91
G. A. Davies, «Galdós's El amigo Manso: En Experiment in Didactic Method», Bulletin of Hispanic Studies, 39 (1962), 16-32.
92
Robert H. Russell, «El amigo Manso: Galdós with a Mirror», Modern Language Notes, 78 (1963), 168.
93
References to El amigo Manso are to the Obras completas, ed. Federico Sáinz de Robles, IV, 6th ed. (Madrid: Aguilar, 1966). The page number is cited parenthetically in the text.
94
Leon Livingstone, «Interior Duplication and the Problem of Form in the Modern Spanish Novel», PMLA, 73 (1958), 395.
95
For a bibliographical parallel between Galdós and Máximo Manso, see W. T. Pattison, «El amigo Manso y el amigo Galdós», Anales Galdosianos, 2 (1967), 135-53.
96
The term «metalinguistic perspective» used in reference to multiple meaning in poetry comes from Robert Scholes, Structuralism in Literature (New Haven: Yale Univ. Press, 1974), p. 31.
97
Oxford English Dictionary.
98
Oxford English Dictionary and Webster's New Collegiate Dictionary.
99
Wayne C. Booth, The Rhetoric of Fiction, 2nd ed. (Chicago: Univ. of Chicago Press, 1967), p. i.
100
Kronik explains the semantic and structural unity of the novel's dual form as follows: «The novel's frame is an intrinsic member of the imaginative construct and does not outline decoratively the image it contains nor simply circumscribe that image spatially; instead it infuses the construct with meaning and delimits that meaning. It is a sign, superimposed on another sign, which latter can no longer be perceived independently from its informing structure» (pp. 74-75).