References
- See the following essays: “The Naturalistic Content of La desheredada Manuscript,” forthcoming in Anales Galdosianos; “The Significance of the petardos in Galdos's La desheredada,” forthcoming in Romance Notes.
- Urey , Diane F. 1982 . Galdós and the Irony of Language 17 Cambridge University Press. . writes the following about Miquis: “He is intelligent and level-headed, honorable and humble; we see, moreover, that he has a profound sense of irony. Isidora's continual rejection of him and his good advice metonymically represents her rejection of honor and practicality.”
- Galdós , Benito Pérez . La desheredada, Ms. 21783. Biblioteca Nacional, Madrid. Accentuation, spelling, and punctuation are that of the manuscript. All further references to this document will be cited parenthetically. For the sake of clarity, I will give part and page
- 1972 . “The Medical Background to Galdos' La desheredada,” . Anales Galdosianos , 12 : 67 – 77 . See Gordon's comments in, Schmidt's argument is found in “Manuel Tolosa Latour: Prototype of Augusto Miquis,” Anales Galdosianos 3 (1968): 87–93
- By late 1880, rumors of an imminent change in government in Spain were running rampant. Sensing their opportunity, supporters of the liberal Sagasta were eager to bring into public view the many transgressions that were taking place in Canovas's Liberal-Conservative party. In February of 1881, the Canovas government, weakened severely by scandal, collapsed and Sagasta assumed power. For more information on this volatile moment in Spanish history, see Earl R. Beck, A Time of Triumph and of Sorrow: Spanish Politics During the Reign of Alfonso XIII874–1885 (Carbondale, Ill.: Feffer & Sons, 1979).
- For a more complete examination of Galdós's use of binary pairs, see William Risley's article, “La desheredada: EI ‘nuevo’ Galdos y el comienzo de de la gran novela espanola de la decada de 1880,” Boletin de la Biblioteca de Menendez Pelayo (enero-diciembre, 1987): 197–212.
- Galdós , Benito Pérez . 1909 . La desheredada Madrid : Libreria de Perlado, Páez, y Comp. .
- 1977 . “The Evolution of Encamacion Guillen in La desheredada,” . Anales Galdosianos , 12 : 21 – 29 . In addition to my essay, “The Naturalistic Content of the La desheredada Manuscript,” see Martha Krow-Lucal's fine article
- 1968 . In “Galdós's La desheredada and Naturalism,” . Bulletin of Hispanic Studies , 45 : 285 – 98 . Eamonn Rodgers writes the following about Rufete: “Mariano's story, and especially Isidora's failure to influence his development for the better, exemplifies more clearly, I think, than that of any other character in the novel naturalist ideas on personality” (pp. 288–89)
- In addition to the La desheredada manuscript, I have had the opportunity to read eleven other Galdós manuscripts—nine from the second series of episodios nacionales, Tormento, and Tristana. I am also familiar with the manuscript work done by Weber (Miau), Pattison (Gloria), Cardona (Doña Perfecta), and Boo (La de San Quintin). I can safely say that the differences between the La desheredada manuscript and the published text are far greater than in any of the other eleven cases.
- We can certainly discount H. Chonon Berkowitz's contention about Galdos's writing habits made in Perez Galdos: Spanish Liberal Crusader (University of Wisconsin Press, 1948), p. 114: “Generally speaking, however, Galdos made few changes or corrections. Almost always the first thought was a happy one, and the original expression the appropriate one. Now and then he compressed. Occasionally he substituted a popular turn of speech for a venerable phrase. Sometimes he rearranged several paragraphs. The completed manuscript was so neat that it hardly looked like a first draft. But it always was. Galdos never rewrote a whole page.”