141

Benito Pérez Galdós, Obras completas, ed. F. C. Sainz de Robles (IV, 3rd. ed. Madrid, 1954). All references are to this edition. (N. del A.)

142

Theodore Lipps «Empathy and Aesthetic Pleasure», Aesthetic Theories: Studies in the Philosophy of Art, ed. Karl Aschenbrenner and Arnold Iseberger (Englewood Cliffs, N. J., 1965), p. 410. Lipps' essay was first published in 1905. (N. del A.)

143

Ibid., p. 411. (N. del A.)

144

Cardona, p. 36. (N. del A.)

145

Ibid., p. 42. (N. del A.)

146

Ibid., pp. 38-39 (n. 16). (N. del A.)

147

Ibid., p. 38. (N. del A.)

148

Ibid., p. 38. (N. del A.)

149

Casalduero, p. 54. I strongly suspect -and this is extraneous to the analysis of the work itself- that Galdós focused on this negative aspect of Spanish society because of his great youthful hostility toward reactionary forces in Spain. After all it is often characteristic of rebellious youth to exhibit greater hatred of evil than love of good. This is why Casalduero uses the phrase «poseído por el tema y la figura» (p. 54) and why Eoff speaks of Galdós' own hostility and youthful rebelliousness as influential in the writing of Doña Perfecta (pp. 8, 116, 154). (N. del A.)

150

Many critics have commented on the novel's abstract tendencies. Two of the most interesting and characteristic interpretations along this line are found in Casalduero, pp. 54-57, and Gullón, 23-56. (N. del A.)