Anales Galdosianos
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EXMO. CABILDO INSULAR DE GRAN CANARIA Casa-Museo Pérez Galdós CORNELL UNIVERSITY H. C. Berkowitz Fund ANALES GALDOS1ANOS ANO XXÍH 1988 Fundador j Director Honorario: Rodolfo Cardona Director: John W. Kronik Consejo de Redacción Alicia G. Andreu Peter B. Goldman Middlebury Coilege Syracuse University Alfonso Armas Ayala Agnes M. Guitón Casa-Museo Pérez Galdós Temple University Peter A. Bly, Jr. Sebastián de la Nuez Queen's University Universidad de la Laguna Laureano Bonet Hans Hinterhauser Universidad de 'Barcelona Universitat Wien Jean-Francois Bourel Antonio Ramos-Gascón Universití de Rennes 2 University qf Minnesota Harold L. Boudreau Geoffrey Ribbans University of Massachmetts Bromt University Francisco Caudet Eamonn J. Rodgers Universidad Autónoma de Madrid • Trinity Coilege, Duhlin Vernon A. Chamberiin Gonzalo Sobejano University o/Kansas Columbia University Recensiones: Peter A. Bly, Jr. Asistente de Redacción: Debra A. Castillo REDACCIÓN Y ADMINISTRACIÓN: Department of Romance Studies/Goldwin Smith Hall Cornell University Ithaca, NY 14853-3201 USA ANALES GALDOSIANOS AÑO XXIII 1988 Anales Galdosianos, en colaboración con la Asociación Internacional de Galdosistas, publica anualmente artículos, reseñas y documentos, en español o en inglés, sobre la obra de benito Pérez. Galdósy otros autores del siglo diecinueve y textos para la historia intelectual de la España de Galdósy sobre los problemas teóricos de la novela realista. Los manuscritos deben ser enviados en original y una copia; debe incluirse un sobre y el importe correspondiente para su posterior devolución. Anales Galdosianos sigue las últimas normas de documentación del MLA Handbook. PRECIO DE SUSCRIPCIÓN Y VENTA: Individuos: US S 10.00 Estudiantes: $ 6.00 Instituciones: % 15.00 Diríjanse los pedidos en las Islas Canarias a: Casa-Museo Pérez Galdós, Cano, 6, 35001 Las Palmas de Gran Canaria. Acogida a la franquicia postal e inscrita corno correspondencia de segunda ciase en la oficina de correos Producido por Editorial Castalia Zurbano, 39. Madrid Impreso en Artes Gráficas Soler, S. A. La Ollvereta 28. 46018 Valencia I.S.S.N 0S6S,MV¿t I.S.B.N. 84-7039-607-2 Depósito legal: V. 1.882 - 1991 Printed in Spain ÍNDICE ESTUDIOS AKIKO TSUCHIYA. History as Language in thc First Series of the Episodios nacionales: The Literary Self-Creation of Gabriel de Araceli 11 VERNON A. CHAMBERLIN. "Vamos a ver las fieras": Animal Imagery and the Protagonist in La desheredada and Lo prohibido 27 JEANNE P. BROWNLOW. Modes of Figuration in Miau 35 NICOLE MALARET. El bestiario de Miau 47 MARYANN WEBER, S.N.D. Pragmatic Ploys and Cognitive Processes in ha incógnita 57 WILLIAM M. SHERZER. Narrative Play and Social Context in Torquemada en ¡a hoguera 67 D. J. O'CONNOR. The Recurrence of Images in Ángel Guerra 73 JOSÉ MANUEL GONZÁLEZ HERRÁN. Un nihilista ruso en la España de la Restauración: Isaac Pavlovsky y sus relaciones con Galdós, Oller, Pardo Bazán, Pereda 83 NOTAS PEDRO ORTIZ ARMENGOL. Hacia un texto depurado de Fortunata y Jacinta 109 URSZULA ASZYK. La obra de Benito Pérez Galdós en Polonia 117 MASAE KOCHIWA. Los estudios sobre Galdós en Japón 119 DOCUMENTOS MATILDE L. BOO. Galdós: Periodismo y novela {La desheredada, ha incógnita y tres artículos de La Prensa de Buenos Aires) 123 BRIAN J. DENDL& Galdós, La Jeunesse, and Osear Wilde: Enrique Gómez Carrillo's Tribute to Galdós .. .. 133 RESEÑAS HAZEL GOLD. Galdós and His Critics, by Anthony Percival 139 JULIÁN ÁVILA ARELLANO. El estreno de "JBleetra", de Pérez Galdóst en Sevilla, por Fernando Hidalgo Fernández 143 J. J. ALFIERI. Vision and the Visual Arts in Galdós, by Peter A. Bly 145 DAVID HENN. Naturalismo y esplritualismo en la novelística de Galdós y Pardo Bazán, por Mariano López-Sanz 149 HANS HINTERHÁUSER. Galdós. The Early Histórica! Novéis, by Brian J, Dendle 150 - PETER A. BLY. Torquemada in the Tire, by Benito Pérez Galdós. Translated by Nicholas Round 152 • —. Torquemada, by Benito Pérez Galdós. Translated by Francés M. López-Morillas . 152 CAROLYN RICHMOND. La Pense'ephilosophique et religieuse de Leopoldo Alas (Clarín)—1875-1901, par Y van Lissorgues 155 jEAN-FRANgois BOTREL. Clarín en su obra ejemplar, por Gonzalo Sobejano 158 STEPHANIE SIEBURTH. Teoría general de la novela: Semiología de "La Regenta," por María del Carmen Bobes Naves 160 RODNEY T. RODRÍGUEZ. La novela del xix Del parto a la crisis de una ideología, por Juan Oleza . 162 ESTUDIOS HISTORY AS LANGUAGE IN THE FIRST SERIES OF THE EPISODIOS NACIONALES: THE LITERARY SELF-CREATÍON OF GABRIEL DE ARACELI Akiko Tsuchiya Las letras pasaban por mi mano, trocándose de brutal y muda materia en elocuente lenguaje escrito. ¡Cuánta animación en aquella masa caótica! En la caja, cada signo parecía representar los elementos de la creación, arrojados aquí y allí, antes de empezar la grande obra. (El 19 de marzo j el 2 de mayo) Critics of Galdós have learned to read the Novelas españolas contemporáneas as autonomous works of literature that are conscious of their own status as fiction and as language. In conttast, they have largely overlooked the literary and linguistic dimensions of Galdós's Episodios nacionales: criticism on these novéis, especially on the first series, has been limited primarily to sociological investiga- tions.' Hans Hinterháuser, one of the first to author a book-length study of the Episodios, attempts to piece together Galdós's visión of history by referring to the author's biography and to the possible sources for his works. Antonio Regalado García reduces all of Galdós's historical novéis to the author's political ideology. Yet another critic, influenced by Lukács's model of the historical novel, views the Episodios as a document of social and historical evolution (Rodríguez).2 Even Brian Dendle, who recognizes the importance of the fictional elements in these novéis, considers these elements to be incompatible with the presentation of a coherent historical visión.3 Hayden White, in his work on nineteenth-century historiography (Metahis- tory), underscores the fundamentally literary nature of all historical writing.4 The historical text, he claims, is ultimately a verbal structure that the historian constructs through the use of the poetic imagination. The üterariness of Galdós's "historical novéis" is made even more explicit by the presence of a fictional narrator who mediates between the reader and the history within the novéis.5 As Ricardo Guitón observes in his discussion of the first series, the sociological critic, all too eager to reconstruct the author's visión of history, has repeatedly ignored the autonomy of the narrator, who invents his own versión of history ("Los Episodios" 299). Galdós's Episodios, commonly considered "historical novéis" in the Lukácsian sensé, often expose the literary and linguistic nature of historical writing, which, in the end, is an act of creation.6 These novéis blur the separation between "history" and "fiction" through their awareness that history is ultimately language and that, as such, it can exist only as the written word of a narrator.7 The fictional narrator of the entire first series of the Episodios is the adult Gabriel de Araceli, whose writings are an account of his participation in the major events of Spanish history between the Battle of Trafalgar (1805) and the end of 12 AKIKO TSUCHIYA the Napoleonic invasión (1813). As is true with all autobiographical accounts, the narrative arises out of the space between the writing subject (the adult Araceli) and the written self (the protagonist. of the events narrated).8 In writing a personal and national history, Gabriel de Araceli repeatedly calis attention to bis role as inventor of fictions, of which his written self forms a part. The entire notion of historical reconstruction is therefore undermined not only by the mediatory presence of a fictional narrator but also by his awareness of the fictionality of his narrative. Gabriel de Araceli's self-creation in the first series of the Episodios depends directly upon the transformation of his semiotic consciousness: the protagonist, who at first maintains a fundamentally innocent visión of the signs of the world around him, gradually becomes an actor in this world by learning to manipúlate its duplicitious signs. ILa corte de Carlos IV, the second novel of this series, marks the protagonist's awakening to the arbitrary nature of the sign through his contact with the courtly society of Madrid, represented by the metaphor of the theater. Although Gabriel's education in the world does not stop at the end of this novel, his increasingly sophisticated visión of the sign later in the first series is a result of his role as actor—in theater and society alike-in ha corte de Carlos IV. His mastery of language enables him to créate narratives through which he learns to deceive and to control others around him. Finally, his semiotic education, which begins in this second novel, is completed only through the act of writing his autobiography. It is possible, therefore, to read the novéis of the entire first series as a self-conscious account of the protagonist-narrator's semiotic initiation, which culminates in the writing of his memoirs. By viewing these works from this perspective, one can justify Galdós's use of the first-person narrative, which Dendle criticizes as lacking in coherence and in plausibility (32-33). Having abandoned his positrón in Cádiz as Don Alonso's page, Gabriel enters the service of an actress, Pepa González, in Madrid. Not yet wise in the ways of the world, he is cast into the center of the intrigues and conspiracies of the "inhospitalaria Corte" (1: 255). Pepa's profession is in itself significant, as acting involves the fabrication of signs that are meant to deceive the spectator, drawing him or her into the artistic illusion—an illusion that leads the spectator to believe that the signs on stage correspond to a referent in the real world, when such a referent does not really exist.