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Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 wanted: Tristana's complete enslavement, her total physical and emotional dependence on him. Don Lope's very real mental anguish over her health, his frantic efforts to cure her, in spite of whatever latent guilt feelings may be present, are designed primarily to make Tristana feel eternally grateful, to make her morally indebted to him forever. One can only wonder, then, if Don Lope, too, should not be seen as the incarnation of a part of Tristana herself, an incarnation of her own inertia, self-doubt and lack of will, her inability to realize her «sacred conviction», the same inertia which manifests itself physically as her incapacitating illness? In the inner drama taking place in Tristana's psyche, is Don Lope the negative animus which takes revenge on the Ghostly Lover which was leading her toward realization of her self, by leading her back, through loss of ego, to unconsciousness? 177 This inner unconscious drama precedes, and indeed, foreshadows the resolution of the external drama, the fateful encounter with Horacio in which Tristana must ultimately come to terms with the Ghostly Lover. Tristana intuitively anticipates what the result of this encounter will be. She is profoundly upset by the news of Horacio's re-appearance on the scene, first trying to deny its possibility (« abrigaba en su interior cierta desconfianza de la realidad de aquel suceso ») (p. 1604), then vainly struggling to avoid it. « Al propio tiempo », explains the narrator, « el deseo puramente humano y egoísta de ver al ser querido, de oírle, luchaba en su alma con aquel desenfundado idealismo, en virtud del cual, más bien que buscar la aproximación, tendía, sin darse cuenta de ello, a evitarla. La distancia venía a ser como una voluptuosidad de aquel amor sutil, que pugnaba por desprenderse de toda influencia de los sentidos ». (p. 1604) The moment of desengaño is inevitable. As Horacio enters her room, he appears a stranger to her. She cannot recognize him. His voice is totally foreign to her. The narrator explains: « En los primeros momentos sintió Tristana una desilusión brusca. Aquel hombre no era el mismo que, borrado de su memoria por la distancia, habíala ella reconstruido laboriosamente con su facultad creadora 177 M.-L. von Franz explains that in this negative form, «the animus personifies all those semi- conscious, cold, destructive reflections that invade a woman in the small hours, especially when she has failed to realize some obligations of feeling... A strange passivity and paralysis of all feeling, or a deep insecurity that can lead almost to a sense of nullity, may sometimes be the result of an unconscious animus opinion. In the depths of the woman's being, the animus whispers: 'You are hopeless. What's the use of trying? There is no point in doing anything. Life will never change for the better.'» op. cit. , p. 191. 134
Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 y plasmante ». She knows he is not the same, yet as she confesses to Don Lope, « no ceso de representármelo como antes era ». (p. 1607) The shock is such that Tristana is momentarily confused and disoriented. She listens with apparent interest and enthusiasm to Horacio's glowing descriptions of the joys of domestic life in Villajoyosa. She at times even appears to share Horacio's newfound disdain for art. Horacio's perfunctory efforts to rekindle her old interest in painting are futile, as Tristana loses all interest and whatever talent she may have shown, defeated by her own loss of faith. Finally she stops painting altogether. Horacio and Tristana's visits are spent in silence, as if they no longer had anything to say to one another. Tristana appears totally unmoved by Horacio's increasingly frequent absences. But the disorientation is only temporary. As if to compensate for his momentary defeat, the Ghostly Lover returns with a vengeance, luring Tristana ever upward with promises of bliss in another world. The narrator explains: « Del marasmo espiritual en que se encontraba salió Tristana casi bruscamente, como por arte mágico, con las primeras lecciones de música y de órgano. Fue como una resurrección súbita, con alientos de vida, de entusiasmo y pasión que confirmaba en su verdadero carácter a la señorita de Reluz... » (p. 1608). As her hands fly over the keys of the organ, Tristana is totally transfigured, lost in a kind of mystic trance, completely absorbed in the world of the ideal: « Su rostro se transfiguraba, adquiriendo celestial belleza; su alma se desprendía de todo lo terreno para mecerse en el seno pavoroso de una idealidad dulcísima. » (p. 1608) She becomes more and more oblivious of the real world and indifferent to its demands: « Como quien se arroja a un piélago tranquilo, zambullose la señorita en el mare magnum musical, y allí se pasaba las horas, y sumergiéndose en lo profundo, ya saliendo graciosamente a la superficie, incomunicada realmente con todo lo humano y procurando estarlo con algunas ideas propias que aún la atormentaban ». (p. 1609) She no longer is concerned about her own physical appearance, but dresses simply and unpretentiously. She gives up all attempts to learn to walk on crutches with her new artificial limb, and is content to be pushed about in her wheelchair. She meekly accepts her guardian's maiden aunts' ultimatum that she marry Don Lope. The narrator explains: « Contra lo que él creía, la señorita no tuvo nada que oponer al absurdo proyecto. Lo aceptó con indiferencia; había llegado a mirar todo lo terrestre con sumo desdén... Casi no se dio cuenta de que la casaron, de que unas breves fórmulas hiciéronla legítima esposa de Garrido, encasillándola en un hueco honroso de la sociedad. No sentía el acto, lo aceptaba como un hecho impuesto por el mundo exterior, como el empadronamiento, como la contribución, como las reglas de policía ». (p. 1611) 135
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