41
This apparent error in Galdós' system of repeating characters may be an indication that he had not vet solidified his ideas of carrying characters and their circumstances from one novel to another in an organized sense. The resurrection of the Porreño women in the later novel may also be a youthful demonstration of Galdós' feeling of authorial power -to dismiss his literary creations and then later to re-present them, as if they were puppets, and he, the puppet-master.
42
Vernon A. Chamberlin, Galdós and Beethoven: «Fortunata y Jacinta», A Symphonic Novel (London, Támesis, 1977)
43
Anton Felix Schindler's, Biographie von Ludwig van Beethoven, appeared in German en 1840, in English in 1841 an inFrench (Histoire de la vie et de l'oeuvre de Ludwig van Beethoven) in 1860. The most recent edition: Anton Felix Schindler. Beethoven as I Knew Him, Donald McArdle, ed., Trans. Constance S. Jolly, New York, 1972. References and quotations below are to the latter edition and indicated with the abbreviation «SCH».
44
It appears that the piece played by the Marquesa's grandson in the Pathétique sonata, Opus 13. See below (p. 28).
45
Benito Pérez Galdós, La desheredada, Alianza Editorial, Madrid, 1967, p.65. Subsequent references indicated with «D» and page number.
46
Alexander Wheelock Thayer. Ludwig van Beethovens Leben Hermann Deiters, ed. Revised and completed by Hugo Rieman, 5 vols. Leipzig, 1907-1917, vol. 3, p. 381 and ff. The Ateneo de Madrid does not possess the «Commentarii...»
47
In this study I deal only with the relationship of the structure of Part One of the novel to that of the ballet. However, Part Two seems to have been modelled thematically and in other ways -chapter by chapter- on Part One.
48
Paul Nettl, Beethoven Handbook, New York, 1956, p. 181. In following references: «NET».
49
See: Ludwig van Beethoven, Prometheus Ballet, Opus 43, Edwin F. Kalmus, New York, n. d. All references to the score are to this edition.
50
In spite of the literal meaning of «Sanguijuela» this character's name seems intended to underline her role as keeper of human leeches. Later references by Bou to Isidora and Mariano as «sanguijuela» confirm this.