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Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 It is as if, in these final pages of the novel, the deep schism in Tristana's psyche has become final, irreparable. A part of her has finally succumbed to the celestial music of the Ghostly Lover; the other has inevitably submitted to the benign tyranny of a now senile, bourgeois Don Lope. Tristana's failure to «assimilate the Ghostly Lover», to redeem her animus, to act upon her own values, to realize in the world her most sacred conviction, has led to the inevitable pain and suffering and desintegration of self of which Esther Harding spoke. The inner conflict with the Ghostly Lover, however much its dramatic intensity may be muted by years of existence under the destino gris of life in Restoration society, will never be resolved. It is precisely this irresolution of Tristana's inner drama which creates the perplexing ambiguity of the novel's ending. As he contemplates the kind of life which Tristana may lead with Don Lope in the years left to her, the reader, along with Galdós himself, can only speculate: «¿Eran felices uno y otro? Tal vez ». (p. 1612) University of Virginia 136
Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 Galdós' Tristana , Anatomy of a «Disappointment» Roberto G. Sánchez Tristana (1892), thirteenth among Galdós' novelas contemporáneas , received little attention for many years; not until Gonzalo Sobejano's article, « Galdós y el vocabulario de los amantes », appeared in 1966 was there a scholarly attempt to study any aspect of the novel in depth 178 . Today, perhaps due to the success of Luis Buñuel's cinematic version, there is renewed interest in the work and particularly in its unique heroine who strives for personal independence and declares no interest in matrimony. As a consequence, most recent studies have focused on discussions of feminism and its possible reflection in the novel, leaving aside, for the most part, a series of disturbing questions regarding its merits and deficiencies. 179 « No es de las mejores novelas de Galdós », wrote Sobejano in his celebrated article but, concerned primarily with the stylistic aspect he was pursuing, he elaborated no further. The fact is that-disappointment with the work was expressed from the outset. « No creo que Tristana debe incluirse en el número de las mejores novelas de Galdós, y quizá pueda calificarse de bastante inferior con respecto a otras recientes... » wrote Emilia Pardo Bazán in a review following the novel's publication. 180 The condemnation persisted thereafter, if not declared openly certainly implied by 178 Anales galdosianos , I (1966), 85-100. Reprinted subsequently in his book, Forma literaria y sensibilidad social , Madrid, 1967. 179 A few articles relating the novel to the film are: José Manuel Ibarrola, « Don Benito Pérez Galdós y el cine », Cuadernos Hispanoamericanos , N.º 250-52, 650-55; Alberto Omar, « Tristana de Galdós, Tristana de Buñuel », Camp de l'Art , N.º 7, 33-35; David Grossvogel, «Buñuel's Obsessed Camera: Tristana Dismembered», Diacritics , II, 51-56. Among the articles relating the novel to feminism the following stand out: Emilio Miró, « Tristana o la imposibilidad de ser », Cuadernos Hispanoamericanos , N.º 250-52, 505-22; Marina Mayoral, « Tristana ¿una feminista galdosiana? » Ínsula , Nº 320-21, 28. «The Law of Nature and Women's Liberation in Tristana », Anales galdosianos , VII (1972), 93-100; Ruth A. Schmidt, « Tristana and the importance of opportunity», Anales galdosianos , IX (1974), 135-44. 180 Obras completas (Madrid: Aguilar, 1973) III, 1119. Clarín disagreed somewhat with Doña Emilia and wrote: « Tristana no ha obtenido la atención que merece por parte de la crítica... » (« Tristana 137
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