111
Rodolfo Cardona, «Galdós and Realism», in Galdós: Papers Read at the Modern Foreign Language Department Symposium: Nineteenth Century Spanish Literature (Fredericksburg, Virginia: Mary Washington College, 1967), pp. 71-94; Ricardo Gullón, «Introducción» to edition of La de Bringas (Englewood Cliffs, New Jersey: Prentice-Hall, 1967), pp. 16-24; Julian Palley, «Aspectos de La de Bringas», Kentucky Romance Quarterly, 16:4 (1969), pp. 339-348; Denah Lida, «Galdós y el 68: dos perspectivas», in Perspectivas de la novela española de los siglos XIX y XX, ed. Alva Ebersole (Valencia: Albatros, 1979), pp. 37-48; and Diane F. Urey, Galdós and the Irony of Language (Cambridge: Cambridge University Press, 1982), pp. 48-52, a detailed linguistic and rhetorical analysis of the passage. I wish to thank Martha G. Krow-Lucal for sharing her encyclopedic knowledge of the European novel and history of the nineteenth century.
112
Michael Nimetz, Humor in Galdós (New Haven: Yale University Press, 1968), pp. 62-63.
113
Bly, pp. 89-92; Nimetz, pp. 93-94, 101.
114
Mark Twain, The Adventures of Huckleberry Finn (New York: New American Library, 1959 [1964], p. 105. All further references are to this edition and page numbers will be indicated in the text, preceded by «Twain».
115
William H. Shoemaker, Los artículos de Galdós en «La Nación», 1865-1866, 1868 (Madrid: Ínsula, 1972), p. 418. Further references to this collection will be indicated by page number in the text, preceded by «Nación». I have modernized spelling in passages cited. A more familiar example of Galdós' evaluation of contemporary ecclesiastical architecture appears in Fortunata y Jacinta, II, v: «Las Micaelas, por fuera». Before describing the modest and clean simplicity of Las Micaelas, he describes the «cursilerías de esta novísima monumentalidad», attributable to the influence of French religious orders. Las Micaelas is one of many new buildings that have «cierto carácter de improvisación, y en todos, combinando la baratura con la prisa, se ha empleado el ladrillo al descubierto, con ciertos aires mudéjares y pegotes de gótico a la francesa». He reveals an ambivalent attitude toward the effects of «aseo y arreglo que encantan la vista, y una deplorable manera arquitectónica», whose «yesos deleznables» offer an inadequate alternative to the native architectural styles, «los canceles llenos de mugre, las capillas cubiertas de horribles escayolas empolvadas». As in his Nación artieles, Galdós laments the absence of an appropriately dignified style executed in adequate materials: the absence of decorum in its profoundest aesthetic sense.
116
Urey, p. 51, discusses the thematic aspects of this chiaroscuro.
117
It is a pleasure to thank my colleagues Michael Doudoroff and Maria Virzi for many sensitive insights regarding Beethoven's sonatas and Galdós' Tristana, which I have incorporated into the present study.
118
Many novels, especially in the nineteenth-century, have large components of oppositions, tension, conflicts, repetitions, and a final solution without any internal references to music. Various methods of analyzing these structures could be improvised. A good starting point might be the dynamics of a formal debate, plus aspects of dramatic structure. Another might evolve from a study of novelistic and rhetorical theory, for some hold that «historically musicians have followed writers and rhetoricians in finding ways to give shape to their art». (Robert K. Wallace, «The Murders in the Rue Morgue and Sonata-Allegro Form», Essays on Form: Literature and Music, ed. Nancy Anne Cluck [Provo: Brigham Young University Press, 1981], p. 182.)
119
E. M. Forster, Aspects of the Novel (New York: Harcourt, Brace, 1927), p. 168.
120
I am indebted to Martha Heard for calling this reference to my attention and pointing out that it differs from what Galdós said in the printed prologue. (Proofs are on deposit at the Casa-Museo Pérez Galdós, Las Palmas.)