41
Pepe enters the town of Orbajosa early in the novel to the sound of the aggressive pounding of his horse's hooves on the cobble-stone streets (p. 76). Valera's masculine protagonist, in contrast, does not make any similarly aggressive entrance sounds until he undergoes a decisive personality change. Then, after having been intimate with Pepita, he enters the casino in search of Count Genazahar, «dando taconazos recios, con estruendo y con aire de taco, como suele decirse. Los jugadores se quedaron pasmados al verle» (p. 187).
42
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.
43
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.
44
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
45
Literatura as System (Princeton: Princeton University Press, 1971), p. 128.
46
Walter T. Pattison, Benito Pérez Galdós (Boston: Twayne, 1975), pp. 63-65, 90-93.
47
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.
48
For details of an earlier draft of Gloria, written in all likelihood in 1872, see W. T. Pattison, «The Manuscript of Gloria», Anales Galdosianos, 4 (1969), 55-61. The final version of Part One was composed in late 1876. Galdós' claim to Clarín that Part Two was a regretted afterthought (see Leopoldo Alas, Galdós, Madrid, Renacimiento, 1912, p. 28) is patently untrue. Galdós alludes to the «segunda parte» in a letter to Pereda of December 27, 1876, that is, before publication of Part One. (See Carmen Bravo Villasante, «Veintiocho cartas de Galdós a Pereda», Cuadernos Hispanoamericanos, Nos. 250-52 [1970-1971], p. 13.) All references to Gloria in the present text will be to: Benito Pérez Galdós, Gloria (Madrid: Hernando, 1925), 2 vols.
49
Quoted by Francisco Pi y Margall and Francisco Pi y Arsuaga, Historia de España en el siglo XIX, VI (Barcelona: Seguí, 1902), 69.
50
Letter of March 10, 1877 («Veintiocho cartas», p. 19). For Pereda's reply, see Soledad Ortega, Cartas a Galdós (Madrid: Revista de Occidente, 1964), p. 54.