IDEALiSM VERSUS REALITY: GALDQS'S CRITIQUE OF PLATONISM IN FORTUNA TA Y JACINTA VERNON A. CHAMBERLIN . University of Kansas ·: N chapter five (book one) of Fortunato the consequences of Platonic idealism for I y Jacinta Gald6s has Juanito Santa Cruz the lives of the characters and moves from recall that one of the participants in his the humorous to the tragic; the second premarital merrymaking was Fortunata's consists in a more or less formal "curso de uncle, "a quien Haman Plat6n porque filosofia" by spokesmen-some humor- comia en un plato como un barrefio." 1 ous, some entirely serious-of the several Neither the behavior of Platon at the re- competing schools of thought. called party nor the explanation for the On the first level, the course begins with nickname inclines the reader to presume a our introduction to the (apparently) ridicu- serious identification of the character with lously named Plat6n, a character who is in the Greek philosopher Plato, and it is for every respect the opposite of his historical this reason that critics have been continual- counterpart, yet who serves as a distorting ly puzzled and have sought unsuccessfully mirror to the ideas the venerable Greek to explain Gald6s's use of the name. Wal- expressed. Such a procedure was consonant ter Pattison, for example, states: "Curi- with Gald6s's technique in several other ously he [Gald6s] gave the nickname novels-and in Fortunata y Jacinta itself- 'Plat6n' to a character of Fortuna/a y of having certain characters (such as "Ros- Jacinta . ... The Spanish personage has sini" Estupina and Napoleon-like Mauricia none of the spiritual grace of [Plato] la Dura) humorously reflect aspects of Karataev [in War and Peace], but it seems famous personages, while entertaining the that the name 'Plat6n' stuck in Don Beni- reader by means of the great ironical dis- to's memory from his reading of Tolstoy. " 2 tance between the thus individualized char- Pedro Ortiz Armengol, on the other hand, acter and the historical prototype. Bound says: "Algo forzada y vulgar nos parece la by the aesthetics of realism to provide an explicaci6n del apodo, segim Gald6s, quien accurate account of the historical events podrfa haberselo ahorrado sin que el texto that form the background of the novel, perdiera nada, pero el mote de «Plat6n» a Gald6s would have seen the opportunity un maleante esta ahi y creemos que no es for a rich play of ideas in counterpointing sino un eco mas de la hermandad de esta the First Spanish Republic with the Platon- novela con El Doctor Centeno, donde un ic model by means of a caricature of Plato personaje es apodado, afectuosamente himself. It is with respect to Plat6n's ob- esta vez, «Arist6teles»," p. 43 [italics servations concerning the First Spanish Re- added]. public, whose brief existence in the years It is my belief, however, that the text 1873-74 serves as backdrop to the chapter, would lose much if the nickname were that Gald6s begins subtly to evoke the po- omitted and that Gald6s did indeed intend litical concepts of the Dialogues. a reference to the famous Greek philoso- For Plato, the republic was the ideal pher, for when Plat6n reappears in chapter form of government (and his most impor- nine of·book one as the person who will tant dialogue is entitled the Republic); sell the false "Pituso" to Jacinta, definite, for Plat6n-stupid, insensitive, and unedu- albeit humorous connections with Plato cated-the Republic is the source of all and his philosophic concepts begin to be his difficulties and the object of much apparent, and as the novel proceeds, it verbal abuse. He believes that this "rep6- becomes clear that Gald6s intends to offer blica puerca, rep6blica cochina" (p. 112), the reader a critique of contemporary which he claims to have helped bring about ideas, developed on two levels, which will through revolutionary activities, owes him ultimately affirm the validity of his own employment; however, all important ad- realistic-naturalistic point of view. The ministrative officials have refused to give first level works through the text to show him a position, so that, at fifty years of

43 44 Vernon A Chamberlin Hlspanla 67 (March 1984) age, he is in every sense a complete voca- note is struck, this time with a hollow reso- tional failure. He sees himself as · having nance, for it has to do with the relation- been betrayed by the Republic, and. while ship between P/at6n's exterior appearance the level of his political "discourse" never and his inner qualities. Gald6s's character rises above a self-centered whine, the Pri- lacks "lo noble y hermoso" of the· soul, mera Republica in fact fell far short of which for Plato was more significant than Plato's ideal and would have been seen as exterior beauty (Republic, IV, p.443; IX, a betrayal by far more objective obs.ervers pp. 588-89). The fact that the handsome than the dismal Platon. 3 Platon looks in the glass and "no se veia The commentary on •Platonism extends bien'' may be explained in Platonic terms beyond the mere concept of a republic by the fact that he lacks the inner qualities here, however, for Plato asserted that each which Plato believed radiated from the best person has but one occupation for which he of people and were reflected back from is best suited and that in the ideal .state mirror-like surfaces. It is also significant (republic) he must be allowed to have only that Gald6s's character will work for a that occupation.4 Moreover, as one com- painter. Plato had little regard for (non- mentator has paraphrased Plato further, Platonic) painters (Republic, m, x, passim) "people do not ... choose the trade they and particularly singled out for criticism wish to practice, rather, they are given those who painted only imitations of sensi- the job for which they are best suited ... ble things. As Frederick Copleston ex- and a man will be happy only if he per- plains, "In the tenth book of the Republic, forms . . . the. job .for which he is .best Plato says artists are at the third remove suited."' Thus Gald6s has Guillermina from truth. For example, there is a specific Pacheco address herself to P/aton's voca- form of man, the ideal type that all indi- tional.problem: viduals of the species strive to realize, and «El consejo alla va. Tu no vales absolutamente there are particular men who are copies or para nada. No sabes ningun oficio, ni siquiera el de imperfect realizations of the specific types. pe6n, porque eres haragan y no te gusta cargar pesos. The artist now comes and paints a man, No sirves ni para barrendero de las calles, ni siquiera the painted man ..being an imitation of an para llevar un cartel con anuncios. . . . Y, sin em- imitation. " 6 bargo, desventurado, no hay hechura de Dios que no tenga su para que en este taller admirable del In the case of Gald6s's Platon, the artist trabajo universal; tu has nacido para un gran oficio, will be painting an imitation of a radically en el cual puedes alcanzar mucha gloria y el pan de imperfect imitation. In real life there is cada dfa. Bobalic6n, ;.no has cafdo en ello? ... nothing admirable about him; in no way iEres tan brutol ... (,Pero di, no te has mirado al espejo alguna vez? ;,No se te ha ocurrido? ... Pa- could he serve as a model to be imitated. reces lelo ... Pues te lo dire: para lo que tu sirves Thus the fact that he is frequently referred es para modelo de pintores ... ;,no entiendes? Pues to only as "el modelo" constitutes an ironic ellos te ponen vestido de santo, o de caballero, o . elaboration on the disparity between the de Padre Eterno, y te sacan el retrato . . . porque character Platon and Plato's ideal person. tienes la gran figura. Cara, cuerpo, expresi6n, todo lo que no es del alma es en ti noble y hermoso; llevas Nevertheless, Platon does follow Guiller- en tu persona un tesoro, un verdadero tesoro de mina' s advice and throughout the rest of lfneas . ; . Vamos, apuesto a que no lo entiendes.» the novel he is happy and successful. Gal- La vanidad aument6 la turbaci6n en que el bueno d6s, still in Platonic terms, says, "Platon de Izquierdo estaba. Presunciones de gloria le pasaron con rafagas de hoguera por la frente . . . Entrevi6 descubri6 al fin la ley de su sino, aquello un porvenir brillante ... iEl retratado por los pin- para que exclusiva y solutamente servia. Y tores! ... iY eso se pagabal Y se ganaban cuartos tuvo sosiego y pan, fue util y desempefi.6 un por vestirse, ponerse y jah! ... Platon se mir6 en el gran papel, y hasta se hizo celebre y se lo vidrio del cuadro de. las trenzas; pero no se veia bien .... (p. 286) disputaban y le traian en palmitas. No hay ser humano, por despreciable que parezca, Guillermina's statement reflects several que no pueda ser eminencia en algo, y aquel Platonic ideas, the first being that "no hay busc6n sin suerte, despues de medio siglo hechura de Dios que no tenga su para que de ·equivocaciones, ha venido a ser, por su en este taller admirable del trabajo uni..; hermosisimo talante, el gran modelo de la versal," a concept central to the Republic pintura hist6rica contemporanea" (pp. (n, p. 370). When she goes on to instruct 267-68). Gald6s's intimate friend, Concha- Platon in h~s ideal metier, another Platonic Ruth Morell, perceived that he was doing Gald6s's Critique of Platonism .in Fortunata y Jacinta 45 something playful with the character Pia- Even more unfortunate is the Platonism ton, .but did not understand what it was. of Nicolas's brother Maxi, which leads to In an undated letter on deposit at the Casa- disastrous results for both himself and Museo Perez Gald6s, she wrote, "iQue Fortunata. Those qualities lacking in Pia- soseria; y que . . . ! .Mira tu, que decir que ton, which Plato so admired, are present le decian Platon porque comfa en un plato in Maxi and are, in fact, responsible to .a muy grande . . . Solo de un celebre [sic] degree for his overidealization of Fortuna- tan deseafto como el tuyo 'pueden salir ta, which, in turn, is a factor in their en- tantisimas y tan grandisimas sandeces."' tering into an impossible marriage: She .might have added in the same vein Todo lo que en el alma humana puede existir de that only Gald6s could be so daring as to noble y hermoso brot6 en la suya, como los chorros make of a buscon an ideal example, a de lava en el volcan activo. Softaba con redenciones modelo. y regeneraciones, con lavaduras de manchas y con sacar del pasado negro de su amada una vida de Having established Platon as a point of meritos. El generoso galan veia los mas sublimes reference for what he regards as an essen- problemas morales en la ·frente de aquella infeliz tially antirealistic philosophy, Gald6s pro- mujer, y resolverlos en sentido del bien parecfale ceeds to develop the unfortunate .conse- la mas grande empresa de la voluntad humana. quences of Platonism through the lives of Porque su loco entusiasmo le impulsaba a la salva- ci6n social y moral de su idolo, y a poner en esta other characters. Father Nicolas ·Rubin obra grandiosa todas las energias que alborotaban (purposefully described by Gald6s in the su alma. Las peripecias vergonzosas de la vida de most negative of terms: physically, moral- ella no le desalentaban, y hasta media con gozo la ly, and intellectually) must, because of his hondura del abismo del cual iba a sacar a su amiga, arrogant misappropriation of the concept y la habfa de sacar pura o purificada. (pp. 362-63; italics added) of spiritual love, bear considerable re- sponsibility for Fortunata's unhappy mar- When Maxi's marriage fails, he is unable riage and ultimate death. Libidinously to face the reality that Juanita Santa Cruz "frigidisimo" (p. 424) and "glacial," he has impregnated his wife. He prefers to re- has no knowledge of "la maquina ad- treat into religious irrationality and aspects mirable de las pasiones" and is unable to of Platonism. It is important to note here see "la realidad del alma humana" (p. that Plato believed madness was a divine 425). Thus he is a completely inadequate gift (Phaedrus, p. 244) and that madness marriage counselor, who understands the caused by love is the greatest of heaven's final step of Platonic idealized love but blessings (Phaedrus, p. 245). Thus one is fails to see that it .is completely inappro- not surprised, as Maxi's illness deepens, priate in the case· of Fortunata. In his pre- to find his activities and statements re- marriage counseling he tells her: "El ver- flecting Platonism. He tells Fortunata in dadero amor es el espiritual, y la tinica very Platonic terminology that her preg- manera de amar es enamorarse de la per- nancy has been caused by "Pensamiento sona por las prendas del alma. . . . Diranle Puro." Maxi becomes preoccupied with a usted que el amor y la hermosura fisica "manias de emanaci6n del alma y de la son hermanos, y le hablaran a usted de doctrina que iba a predicar" (p. 759). Like Grecia y del naturalismo pagano. No haga the Greek master, he turns his attention usted caso de patraiias, hija mia, no crea not only to the origin but also the destiny en otro amor que en el espiritual, o sea en of the human soul. The ·following sen- las simpatias de alma con alma" (p. 425). tences, for example, recall Plato's ideas as Unlike volume one, where the expres- expressed in Phaedrus (pp. 245-49). "z,De sion of Platonic concepts was humorous d6nde emana el alma? z,Es parte de la sus- and caused no harm, volume two shows tancia divina, que se encarna con la vida y Father Rubin's advocacy as having tragic se desencarna con la muerte para volver a results. Here one sees the perversion of a su origen?" (p. 756). As Maxi's mental Platonic concept, the notion of spiritual health worsens he considers suicide. love, which has been absorbed into Chris- Among the poisons· he contemplates is tianity and misused by the celibate clergy hemlock: "La cicutina tiene una ventaja, (whom Gald6s, the perennial anticleric, y es que con ella se libero el senor de abominated) as a strategy for the domina- S6crates, lo que la hace venerable" (p. tion of intimate family life. a 767). Plato devoted two of his dialogues 46 Vernon A. Chamberlin Hlspanla 67 (March 1984) to the death of Socrates, ·one of which fo- atributos mas hermosos de la divinidad, reflejandose cuses prominently on Socrates's thoughts en ella como en un espejo; la adoro, porque no ten- in ·prison prior to his death. Gald6s not driamos medio de sentir el amor de Dios, si Dios no nos lo diera a conocer figurando que sus atributos only has Maxi express Socrates's final ideas se transmiten a un ser de nuestra raza. Ahora que no but also gives prominence to the words vive, la contemplo libre de las transformaciones que "calabozo" (p. 766) and "carcelero" ·(pp. el mundo y el contacto del mal le imprimfan; ahora 766, 767, 768). Like Socrates in prison, no temo la infidelidad, que es un razonamiento con las fuerzas de la Naturaleza que pasan junto a noso- Maxi looks upon death as a liberation, tros; ahora no temo las traiciones, que son proyecci6n and repeatedly says that it ·is necessary to de sombra por cuerpos opacos que se acercan; ahora kill the "bestia," the nondivine part of todo es libertad, luz; desaparecieron las asquerosi- human essence . which Plato also charac- dades de la realidad, y vivo con mi idolo en mi idea, terized as animalistic (Republic, 1x, p . . 829; y nos adoramos con pureza y santidad sublimes en el talamo incorruptible de mi pensamiento. (p. 937) Phaedrus, p. 254). Maxi, however, does not commit suicide Maxi himself, in spite of his great emo- because Fortunata leaves him. With the tional-mental turmoils, has at last arrived cause of his illness thus removed, he expe- at the ultimate step in Plato's metaphysical riences a remission of symptoms. Concur- scale: "Yo me liberte, y vivo en la pura rent with this change in his health, Maxi idea" (p. 937). He has left the cares of the passes (in the chapter entitled "La raz6n de world and the body so far behind that he la sinraz6n") from Platonism to Aristotel- dwells in the realm where, according to ianism, a school of thought developed by Plato, the soul emanates and then returns Plato's most distinguished pupil. Like after being freed upon the death of the Aristotle,9 Maxi gives emphasis to logic. body (Timaeus, p. 42)-"en las estrellas" "[El] trabajaba en la raz6n, entretenien- (p. 938). dose con ejercicios de 16gica, sentando For a person who demonstrates the trag- priilcipios y obteniendo consecuencias con edy of idealism gone astray, confinement admirable facilidad. En fin, que en la to a mental hospital is the only solution, marcha que llevaba el proceso cerebral and it is on this note that Gald6s closes his le sobrevino el furor de la /Ogica y se dice great four-volume novel. esto asi, porque cuando pensaba algo, In reflecting on Gald6s's reasons for ponia un verdadero empefto maniatico en mounting so severe an attack on Platonic que fuera pensando en los terminos usuales .-idealism, one may note that Gald6s,. in de la mas rigurosa dialectica. Rechazaba de describing Spanish life for readers of La su mente con tenaz repugnancia todo lo Prensa of Buenos Aires, had written in que no fuera obra de la raz6n y del calculo, 1885, "Nos hallamos, por desgracia, en la no desmintiendo esto ni en las cosas mas peor de las situaciones, pues si por un lado insignificantes" (p. 844). la f e se nos va, no aparece la filosofia que Maxi gains considerable attention and nos ha de dar algo con que sustituir aquella admiration through his astounding feats of eficaz energia. Faltan en la sociedad prin- logic. Most importantly, without asking a cipios de unidad y generalizaci6n. Todo single question of anyone, he is able to dis- esta en el aire ...." In the absence of such cover Fortunata's hiding place by an amaz- unifying principles, and with no commonly ing series of logical deductions. His tri- accepted understanding of social goods and umph is only temporary. In the next chap- social goals, "en esto de la filosofia hay ter all Maxi's rationality and logic come modas casi tan repentinas y fugaces como tumbling down when Fortunata drives him las de los sombreros de senora." 10 The back into the world of mental illness and writings of Kant, Fichte, Schelling, and into catatonic incapacity by promising him Hegel (the German Idealists) had created love, if he will but kill J uanito Santa Cruz "a renewal of Platonism," 11 which in turn and Aurora Samaniego. had generated considerable anti-Platonic After Fortunata's death Maxi's health reaction, and this controversy had spilled improves, but he still cannot face reality. over into aesthetics, for the purpose of Once again he can relate to her only in a art is, of course, well defined in Platonic Platonic, idealized manner. He says: doctrine and had, by the 1870s, resulted in adoro en ella lo ideal, lo eterno . . . como yo la an aesthetic Idealist movement of great vi- soi\aba y la veia en mi alma; la veo adornada de los tality. Thus Gald6s, in Fortuna/a y Jacinta Gald6s's Critique of Platonism in Fortunata y Jacinta 47

(written the .year after the La Prensa re- esto es para hobos" (p. 560). marks), both defends an implicitly aesthetic In a third cafe Juan Pablo finds a group idea and, in accord with that aesthetic, . of uneducated people whom he can domi- seeks to convey in .his novel the vacuum nate. His main thesis, which continues to of belief through which Spain was then reflect anticlericalism with "fuerza dia- passing. We have shown how, on the one lectica y entusiasmo" (p. 565), is t-hat level, he depicts the deleterious effects on "no hay Infierno ni Cielo, ni tampoco human lives of an abstract idealism; let alma ..., ni nada mas que la Naturaleza us look now at the second level of the que nos rodea, inmensa, eterna, animada "curso," the means by which he renders por la fuerza." Others agree that fuerza is the anarchic world of ideas of his time. In the key concept; one lady replies: "Llamelo the course of this "curso," he will examine usted hache . . . la f uerza, el alma . . . , both the ancient, original philosophical la ... como quien dice, la idea." To which movements which contended with Platon- Juan Pablo replies, "con desesperaci6n ism and the nineteenth-century adapta- de maestro, Dofia Nieves, por amor de tions thereof. Dios .... Que se me esta usted volviendo In the opening chapter of volume three, muy hegeliana" (p. 566). 13 Gald6s focuses upon the costumbrismo of Later, Maxi Rubin, when he is identify- Madrid cafe life. Concerning the. popular ing ideationally with Plato and Socrates, nightly tertu/ias, Gald6s says, "En un .cafe defines the opposing philosophical school se oyen las cosas mas necias y tambien of his brother Juan Pablo as one of "fuerza las mas sublimes. Hay quien ha aprendido y materia" (p. 757). This was the doctrine todo lo que sabe de filosofia en la mesa of the Atomists (the best known of whom de un cafe, de lo que se deduce que hay were Leucippus and Democritus) which quien en la misma mesa pone catedra existed prior to and concurrent with Plato- amena de los sistemas filos6ficos" (p. 552). nism in ancient Greece. 14 However, Fuerza Gald6s's main tertuliano, Juan Pablo y materia is also the title of a book by the Rubin, decides to become something of a naturalist and philosopher Ludwig Buech- philosopher. Gald6s explains the process ner, which became very popular throughout and the unusual reason behind the decision. Europe after its publication in 1855. It is "Un dia se despert6 pensando que de bi a quite appropriate for the idealistic, Plato- empollar algo de sistemas filos6ficos y de __ oriented Maxi to react, define, and deni- historia de las religiones. El m6vil de esto grate his brother's philosophical doctrine- no era simplemente el am or al saber, sino because the Idealists were vigorously at- 1 un maligno deseo de tener argumentos con tacked by the materialistic Buechner. ' que apabullar a los curas de la mesa pr6xi- Very importantly, Juan Pablo's doctrine ma, que solo por ser curas, aunque sueltos, is beyond the comprehension of the ter- le eran antipaticos, pues odiaba a la clase tulianos, as Gald6s illustrates with delight- entera desde aquella trastada que los sota- ful humor in the following interchange be- nas le hicieron en el Norte" (p. 557). 12 tween Juan Pablo and some women at his Juan Pablo holds his own in disputes table. The point in question is a definition against the clerics until one night he casts a of the key term, nature: slur upon the reputation of the Virgin Mary. Such a fight ensues that Juan Pablo -La Naturaleza somos nosostros los pecadores, todos fragiles. iVerdad, don Juan Pablo? is forever barred from the cafe. Moving to -Los pecados son Naturaleza-apunt6 otra-; por a second cafe (el Siglo), Juan Pablo finds eso a los hijos de pecado les Haman naturales ..., already established there a group of "fil6- claro. sofos de cafe" (p. 560). However they are -jVaya un Hoque me arman ustedes! really spiritualists and he does not spend Una de las placeras que presentes estaban tenia muy abultado el seno. En cierta ocasi6n, estando con- many nights with them. "Entendia Juan fesandose, le dijo· el cura: «Sea usted modesta en el Pablo que esto de ir corriendola de mundo vestir y no haga ostentaci6n de esas naturalezas . ..» en mundo despues que uno se muere es -«(.Que, sefior?»-«Eso, la delantera.» Par esto, muy aceptable; pero lo del periespfritu al oir hablar de Naturaleza y de pecado, crey6 que se referfan a aquellas partes que de be cubrir el no lo tragaba, ni la guasa de que vengan recato, y dijo escandalizada: . Socrates y Cervantes a ponerse de chachara -jVaya unas conversaciones indecentes que sacan con nosotros cuando nos place. Vamos, ustedes! (p. 567) 48 Vernon A. Chamberlin Hispania 67 (March 1984)

Just as Atomism failed ·to compete with El amor es la reclamaci6n de la especie que quiere Platonism in ancient Greece, so the doc- perpetuarse, y al estimulo de ·esta necesidad tan conservadora como el comer, los sexos se bu scan y trine of ,"fuerza y materia" (as becomes las uniones se verifican por elecci6n fatal, superior apparent in later chapters of Gald6s's y extrafia a todos los artificios ·de la . sociedad. novel) also fails to compete with Plato- Mirarse un hombre y una mujer. iQue es? La nism as a continuing theme in Fortuna/a y exigencia de la especie que pide un nuevo ser, y este Jacinta. After .· showing also that Juan nuevo ser reclama de sus probables padres que le 16 den vida .. Todo lo demas .es musica, fatuidad y Pablo's doctrine offers no consolation palabreria de los que han querido hacer una Sociedad and that current events interest the tertu- en sus gabinetes, fuera de las bases immortales de lianos more, Gald6s says, "No siguieron la naturaleza. i Si esto es claro co mo el agua! Por estas conversaciones filos6ficas" (p. 567). eso me rio yo de ciertas leyes y de todo el c6digo penal social del am or, que es un farrago de tonterias Philosophy again becomes important in inventadas. (p. 617) · chapter four of volume three when Evaris- to Feijoo becomes Fortunata's protector. In spite of his radical views concerning In contrast to the anti-Platonic philosophy marriage, Feijoo gives Fortunata the fol- of Juan Pablo Rubin (with his fuerza y lowing practical advice: "Y en un caso ex.:. materia), Gald6s presents by means of tremo, quiero decir, si te ves en el dispara- Feijoo a practical school· of philosophy dero de faltar, guardas el decoro, y habras that was also competitive with Platonism hecho el menor mal .posible .... El deco- in ancient Greece. Feijoo is Gald6s's in- ro, la correcci6n, la decencia, este es el carnation of modern-day pragmatic Soph- secreto, compaiiera'.' -(p. 638). And the ism (although not so labeled by Gald6s). 17 "fil6sofo practico" (p. 641) concludes his The chapter in which Feijoo is Fortunata's advice by telling Fortunata that it is neces- protector and teacher is significantly en- sary to "salvar la forma" (p. 639). Here titled "Un curso de filosofia practica." he is using ·one of the .most important The term "curso" is significant, as is words of Plato's entire philosophy (and Gald6s's subsequent use of the words "lec- which Gald6s had used earlier in an im- ciones" and "enseiiar" (p. 601), because, portant way in the penultimate chapter of in Plato's time the Sophists were the prin- Marianela (1878]) 19 in a completely dis- cipal teachers of the young. In contrast to torted manner. First, however, Gald6s sets Socrates and Plato, who were interested a humorous tone: in great universal · truths, the Sophists Detuvose [Feijoo] asustado, a la manera del ladr6n emphasized a relativistic, practical adapta- que siente ruido, y se volvi6 a poner la mano sobre tion to life. 18 Like the Sophist, Protagoras, la cabeza, como invocando sus canas. Pero sus canas in Plato's dialogue of the same name, Fei- no le dijeron nada. Al punto se envalenton6, y recobr6 la seguridad de su lenguaje, diciendo: «Tu joo is a much older man-in fact, the eres demasiado inexperta para conocer la impor- oldest of Gald6s's principal characters. He tancia que tiene en el mundo la forma. iSabes tu begins his "lecciones" by telling Fortunata lo que es la forma, o mejor dicho, las formas? Pues that she must be practical in all things. no te dire que estas sean todo, pero hay casos en que son casi todo. Con ellas marcha la sociedad, no te However his instructions regarding love, dire que a pedir de boca, pero si de la mejor manera sex, and society come to be the most que puede marchar. jOh! Los principios son una prominent in the chapter. Feijoo (much as cosa muy bonita; pero las formas no . lo son menos. did Gald6s himself), believes that "el Entre una sociedad sin principios y una sociedad sin casarse es estupido, y me ire para el otro formas, nose yo con cual me quedaria.» (p. 638) barrio sin apearme de esto. jQue quieres! Of course, Feijoo is as inexperienced as Yo he visto mucho mundo .... A m·i no Fortunata regarding the true meaning of me la da nadie. Se que es condici6n precisa the conceptforma-that is, in the Platonic del amor la no duraci6n, · y que de todos sense. Plato's forms are ideal entities and los que se comprometen a adorarse mien ~ any spatial-temporal object is merely a tras vivan, el noventa por ciento, creetelo, shadow of a form. 20 However it is not a los dos aiios se consideran prisioneros inappropriate, and in fact it is very clever, el uno del otro, y darian algo por soltar for an incarnation of a rival philosophical el grillete. Lo que llaman infidelidad ·no es school to appropriate a key term from mas que el fuero de la Naturaleza, que Platonism and invert its meaning in order quiere imponerse contra el despotismo to propagate his own views. Gald6s here social" (p. 617). Feijoo says further: demonstrates both ·his own thorough Gald6s's Critique of Platonism in Fortunata y Jacinta 49

knowledge of philosophy and his skill as a .Platonic thought, and repeatedly used them creative artist by once again developing a in his novels, Gald6s saw clearly their par- character who gives no hint whatsoever ticular danger for modern men and women: of having read ancient Greek philosophy, they kept people from facing reality. but very articulately presents the views As noted above, the vigorous renewal of of one of its major schools (Sophism), Platonism in the latter half of the nine- especially vis-a-vis its main competitor teenth century had also created problems (Platonism). for Gald6s and other writers of the realistic It is helpful at this point in the story for school. Idealism (with a large component Fortunata to experience the lessons of an of Platonism) ·passed directly from the older, practical person. She does become a realm of philosophy to that of artistic crea- changed, more mature person and is better tion. In the mid-1870's in polemical articles able to cope with the vicissitudes in store and in the Ateneo debates concerning ideal- for her during the rest of the novel. Feijoo ism versus realism, the champions of ideal- as a modern-day Sophist offers a humor- ism invoked the teachings of the German ous bonus and may be considered a step philosophers Krause, 23 Hegel, and Schel- in the "[presentaci6n] amena de los siste- ling, and the German-inspired French mas filos6ficos" which Gald6s had hinted philosopher, Victor Cousin. Concerning at earlier in volume three (p. 552)~ the latter, George Boas has said, "Art, he We have already mentioned that Maxi believed, is neither an imitation of nature Rubin passes from Platonic idealism to a (sensationalism) nor edification (moral- period of emphasis on logical deduction. ism), but rather a vision of 'the infinite.' Here (as noted) one is inclined to think of Though all arts utilize matter, they com- Aristotle (Plato's pupil), who is often municate to it 'a mysterious character called ·· "the Father of Logic." Aristotelian- which speaks to the imagination and to ism constituted the third and last school of the soul, liberates them from the real, and . thought which competed with Platonism.21 bears them aloft either gently or violently It is significant that Gald6s chooses to to unknown regions.' " 24 make Aristotelianism the last of the philo- Such ideas were the exact opposite of sophical schools found in his novel since what Gald6s was trying to accomplish with this is what occurred in ancient Greece. his own novelistic endeavors. Moreover It also concludes Gald6s's own "[presenta- the idealists were quite aggressive in carry- ci6n] amena de los sistemas filos6ficos" ing the fight to the realists (both in the (p. 552). 1870's and then again, after the advent of ' We have seen that Juan Pablo's doctrine naturalism, in the 1880's).B And we may of fuerza y materia (ancient Atomism and be sure that Gald6s was aware of this modern Buechnerism) had no real appeal polemic, for within Fortunata y Jacinta and passed readily from ·the scene. While itself he reports that in April 1876 two of Maxi's conversion to Aristotelean-like his characters (one a literary critic) are logical analysis provided an opportunity having long discussions "sobre el arte for a display of intellectual brillance, it realista y el ideal, y la emoci6n estetica" all came tumbling down when Maxi had to (p. 871). face an important real-life problem. Thus In all probability Gald6s personally at- of· the four ancient Greek philosophies tended the Ateneo debates concerning real- (which still formed the basis of philosophi- ism and idealism and certainly he soon cal thought in Gald6s's time), our author became a committed champion of the real- indicates that only practical Sophism and ist aesthetic in its counterattack against Platonism have any real appeal ·for the the idealistic writers. (It has been shown modern man or woman.22 We have also that he answered Pepita Jimenez (1874], seen that Feijoo's "curso de filosofia prac- which has a lot of Renaissance-derived tica" did help Fortunata to become a Neoplatonism, with the socially realistic stronger, happier person and to cope better Dona Perfecta (1876]. 26 Moreover, in with life's situations. It turned out that Marianela (1878], Gald6s demonstrated only Platonism had a tragic influence .on that it is imperative to pass beyond the the lives of Gald6s's ·protagonists. Al- metaphysical state [including Platonism] though he knew well the main concepts of to a positivistic, realistic approach to life. 21 50 Vernon A .. Chamberlin H/spania 67 (March 1984)

And, as is well known, this was a campaign 'Charles H. Pattison, Plato's The Republic (Lin- that . Gald6s continued to champion coln: Cliff's Notes, 1963), p. 25. Plato, however, throughout his long career by means of does not exclude the possibility of upward social mobility, if one acquires the requisite skills for many characters in numerous novels.) changing to another occupation. 6A History of Philosophy (Garden City: Double- 1886-87' when writing about the 1870' s day, 1962), 1 (Part 1), 178. r 7 -which was a time of considerable phil- Gilbert Smith, "Gald6s's Tristana and Letters from Concha-Ruth Morell," Ana/es Galdosianos, osophical ·and aesthetic ferment-Gald6s, X, (1975), 99. the dedicated realist, included much of this 'Nicolas Rubin is also motivated by personal am- in Fortunata y Jacinta. Because he was bition, vanity, and a desire for praise by other personally affected by this activity, and clerics (pp. 396-97). felt so strongly about it, it is understand- 'See, among others, "Logic" and "Aristotle," The Encyclopedia of Philosophy (New York: Mac- able that he has left the reader a record millan, 1967), 1v, 512-17, and 1, 151-56. 0 of his opinions. Previous studies, colored I William H. Shoemaker I Las cart as desconocidas by the excitement of discovery, tend to de Ga/dos en "La Prensa" de Buenos Aires (Ma- leave the reader with the impression that drid: Ediciones Cultura Hispanica, 1973), p. 152. "Walter Brugger and Kenneth Baker, eds., "Ger- because Gald6s knew Platonism so well man Idealism," Philosophical Dictionary (Spokane: and used it extensively he must have been Gonzaga Univ. Press, 1972), p. 152. favorably disposed to it. 28 Our study, how- 12 Juan Pablo had lost his employment in the Carlist ever, shows that, at least at the time he movement, he believed, because of clerical influence. 11 was writing Fortunata y Jacinta, Gald6s For Hegelian influence on Fortunata's psychologi- cal and spiritual development, see Sherman Eoff, (now firmly committed to the realist- The Modern Spanish Novel (New York: New York naturalist aesthetic) held the opposite opin- Univ. Press, 1961), p. 139. ion. Not only did he make fun of the many 14For details concerning the Atomists, see Fredrick contending philosophical trends (which Copelston, A History of Philosophy (Garden City: Doubleday, 1962), I, 89-92. changed as quickly as the style of ladies' "For details, see "Buechner," The Encyclopedia hats), but he also gave an extra and par- of Philosophy (New York: Macmillan, 1967), 1, ticular attention to Platonism, creating a 411-13. denigrating caricature of its founder and 16Juan Pablo defends his doctrine against all com- theri demonstrating, in the fate of two of ers, until he is effectively silenced by the cafe's blind piano player. With great sadness, the blind his most important characters, the detri- man insistently asks if it is really true that there is mental potential of Plato's concepts. · no life after death. Deeply moved by the poor man's miserable physical and emotional state, Juan Pablo replies: "Le dire a usted ...; si no fuera por estas NOTES bromas, ;.c6mo se pasaba el rato?" (p. 567). After this encounter Juan Pablo speaks no more about *I wish to thank the General Research Fund Com- his philosophical doctrine. mittee of the University of Kansas for making this "This probably comes from Gald6s's awareness study possible. It is also a pleasure to express my that Sophism had a perjorative meaning in everyday gratitude to Prof. Anthony Genova (Dept. of Philos- usage, as it does today: "Raz6n o argumento apa- ophy, Univ. of Kansas) for encouragement, help, rente con que se qui ere defender o persuadir lo que and counsel with various aspects of this study. es falso" (Real Academia Espanola, Diccionario 'Benito Perez Gald6s, Fortunata y Jacinta, ed. de la lengua espaitola [Madrid: Espasa-Calpe, 1970), Pedro Ortiz Armengol (Madrid: Hernando, 1979), p. 19th ed., p. 1213). As early as Dona Perfecta (1876), 184. All subsequent references are to this edition Gald6s had Pepe Rey criticize "la superstici6n, el and will be noted in the text. sofisma y las mil mentiras del pasado." Obras (Ma- 2Benito Perez Ga/dos (Boston: Twayne, 1975), drid: Aguilar, 1960), IV, 422. In Fortunato y Jacinta p. 92. itself, Gald6s has Maxi say to Plat6n, "Veras c6mo 1Gald6s never allows the reader to identify with destruyo tus sofismas y mentiras" (p. 848). Platon. Even in the last chapter of the novel, he is "The Platonists, of course, were interested in the still distancing the reader from his character: "Oia logic of truth, while the Sophists were interested in Fortunata los ronquidos del venerable Platon cual the logic of persuasion. While other philosophers mon6logo de un cerdo" (p. 876). "were in the main disinterested seekers after truth, 4 The "Republic," Dialogues of Plato, trans. B. . . • the Sophists . . . were not primarily intent on Jowett (New York: Random House, 1937), n, 370. objective truth; their end was practical and not specu- All subsequent references (from Plato's writings) are lative. And so Sophists became instruments of in- to this edition (volumes one and two) and will be struction and training in the Greek cities, aiming at noted in the text (following the norm in Platonic teaching the art and control of life" (Copelston, scholarship of citing the original pagination, noted in A History of Philosophy, I (Part 1), ·103-06). the book's margins, rather than the page numbers of "Obras comp/etas (Madrid: Aguilar, 1960), 4th ed., this particular edition). IV, 748. Gald6s's Critique of Platonism in Fortunata y Jacinta 51

10Plato regarded form as the transcendent idea or 16Vernon A. Chamberlin, "Dona Perfecta: Gal- universal essence; Feijoo, of course, means only d6s's Reply to Pepita Jimenez," Ana/es Ga/dosianos, external, formal appearance. For a thorough explana- 15 (1980), 11-21. tion of Plato's doctrine of forms, see Copelston, 17 See, among others, Joaquin Casalduero, Vida y I (Part 1), 188-231. obra de (Jaldos (Madrid: Gredos, 1961), p. 212; 11 For details, see Copelston, 1 (Part 2), 9-120. Walter T. Pattison, Benito Perez Ga/dos and the 11Gald6s's earlier sympathy for Krausismo (so Creative Process (Minneapolis: Univ. of Minnesota noticeable in such works as Dona Perfecta and La Press, 1954), pp. 118-20; and Brian Dendle, "Galdc;s, familia de Leon Roch) had cooled by 1885. In his Ayguals de Izco, and the Hellenic Inspiration of column for La Prensa, he listed it among the failed 'Marianela,'" Ga/dos Studies, II (London: Tamesis, philosophies of the nineteenth century: "Cuando 1974), 1-11. Sanz del Rio import6 de Alemania la filosofia Krau- 11First Mario E. Ruiz. published "El idealismo sista se form6 un plantel de j6venes de merito, que plat6nico en 'Marianela' de Gald6s,'' (Hispania, 53 hicieron iglesia, micleo, familia. Pero el Krausismo [1970], 870-80), which was, in some respects, rebutted, se desacredit6 pronto, no se si par las exageraciones modified, and expanded by Brian Dendle in "Gald6s, de sus sectarios o par falta de solidez de sus ideas" Ayguals de Izco,'' pp. 1-11. Then Gustavo Correa (Shoemaker, Las cartas, p. 152). published his panoramic study, "Gald6s y el pla- 13See note 22. tonismo" Ana/es Galdosianos, VII (1972), 3-17, which 1•"Cousin, Victor," The Encyclopedia of Philos- mentions Fortunata y Jacinta in passing (one para- ophy (New York: Macmillan, 1967), 1, 247. graph on Maxi Rubin). Most recently, James H. 15For details, see Gifford Davis, "The Spanish Hoddie has demonstrated Platonism in La deshere- Debate over Idealism and Realism before the Impact dada: "The Genesis of La desheredada: Beethoven, of Zola's Naturalism," Publications of the Modern the Picaresque and Plato,'' Ana/es Ga/dosianos, Language Society of America, 84 (1969), 1649-56. XIV (1979), 27-50.

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