81
S/Z, p. 4.
82
Chad C. Wright, «'La clave del enredo': Documents and Drama in Tormento», paper presented at the Galdós Symposium of the 1983 Kentucky Foreign Language Conference; Lou Charnon Deutsch, «Inhabited Space in B. P. Galdós' Tormento», Anales galdosianos, 10 (1975), 35-43; also, Anthony Percival, «Melodramatic Metafiction in Tormento», Kentucky Romance Quarterly, 31 (1984), 153-60.
83
11 See Nimetz's remarks on this passage, pp. 105-6.
84
Free indirect speech, such a frequent narrative recourse in Galdós' works, is another manifestation of continuity within discontinuity, since it is at once one voice and two -the merger of the narrator and the character, yet retaining individual traits of both. See Roy Pascal, The Dual Voice (Manchester Univ. Press, 1977) and Guillermo Verdín Díaz, Introducción al estilo indirecto libre en español, Revista de Filología Española, Anejo 91 (Madrid: Real Academia Española, 1970).
85
The relationship between Amparo and Refugio here is parallel to that between Rosalía and Amparo previously; here Amparo sermonizes just as hypocritically as does Rosalía. These types of inversions mark particularly interesting alternations of domination/subordination and speech/silence.
86
Like mirrors, bronzes and other household items, porcelains reinforce symbolic repetitions in this scene and others. Compare to p. 1459 where we read of Bringas that «sus dedos poseían secreta virtud para pegar una pieza de fina porcelana que se hubiera hecho pedazos» and his role as mediator, even if an ambiguous one, between Amparo and Agustín.
87
In view of Rosalía's subsequent adultery for money in La de Bringas, we might view this episode as her contamination by the liquid spilling on her dress.
88
Gullón, p. 113, writes that the narrator believes in Amparo's death here: «El narrador llega a decir: 'se desmaya, se duerme, se muere... este cree a Amparo muerta, cuando no lo está». But his passage describes Amparo's thoughts, through free indirect specch (see note 11 above). Observe the use of three verbs here, as well.
89
Gullón, p. 113.
90
Tormento (Madrid: Alianza Editorial, 1971), p. 242.