111
Even though my analysis is concerned primarily with Tristana herself, it should be noted that a lack of psychological coherence characterizes Lope and Horacio as well. All three of the novel's major characters live in a psychological twilight zone between art and life, between creativity and stability. They overcome their split condition only by killing a part of themselves; thus, in effect, they succumb to the split in their existence. (N. del A.)
112
Benito Pérez Galdós, Tristana, 2nd ed. (Madrid: Alfaguara, 1971), p. 118. Subsequent page references are to this edition and are given parenthetically in the text. (N. del A.)
113
Eoff, p. 53. (N. del A.)
114
Kay Engler offers a Jungian reading of Tristana in her excellent study, «The Ghostly Lover: The Portrayal of the Animus in Tristana», Anales Galdosianos, 12 (1977), 95-109. In Engler's reading, as in mine, Tristana and its protagonist are defined primarily by what is missing. (N. del A.)
115
Noted by Sánchez, p. 123. (N. del A.)
116
See my Espacio urbano y novela; Madrid en «Fortunata y Jacinta» (Madrid: Porrúa, 1985). (N. del A.)
117
Hilario Peñasco and Carlos Cambronero, Las calles de Madrid (1889), Edición facsímil (Madrid: Comisión Organizadora de la Feria del Libro Antiguo y de Ocasión, 1984), p. 180. (N. del A.)
118
Pedro de Répide, Las calles de Madrid, 4th ed. (Madrid: Afrodisio Aguado, 1981), p. 192. (N. del A.)
119
Ibid. (N. del A.)
120
We should recall that the search for inexpensive housing was also what drove Doña Lupe to Chamberí in Fortunata y Jacinta. (N. del A.)