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Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 likewise change before reaching their final form. In the manuscript « Sus ojos, que habían sido grandes y hermosos, conservaban todavía un chispazo azul [en medio de su atroz desfiguración y decadencia], como el fuego fatuo bailando sobre el osario » (ms. p. 79; OC p. 999 b ). The use of the fuego fatuo simile emphasizes the life and intelligence that are still Encarnación's most important characteristics, rather than a decadence that would destroy her further usefulness to the author. Further descriptions of her are also softened in the final version; in the manuscript her arms are covered by « un pellejo [flácidol [flojo] » (ms. p. 80), while in the corrected version and printed text it is a « pellejo sobrante » (ms. p. 80; OC p. 1000 a ) that covers them. Her fingers begin by being stuck on with saliva: « las falanges [parecían pegadas con saliva] » (ms. p. 80) while in the final and printed versions they are « tan ágiles que parecían sueltas » (ms. p. 80; OC p. 1000 a ). Most insulting of all, in the manuscript Galdós actually describes her as a member of the Rufete family (the Canónigo's aunt): y más charlatana que todos los cómicos de Madrid. [Pero no me has dicho nada, cachas!, qué puñales! Y mi sobrino tu tío el Canónigo? Isidora no omitió nada que pudiese (illegible) habló largo rato de su tío el Canónigo, acomodado vecino del Tomelloso, de cuya prolija relación recibió no poca molestia la Sanguijuelera, porque todo lo que hablaban los demás le parecía un ataque a su incontestable derecho de usar de la palabra.] (ms. p. 78; OC p. 999b) 45 Later she is depicted as half-demented, a state befitting a Rufete, in a fragment of the primitive manuscript which was intended to end Chapter III. Isidora has just escaped from the children who have followed her away from her great-aunt's house: La Sanguijuelera se metió en su tienda, corrió al patio, volvió, fue, vino, dio varias vueltas, como un avechucho enjaulado, y después de hablar sola con febriles movimientos, cogió con ambas manos el delantal azul que de su cintura pendía, se lo llevó a los ojos, apretó fuerte, lanzó un gran berrido, y de sus ojos, de todos los orificios de su cara brotó un raudal. ¡Qué modo de llorar! (primitive ms. p. 114, back of ms. p. 121) 46 45 For two different opinions of Encarnación's relation to the Rufete family, see Rodgers (loc. cit.) and Robert H. Russell, «The Structure of La desheredada », MLN , LXXVI, numbers 6-8 (December 1961), pp. 794-800. 46 Galdós, as is known, crossed out pages which did not satisfy him and often used the reverse side (after blue-pencilling the first version) to write the final version of the manuscript. Thus in La desheredada , as in many other manuscripts, we have the 34
Anales galdosianos [Publicaciones periódicas]. Año XII, 1977 Obviously Encarnación cannot be a prophetess and a Rufete at the same time; it is impossible for a drunken, degenerate Sanguijuelera to see the truth about Isidora's pretensions. Encarnación may be arbitrary but she cannot be mad; and Galdós takes care to separate the Guilléns from the Rufetes in the final version of the novel. The prophetess remains; the madwoman does not. It is in one of the pages of the primitive manuscript that we first meet Isidora's great-aunt, when the girl « fue a ver a su tía Asunción... » (primitive ms. p. 66, back of ms. p. 69). She is next mentioned by name as « aquella buena Asunción Guillén » (primitive ms. p. 71, back of ms. p. 72). She appears only once more as Asunción when the narrator explains that her niece Francisca's marriage to Rufete « consumió diferentes veces las economías y la paciencia [de Asunción] [ Teresa Guillén ] de Encarnación, que era trabajadora... » (ms. p. 81, OC p. 1000 a ). These are the only references to the Sanguijuelera as Asunción. From this point on (ms. p. 81), the names used will be Teresa and Encarnación 47 . The former seems much more in harmony with the harsh and caricaturesque descriptions of the Sanguijuelera than does the latter. She is called either Teresa or la Sanguijuelera until page 109 of the manuscript, when she becomes Encarnación definitively. Most probably Galdós changed the name at that point and then went back to the beginning of Chapter II to change the Asunciones and Teresas to Encarnaciones. 48 Names of characters are often glaringly obvious in Galdós (Salvador Monsalud, Benigno Cordero de Paz, Torquemada, etc.), and it is therefore not strange that Teresa should give way to Encarnación, just as the drunken degenerate gives way to the eccentric but clear-sighted prophetess. The name Teresa is in one Hispanic tradition an aristocratic name; in another it belongs to the lower classes 49 . Espronceda's Teresa is certainly not lower-class, and his « Canto a Teresa » could not have fragments of a primitive manuscript, and it is to such a blue-pencilled fragment that we refer here. 47 This page is the only one on which the three names appear together; the chronological order is obviously Asunción-Teresa-Encarnación. 48 Galdós absentmindedly continues calling the Sanguijuelera Teresa on a number of pages; however, he must have corrected the galley proofs since that name never appears in the printed text. 49 The name Teresa does not seem to have had upper-class associations in the seventeenth century. One example can be found when Góngora parodies Lope's « Ensíllenme el potro rucio... » with his own « Ensíllenme el asno rucio... »; Lope's highborn morisca Adalifa becomes Góngora's « Teresa 35
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