez Galdós, Ángel Guerra, Obras completas V, 2. ed. (Madrid, 1950).
84
M. Z. Hafter, op. cit., 41-42.
85
K. M. Sayers, op. cit., 81.
86
R. Gullón, op. cit., 107.
87
V. Colin, op. cit., 134.
88
The Historical Novel (Boston, 1963), p. 64 and elsewhere. For example, Scott on the jacobites, Balzac on the disentailment of the estates of the nobility (Les Chouans, Une Ténébreuse Affaire), Gogol's Dead Souls, Lampedusa's elegantly retrospective Il Gatopardo, the literature of the American South, etc.
89
Gerald Brenan, The Spanish Labyrinth (New York, 1971), p. 230.
90
Neither, for that matter, could Pereda on the opposite end of the city/country, liberal/traditional dichotomy. Where Galdós is forced by the pattern of events to pose the conflict as a tragedy, Pereda has recourse to a subjectively imposed idyll which neither represents nor reconciles the real tensions of the Spanish countryside in the nineteenth century.