231

His articles on the war in La Esfera in the autumn of 1915 will be readily recalled (cf. Shoemaker, La Crítica Literaria de Galdós, Madrid, Ínsula, 1979, p. 67). (N. del A.)

232

Cf. sections of Torquemada y San Pedro and Nazarín (Shoemaker, The Novelistic Art of Galdós, III, Valencia, 1982, pp. 139, 141, 148, 168. (N. del A.)

233

Galdós had always been fascinated by ships (Shoemaker, The Novelistic Art of Galdós, I, Valencia, 1980, p. 27. (N. del A.)

234

See Shoemaker, Los Prólogos de Galdós, México, 1962, pp. 28-30, 79-98. (N. del A.)

235

Title page of the edition of the text of the play by Perlado, Páez y Cía, Madrid, 1909. (N. del A.)

236

Celia was indeed first performed on December 9, 1913, but Marta, twice named thus, is beyond my identification. Galdós' next estreno was Alceste, on April 21, 1914, of which he orders a copy sent to his friend Estrañí (16-IX-14). (N. del A.)

237

The Huelva and Barcelona letters were dictated, a note written on each of them declares, «a una persona de su confianza. La firma es autógrafa». (N. del A.)

238

This is further evidence of the primordial importance of the plan in Galdós' novelistic art (cf. Shoemaker, The Novelistic Art of Galdós, I, Valencia, 1980, passim, especially pp. 158-161. (N. del A.)

239

Stephen Miller, El mundo de Galdós: Teoría, tradición y evolución creativa del pensamiento socio-literario galdosiano. Estudios de literatura y pensamiento hispánicos. Sociedad Menéndez Pelayo: Santander, 1983, 192 pp. (N. del A.)

240

Thomas R. Franz, Remaking Reality in Galdós: A Writer's Interactions With His Context. Athens, Ohio: Strathmore Press, 1982, 114 pp. (N. del A.)