The belief held this writer that Dofia Perfecta has too long been relegated many critics to its author's lesser works-largely because of the social thesis it sometimes too obviously embodies to the detriment of characterization-was recently strengthened the reactions of some students. Their spontaneous criticism in favor of the razdn vital, among other features, of Doiia Perfecta has shown that the stale conventionality of certain Galdosian critics regarding some of Gald6s' works needs to be questioned. If with their ignorance of a good deal of the background of Dofa Perfecta students can see something more real and valid in the novel today, why not the scholars? The reader may be wondering at the choice of the Ortegan terms perspectiva and razdn vital thus far. It is to be hoped that the reasons will become more apparent, but it should not be strange that Ortega or others of the Generation of '98 are invoked in connection with one so often hailed as a precursor of theirs. For the moment, a few more of Ortega's words may be appropriate: ... sin renunciar a la primera vista de una cuesti6n, ?por qu6 no hemos de aspirar a una segunda y a una tercera vista?'' To start with, there is in Dofia Perfecta what may be likened to the first movement of a musical composition, for in his opening chapters2 Gald6s introduces most of the themes to be developed later: the poverty of this typical though deliberately fictitious region of Spain; the ironically poetic names in this land that reflect the imagination of a Don Quijote or a Santa Teresa; the encroachment on Pepe Rey's property Licurgo and colleagues; the local violence and disregard of due process of law and governmental authority; the hero worship of Caballuco, the cacique of Orbajosa; and Pepe's reactions to these, which like the reader's, are largely unfavorable. These themes are presented mainly in dialogue form, naturally, skillfully, and with no little humor (although this may not always be intentional). One is not especially aware at first reading that they are to assume any great importance in the novel. The first principal character is Pepe Rey, who puts in an immediate appearance and is rather obviously to be the hero. His identity is quickly clarified and the purpose of his visit soon becomes apparent. As Pepe strains for a glimpse of his pretty cousin, Rosario, who blushes cherry-red at his sight, one is already prepared for what might be a trite romance. An omniscient reader could made more of certain details, such as mention of the entrance to the garden having been barred and the presence of the Penitenciario. But that would be premature. One is inclined to say with Pepe, Vamos, vamos.. . (p. 20). In Chapter III the omniscient author takes over to give some necessary background on the antecedents of the story and a character sketch of Pepe. This interruption is not so gauche as some (e.g., pp. 57, 142, 195). With the narrative and bits of description there is a good deal of dialogue, and the author does not interpose too strenuously. Intentionally or not, suspense, or impatience, is built up, for the reader perhaps feels he was doing rather nicely in discovering by himself what was happening and what Pepe was like. Further enlightened Gald6s' exposition, however, he has smiled along with the author at the contrast between the idyllic life of Orbajosa (as recalled through the
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