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Anales galdosianos [Publicaciones periódicas]. Año XII, 1977
recounts Tristana's first meeting with Horacio, the narrator ponders its significance: « ¿Qué dijo a
Tristana el sujeto aquel? No se sabe. Sólo consta que Tristana le contestó a todo que sí, sí, sí! cada
vez más alto, como persona que, avasallada por un sentimiento más fuerte que su voluntad, pierde en
absoluto el sentido de las conveniencias... Fue su situación semejante a la del que se está ahogando y
ve un madero y a él se agarra, creyendo encontrar en él su salvación... Voces hondas del instinto de
salvación eran las breves y categóricas respuestas de la niña de don Lope; aquel sí pronunciado tres
veces con creciente intensidad de tono, grito de socorro de un alma desesperada... » (p. 1555)
Jung explains that as a woman projects her animus outward onto a real man (or a succession of
men), the animus, too, undergoes four stages of development: «He first appears as a personification
of a mere physical power, for instance, as an athletic champion or 'muscle man.' In the next stage he
possesses initiative and the capacity for planned action. In the third phase, the animus becomes the
'word,' often appearing as a professor or clergyman. Finally, in his fourth manifestation, the animus is
the incarnation of meaning. On this highest level he becomes a mediator of the religious experience
whereby life acquires new meaning». 174
Initially, Tristana seems most aware of Horacio's physical presence. He seems, at first, larger than
life -taller, bigger, handsomer, perhaps older and more experienced than he really is. (Tristana is
surprised to learn, upon closer inspection, that the man she had supposed to be thirty is really only a
boy.) In the early stages of their relationship, Horacio is jokingly called « señó Juan », referring to
his brute strength as a kind of popular hero. At this point, Tristana's perception of Horacio as physical
power reflects her experiencing her own power to escape from Don Lope. In addition it is Horacio
who takes the initiative in starting the relationship, who acts to draw her out of herself and away from
Don Lope. The early stages of their relationship are characterized by an abundance of movement, as
Tristana and Horacio ride, walk and run incessantly through the streets, plazas and parks of Madrid.
Tristana herself grows bolder and more open in defiance of Don Lope's restrictions on her freedom
of movement.
The next stage of their relationship is dominated by the word. Movement has stopped, as they pass
hours together talking incessantly, alternately listening and speaking, pouring out their souls to one
another. Horacio becomes Tristana's teacher, allowing her to use her intellect, introducing her for the
first time to art as a means of self-expression. Tristana herself becomes more self-confident as she
174 M.-L. von Franz, op. cit. , p. 184.
131