231
The author gives an abundant list of the «commentators» and acknowledges the existence of what he apparently considers a more specialized study than his, by Gilberto Paolini, An Aspect of the Spiritualistic Naturalism in the Novels of B. P. Galdós: Charity (New York: Las Americas Publishing Co., 1969), derived also from a Ph. D. dissertation of the same title (University of Minnesota, 1965; Dissertation Abstracts, XXVII [1967], 1832-A). A number of studies dealing with charity in Galdós either followed the publication of Penuel's book or were contemporaneous with it. Two of these are; J. E. Varey, «Charity in Misericordia», in Galdós Studies (London: Tamesis, 1970), 164-194; Peter A. Bly, «Egotism and Charity in Marianela», Anales galdosianos, VII (1972), 49-66. Others related to the subject, concentrating on Nazarín, Halma, and Misericordia, appeared in Anales galdosianos, II (1967), including that of Robert Russell, «The Christ Figure in Misericordia, (A Monograph)», 103-130. Gustavo Correa's study, «La santificación por la caridad en Misericordia», had appeared already in his book El simbolismo religioso en las novelas de Pérez Galdós (Madrid: Gredos, 1962), pp. 195-215. Other studies on Misericordia, including those of Casalduero, Del Río, and Amado Alonso, are well-known, and the numerous additional studies associated in one fashion or another to the theme of charity in Galdós need not be listed here.
232
The author states that his purpose in so doing is to exclude sexual love. Even though amorous love and charitable spirit may obviously co-exist or overlap, the delineation between the two would appear a reasonable line to draw in Galdós. The point may be occasionally substantiated by details from the novels, as in an incident from Misericordia, in which Benina makes the distinction. Countering the jealous fits of the enamored Almudena, she describes her motives in helping the destitute Frasquito Ponte as charitable rather than amorous: «Explicole lo del galán bunito, procurando convencerle de que sólo un sentimiento de caridad habíale conmovido a llevarle a la casa de la señora, sin que mediase en ello el amor ni cosa tocante a las relaciones de hombre y mujer.» Obras completas (Madrid, 1950), Vol. V, p. 1941.
233
See note 2. Bly himself, familiar with Penuel's work in dissertation form, refers to it as an «in depth» treatment, for which reason we quote his statement on it: «In a recent, unpublished Ph. D. dissertation, [...] this important theme in Galdós's work has been treated in depth. But Penuel's references to Marianela are not numerous and are limited to pointing out the differences between Teodoro's and Sofía's attitude to charity, and showing how Florentina's final efforts to help Nela fail. The conclusions of this article will, I hope, go beyond these somewhat superficial observations. But I would like to agree wholeheartedly with Penuel when he declares: 'Charity has been disclosed to be a major theme in Marianela' (321).»
234
See note 2.
235
Since Penuel's focus is a purpusely intrinsic one, another area which he leaves almost untouched is the relation of his theme to certain outside factors, not only previous studies and biography, but possible influences or relevant comparisons -Tolstoy, the Bible and other religious writings, krausismo, Don Quijote (G. Paolini's book also considers Herbert Spencer and Charles Dickens)- be these accepted, modified, rejected, or ignored by the author as he composes his novels. Vera Colin, for example, sees Galdós as unquestionably familiar with Tolstoy's doctrine of non-resistance to evil, but standing in marked disagreement with it. See especially «A note on Tolstoy and Galdós», Anales galdosianos, II (1967), 155-168, and «Tolstoy and 'Angel Guerra'», in Galdós Studies (London, 1970), pp. 114-135.
236
Penuel does make at least two observations in this respect, in addition to acknowledging a certain underlying consistency in the conception of charity: first, that Galdós moved from the negative, even belligerent, approach of attacking the antitheses of true charity (e.g., Doña Perfecta, Gloria) toward a more positive emphasis on charity as a virtue (culminating in Nazarín and Halma and in Misericordia); second, that the novelist gains in subtlety in his handling of themes of charity.
237
Libros y autores modernos (Los Angeles, 1933), p. 328. Also quoted by Penuel, p. xii.
238
[Esta nota repite el contenido de la anterior pero no la suprimimos por no modificar la correlación numérica. (N. del E.)]