2009:
420:"If all the historical material of those years (19th century) were lost, saving the work of Galdós, it would not matter. There is complete, alive, real life of the nation during the hundred years that covered the author's claw. There are, forever, its hundreds and hundreds of historical and imagined characters, as true one as the other (...) Only the greatest in the world, and there are enough fingers to count them, achieved as much. And even more: I would leave him in the novel glory of his time hand in hand with Tolstoy, because, besides giving life to beings forever present, they knew how to bring to light the genius of their homeland through its struggles, glories and misfortunes (...) Galdós has done more for the knowledge of Spain by the Spaniards (...) than all the historians together".
628:
643:, an adaptation of his novel of the same name, which had been written in dialogue. Pérez Galdós was attracted to the idea of making direct contact with the public and seeing and hearing their reactions. Rehearsals began in February 1892. The theatre was packed on the opening night and the play was received enthusiastically. However, the play did not receive universal critical acclaim due to the realism of the dialogue which did not accord with the theatrical norms of the time; and the setting of a scene in the boudoir of a courtesan, and the un-Spanish attitude towards a wife's adultery. The Catholic press denounced the author as a perverse and wicked influence. The play ran for twenty nights.
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After the third night, the conservative and clerical parties organised a demonstration outside the theatre. The police moved in and arrested two members of a workers’ organization who had reacted against the demonstration. Several people were wounded as a result of the clash and, the next day, the newspapers were divided between liberal support for the play and
Catholic/conservative condemnation. Over one hundred performances were given in Madrid alone and the play was also performed in the provinces. In 1934, 33 years later, a revival in Madrid produced much the same degree of uproar and outrage.
52:
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the other, leaving everything as it is today, and they will lead Spain to a state of consumption that, for sure, will end in death. They will tackle neither the religious problem, nor the economic problem, nor the educational problem; they will do nothing but pure bureaucracy, caciquism, sterile work of recommendations, favors to cronies, legislating without any practical efficacy, and on with the little lanterns...
546:
1614:(1884. New York: Gottsberger. Translated by Clara Bell; 1883. New York: George Munro, Publisher. Translated by D. P. W.; 1885. New York: Harper & Brothers Publishers. Translated by Mary jane Serrano; 1940 New York: P. F. Collier & Son; 1960. New York: Barron's Educational Series, Inc. Translated by Harriet de Onís; 2013. Miami: Editorial Rarebooksclub. Translated by D. P. W)
433:, was published in 1912. These historical novels sold well, and they remained the basis of Pérez Galdós' contemporary reputation and income. He used careful research to write these stories, and to achieve balance and wider perspectives, Pérez Galdós often sought out survivors and eyewitnesses to the actual events – such as an old man who had been a cabin boy aboard the ship
788:, the most popular park in Madrid, financed solely by public donations. And a ceremony was held in which Pérez Galdós participated. The writer, now blind, explored her face with his hands and after recognizing her, he began to cry and said to the sculptor, a great friend of his, "Magnificent, my friend Macho, and how she looks like me!
385:, a historical work set in the period 1820–1823. With the help of money from his sister-in-law, it was published privately in 1870. Critical reaction was slow, but this was eventually hailed as the beginning of a new phase in Spanish fiction, and was highly praised for its literary quality as well as for its social and moral purpose.
364:, Pérez Galdós dressed casually, using sombre tones to go unnoticed. In winter he would wear a white woollen scarf wrapped around his neck, with a half-smoked cigar in his hand and, when seated, his German shepherd dog beside him. He was in the habit of wearing his hair cropped "al rape" and, apparently, suffered from severe migraines.
675:; he never visited the place, but had a representative inform him of the status of the area and felt a duty to represent its inhabitants appropriately. This appointment lasted for five years and mainly seems to have given him the chance to observe the conduct of politics at first hand, which informs scenes in some of his novels.
514:. It concerns the fortunes of four characters: a young man-about-town, his wife, his lower-class mistress, and her husband. The character of Fortunata is based on a real girl whom Pérez Galdós first saw in a tenement building in Madrid, drinking a raw egg – which is the way in which the fictional characters come to meet.
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The two parties that have agreed to take turns peacefully in power are two herds of men who aspire only to graze on the budget. They lack ideals, no lofty goal moves them, they will not improve in the least the living conditions of this unhappy, very poor and illiterate race. They will pass one after
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led to the scheme being closed in 1916 with the money raised being less than half of what was required to clear his debts. In that same year, however, the ministry of public instruction appointed him to take charge of the arrangements for the
Cervantes tercentenary, for a stipend of 1000 pesetas per
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In the museum visitors can see the house where the writer grew up, as well as a display of documents, furniture, musical instruments, paintings and photos that belonged to the writer and his family. The aim of the museum is the conservation, study and dissemination of the legacy of Pérez Galdós. The
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In the literary aspect, his admiration for the work of
Tolstoy is reflected in a certain spiritualism in his last writings and, in the same Russian line, he could not conceal a certain pessimism for the destiny of Spain, as can be perceived in the pages of one of his last National Episodes, Cánovas
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All through his literary career, Pérez Galdós incurred the wrath of the
Catholic press. He attacked what he saw as abuses of entrenched and dogmatic religious power rather than religious faith or Christianity per se. In fact, the need for faith is a very important feature in many of his novels and
332:
Pérez Galdós led a comfortable life, living first with two of his sisters and then at the home of his nephew, José Hurtado de
Mendoza. He got up at sunrise and wrote regularly until ten o'clock in the morning, in pencil, because he considered the use of a pen a waste of time. He would then go for
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caused a storm of outrage and floods of equally hyperbolic enthusiasm. As in many of his works, Pérez Galdós targeted clericalism and the inhuman fanaticism and superstition that can accompany it. The performance was interrupted by audience reaction and the author had to take many curtain calls.
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management of the museum has supported international congresses, conferences and exhibitions, and has developed a publishing line. The museum also has a library with numerous works by Pérez Galdós in different languages, as well as the author's complete collection.
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for five years, 1912–16, but neither was successful. Among those who nominated Pérez Galdós was the 1904 winner José Echegaray. So, the 1914 national board was established to raise money to help Pérez Galdós, to which the King and his Prime
Minister
333:
walks in Madrid to eavesdrop on other people's conversations and to gather details for his novels. He did not drink, but smoked leaf cigars incessantly. In the afternoons he read in
Spanish, English or French; he preferred the classics, including
267:. At the beginning of the 20th century he joined the Republican Party and was elected deputy to the Madrid cortes for the Conjunción Republicano Socialista in the legislatures of 1907 and 1910. In 1914 he was elected deputy for Las Palmas.
279:, in a house that is now the Casa-Museo of Pérez Galdós. He was the tenth and last son of lieutenant colonel Don Sebastián Pérez and Doña Dolores Galdós. He was baptised Benito María de los Dolores at the church of San Francisco de Asís, (
311:
of Madrid and other gatherings of intellectuals and artists. He became acquainted with life in Madrid and witnessed the political and historical events of the time, which were reflected in his journalistic works and in his early novels,
534:, are similar to the approaches of Dickens and the French Realist novelists such as Balzac. Pérez Galdós also showed a keen interest in technology and crafts, for example the lengthy descriptions of ropery in
2062:
686:, although Pérez Galdós, who "did not feel himself a politician", soon withdrew from the struggles "for the minutes and the farce" and turned his already diminished energies to the novel and the theater.
1501:(1987. London: Viking. Translated by Agnes Moncy Gullón; 1992. Cambridge: Cambridge University Press. Translated by Harriet S. Turner; 1998. London: Penguin Books. Translated by Agnes Moncy Gullón)
1459:(1894. London: The Fisher Unwin. Translated by Mary Wharton; 1999. London: Widenfeld & Nicolson Ltd. Translated by A. K. Tulloch; 2009. Oxford: Oxbow Books. Translated by Graham Whittaker)
530:. He visited Great Britain on many occasions, his first trip being in 1883. The descriptions of the various districts and low-life characters that he encountered in Madrid, particularly in
1535:(1996. London: Bristol Classical Press; 1998. London: Duckworth Publishers; 1998. London: Bloomsbury Publishing; 2016. Manchester: Manchester University Press. Translated by Pablo Valdivia)
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were not included in the board, nor were representatives of the Church, or the socialists. He had been blind since 1912, was in financial difficulties and increasingly troubled by illness.
280:
259:
Galdós was interested in politics, although he did not consider himself a politician. His political beginnings were liberal, and he later embraced republicanism and then socialism, under
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Ridao
Carlini, Inma (2018): Rich and Poor in Nineteenth-Century Spain: A Critique of Liberal Society in the Later Novels of Benito Pérez Galdós. Woodbridge: Boydell & Brewer.
439:
at
Trafalgar, who became the central figure of that book. Pérez Galdós was often critical of the official versions of the events he described, and often ran into problems with the
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in which writers strove to show how their characters were forged by the interaction of heredity, environment and social conditions. This set of influences is perhaps clearest in
2325:. The house where Pérez Galdós was born was acquired in 1954 by the cabildo de Gran Canaria, and inaugurated on 9 July 1960 by María Pérez Galdós Cobián, the writer's daughter.
2240:
Karimi, Kian-Harald (2007): Jenseits von altem Gott und ‘Neuem
Menschen’. Präsenz und Entzug des Göttlichen im Diskurs der spanischen Restaurationsepoche. Frankf./M.: Vervuert.
1620:(1883. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 2013. Miami: Editorial Rarebooksclub; 2015. Scholar's Choice Publisher. Translated by Mary Wharton)
574:(1884–85), which is also noteworthy for being told in the first person by an unreliable narrator who dies during the course of the work. This pre-dates similar experiments by
780:(Royal Spanish Academy). After becoming blind he continued to dictate his books for the rest of his life. Pérez Galdós died at the age of 76. Shortly before his death,
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435:
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and began to express his opinions on a wide range of topics from history and culture, to politics and literature. Between 1867 and 1868, he wrote his first novel,
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on literature, art, music, and politics. He completed three plays between 1861 and 1867, but none were published at the time. In 1868, Pérez Galdós' translation of
156:
659:
Despite his attacks on the forces of conservatism, Pérez Galdós had shown only a weak interest in being directly involved in politics. In 1886 the Prime Minister
1465:(1951. London: Weidenfeld & Nicolson. The Illustrated Novel Library. Translated by Gamel Woolsey; 1953. London: Reader's Union. Translated by Gamel Woolsey)
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1644:(1961. Peterborough, NH: R. R. Smith. Translated by R. Selden-Rose. 2014. Review Books Classics. New York: ReadHowYouWant. Translated by Margarte Jull Costa)
357:. In the evenings he would return to his walks, unless there was a concert, for he adored music. He went to bed early and almost never went to the theater.
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The Cape of Don Francisco Torquemada: 1.Torquemada in the Bonfire. 2. Torquemada on the Cross. 3. Torquemada in Purgatory. 4. Torquemada and Saint Peter
213:, 23 plays, and the equivalent of 20 volumes of shorter fiction, journalism and other writings. He remains popular in Spain, and is considered equal to
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Pérez Galdós was a frequent traveller. His novels display a detailed knowledge of many cities, towns and villages across Spain – such as Toledo in
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698:
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led to his interest in the wisdom sometimes shown by people who appear to be mad. This is an important theme in the works of Pérez Galdós from
1638:(1952. Mew York: Farrar Straus & Young. The Illustrated Novel Library. Translated by Gamel Woolsley; 2013. Miami: Editorial Rarebooksclub)
1608:(1882. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 2012. Miami: Editorial Rarebooksclub. Translated by N. Wetherell)
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3159:
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led him to be boycotted by conservative sectors of Spanish society, and traditionalist Catholics, who did not recognize his literary merit.
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1962:
490:(1891), a loosely related series of 22 novels which are the author's major claim to literary distinction, including his masterpiece
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3194:
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2368:"...considered by some critics the greatest Spanish novelist since Cervantes, often compared to Balzac, Dickens, and Tolstoy."
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693:. This coincided with the promotion, in March 1914, of a national board tribute to Pérez Galdós, made up of personalities as
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479:(1878) a young man regains his eyesight after a life of blindness and rejects his best friend Marianela for her ugliness.
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627:
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1987:
1757:(1997. Pittsburgh, PA: Latin American Literary Review Press. Translated by Robert S. Ruder, Gloria Chacón de Arjona)
632:
2217:
1441:(1879. London: Remington and Co. Translated by Natham Wetherell; 1883. Trübner & Co. Translated by Clara Bell)
3164:
3149:
588:
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novelist. He was a leading literary figure in 19th-century Spain, and some scholars consider him second only to
2643:
Copeland, Eva Maria (2012). "Empire, Nation, and the indiano in Galdós's 'Tormento' and 'La Loca de la Casa',"
1934:(1928. New York-London: D. Appleton and Company. Translated by Eleanor Bontecou, P. M. Hayden, J. G. Underhill)
452:
249:
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781:
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2221:
1523:
no. 3, pgs. 6-293. Translated by Robert H. Russell; 2013. Madrid: Ediciones. Translated by Robert H. Russell)
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Pérez Galdós studied at San Agustín school, where he was taught by teachers trained in the principles of the
2231:
2190:
1914:(1910. Boston: Poet Lore XXXI, no. 3. Translated by Elizabeth Wallace; 2017. Miami: Editorial Rarebooksclub)
473:(1876), which describes the impact made by the arrival of a young radical on a stiflingly clerical town. In
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1769:(2009. ReadHowYouWant Publisher. Easy Read Edition; 2014. United States: Independent Publishin-Platform)
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Torquemada at the Stake - Torquemada on the Cross - Torquemada in Purgatory - Torquemada and Saint Peter
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month. Although the event never took place, the stipend continued for the rest of Pérez Galdós's life.
1819:(1886. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 1993. New York: H. Fertig)
1813:(1884. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 1993. New York: H. Fertig)
199:
73:
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1560:(1905/1921/1951. Cambridge: Cambridge University Press. Translated by Frederick Alexander Kirkpatrick)
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and Mariano de Cavia against the encroaching censorship and authoritarianism coming from the monarch.
429:
and appeared in 1873. Successive volumes appeared irregularly, until the forty-sixth and final novel,
161:
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1547:(2015. Cambridge: Cambridge Scholars Publishing. Translated by Robert S. Rudder, Ignacio López-Calvo)
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361:
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2140:, was internationally released a year later; it had previously been adapted as the Argentine film
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Later, Pérez Galdós was elected as a representative in the cortes of 1907. In 1909, together with
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1975:
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496:(1886–87). They are bound together by the device of recurring characters, borrowed from Balzac's
233:(1892) is important in the history of realism in the Spanish theatre. The Pérez Galdós museum in
175:
1662:(1970. New York: Oxford University Press. Translated by Eduard R. Mulvihill, Roberto G. Sánchez)
409:: a series of historical novels outlining the major events in Spanish history starting from the
3179:
1946:
a play in three acts (2016. Newark: Juan de la Cuesta Cop. Translated by Robert M. Fedorcheck)
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287:
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introduced Dickens' work to the Spanish public. In 1870, Pérez Galdós was appointed editor of
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Brown, Daniel (2011). "Mystical Winds, Traditions, and Contradictions in Galdós's 'Halma',"
498:
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1573:(2014. Liverpool: Aris & Phillips Hispanic Classics. Translated by Ruth Katz Crispin)
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1696:(1989. Pittsburgh, PA: Latin American Literary Review Press. Translated by Walten Rubin
1541:(1998. London: Phoenix House (Weidenfeld & Nicolson). Translated by Abigail Lee Six)
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2001:
1983:
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714:
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2146:(1954). In 2018, Sri Lankan director Bennett Rathnayke directed the film adaptation
1690:(1986. New York: Columbia University Press. Translated by Frances M. López-Morillas)
718:
517:
The later novels of psychological investigation, many of which are in dialogue form.
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2352:"The Pérez Galdós Editions Project: creating electronic scholarly editions, Davies"
2013:
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263:. Early on he joined the Sagasta Progressive Party and in 1886 became a deputy for
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countries, but some of his works have now been translated into English. His play
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2179:
Chamberlin, Vernon A. (1964). "Galdós' Use of Yellow in Character Delineation,"
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1997:
580:
77:
2297:
Waldeck, R.W. (1904). "Benito Pérez Galdós, Novelist, Dramatist and Reformer"
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1680:(1986. Georgia: University of Georgia Press. Translated by Agnes Moncy Gullón)
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Wood, Gareth J. (2014). "Galdós, Shakespeare, and What to Make of Tormento,"
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1851:. Translated by G. J. Racz; 20115. Scholar's Select. Palala Press. Goodreads)
722:
510:
1837:(1990. Wakefield. N. H.: Longwood Academic. Translated by Lila Wells Guzmán)
1831:(1899. Boston: Little, Brown and Company. Translted by Minna Caroline Smith)
1626:(1888. New York: William S. Gottsberger Publisher. Translated by Clara Bell)
575:
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346:
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20:
1650:(1962. New York: Frederick Ungar Publishing Co. Translated by Toby Talbot)
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1706:(1987. New York: Columbia University Press. Translated by Robert Russell)
1632:(1892. Chicago: A.C. McClurg and Company. Translated by Hellen W. Lester)
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668:
354:
334:
2583:
Berkowitz, H. Chonon (October 1940). "Unamuno's Relations with Galdós".
1751:(1996. San Bernardino, CA: Borgo Press. Translated by Robert G. Trimble)
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1471:(1952. London: Widenfeld & Nicolson Ltd. Translated by J. M. Cohen)
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276:
234:
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2397:"Nomination for Nobel Prize in Literature (1912, Benito Pérez Galdós)"
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1971:
1519:(1995. Santry: Dedalus. Translated by Charles de Salis; 2007. Madrid:
1507:(1988. London: André Deutsch. Translated by Frances M. López-Morillas)
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1800:(2017. Miami: Editorial Rarebooksclub. Translated by Mary J. Serrano)
350:
342:
1495:(1985. Glasgow: University of Glasgow. Translated by Nicholas Round)
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291:
290:. In 1862, after completing his secondary studies, he travelled to
209:
Pérez Galdós was a prolific writer, publishing 31 major novels, 46
1957:
1763:(2004. Mineola, New York: Dover. Translated by Stanley Appel Baum)
1674:(1980. Ohio: Ohio University Press. Translated by Karen O. Austin)
663:
appointed him as the (absent) deputy for the town and district of
1940:(2014. Texas: Stone Cottage Theater. Adapted by Mark-Brian Sonna)
1895:(2015. Miami: Editorial Rarebooksclub. Translated by Minna Smith)
1513:(1993. Oxford: Oxford University Press. Translated by Jo Labanyi)
1483:(1973. Harmondsworth: Penguin Books. Translated by Lester Clarck)
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classified Pérez Galdós' other novels into the following groups:
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338:
222:
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24:
2210:
Glascock, C.C. (1923). "Spánish Novelist: Benito Perez Galdos,"
1980:
1889:(2009. Miami: Editorial Rarebooksclub. Translated by Clara Bell)
1204:
Una industria que vive de la muerte. Episodio musical del cólera
403:
Pérez Galdós next developed the outline of a major project, the
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1694:
The Golden Fountain Café: a Historic Novel of the XIXth Century
545:
301:
218:
94:
1825:(1985. Philadelphia: J. B. Lippincott. Translated by R. Ogden)
1489:(1976. London: The Folio Society. Translated by Lester Clarck)
599:(1882), but it is also clear that the mystical tendencies of
2304:
Warshaw, J. (1929). "Galdós's Apprenticeship in the Drama,"
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2054:
909:
608:
1668:(1974. New York: Howard Ferting. Translated by Clara Bell)
689:
In 1914 Pérez Galdós was elected as republican deputy for
619:
there are many sympathetic portraits of priests and nuns.
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1453:(1893. London: Digby, Long. Translated by Mary Wharton)
654:
1529:(1996. London: Phoenix. Translated by Catherine Jagoe)
1447:(1886. London: Samuel Tinsley, Translated by D. P. W.)
275:
Pérez Galdós was born on 10 May 1843 in Calle Cano in
1590:
no. 4, pgs. 165-170. Translated by Robert H. Russell)
2463:
2078:
His novels have yielded many cinematic adaptations:
1924:, no. 2, pgs. 12-138; 1919. Boston: R. G. Badger in
2321:in Spanish) is located in Triana, in the centre of
1678:
Fortunata and Jacinta: Two Stories of Married Women
1481:
Fortunata and Jacinta: Two Stories of Married Women
198:(10 May 1843 – 4 January 1920) was a Spanish
2658:"'Electra' and the Progressive Movement in Spain,"
2176:New York: Knickerbocker Press, pp. 6153–6163.
1817:The Court of Charles IV. A Romance of the Escorial
1477:(1963. London: Methuen. Translated by J. M. Cohen)
443:, then a dominant force in Spanish cultural life.
304:to start a law degree, which he did not complete.
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521:
307:While at university, Pérez Galdós frequented the
3131:
2492:Galdós, Benito Pérez; Whittaker, Graham (2009).
2161:Alfieri, J.J. (1968). "Galdós Revaluated (sic)"
1950:
1787:Volume 1. (2018. Franklin Classics Trade Press)
1422:
1355:Discurso de Ingreso en la Real Academia Española
1216:La conjuración de las palabras. Cuento alegórico
587:Pérez Galdós was also influenced by philosopher
538:or the detailed accounts of how the heroine of
31: and the second or maternal family name is
3122:He was elected in 1867 but never took the seat
591:, made famous in Spain via the educationalist
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2282:Benito Pérez Galdós and the Creative Process.
741:were the first to subscribe. The outbreak of
2717:: CS1 maint: multiple names: authors list (
1252:La pluma en el viento o el viaje de la pluma
595:. One example of this can be seen his novel
542:(1884) embroiders her pictures out of hair.
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2844:The Cambridge History of Spanish Literature
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2284:Minneapolis: University of Minnesota Press.
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482:The novelas españolas contemporáneas, from
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2740:: CS1 maint: location missing publisher (
2207:Boston: D.C. Heath & Co., pp. iii–xvi.
50:
2707:. Madison: University of Wisconsin Press.
2702:
2582:
2534:
2428:"Benito Pérez Galdós ¿escritor nacional?"
1804:
1775:(2010. Volume 69. Charleston: Nabu Press)
1656:(1963. New York: Oxford University Press)
776:In 1897, Pérez Galdós was elected to the
146:7 February 1897 – 4 January 1920
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2466:"Spanish Novelists: Benito Perez Galdos"
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1588:Isidora. Revista de Estudios Galdosianos
1521:Isidora. Revista de Estudios Galdosianos
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626:
622:
544:
387:
62:Benito María de los Dolores Pérez Galdós
2674:"Bennett brought Nela to silver screen"
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1928:. Translated by Charles Alfred Turrell)
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1551:
367:By 1865, he was publishing articles in
3132:
2705:Perez Galdos, Spanish Liberal Crusader
2573:, Nomination Database, Nobelprize.org.
2561:, Nomination Database, Nobelprize.org.
2549:Montesinos intro to Lo prohibido p. 21
2487:
2485:
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2432:Biblioteca Virtual Miguel de Cervantes
2349:
2312:
2232:"Perez Galdós in the Spanish Academy,"
1901:(2016. Miami: Editorial Rarebooksclub)
1883:(2009. Miami: Editorial Rarebooksclub)
1781:(2017. Miami: Editorial Rarebooksclub)
1527:That Bringas Woman: The Bringas Family
2961:
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2338:
2225:Nueva Revista de Filología Hispánica,
2104:; Buñuel also filmed the adaptations
2010:Works by or about Benito Pérez Galdós
1829:Saragossa. A History of Spanish Valor
1445:Doña Perfecta, a tale of Modern Spain
791:
749:In 1918, he joined in a protest with
697:(head of the Government), the banker
327:
241:features a portrait of the writer by
3190:Burials at Cementerio de la Almudena
3160:Members of the Royal Spanish Academy
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2421:
2419:
2417:
655:Later life and political involvement
639:Pérez Galdós' first mature play was
413:in 1805. The Mexican-Spanish writer
396:
300:in arts. That same year he moved to
16:Spanish realist novelist (1843–1920)
2789:Miguel de Cervantes Virtual Library
2480:
2073:
1932:The Duchess of San Quintín, Daniela
1912:The Grandfather. Drama in five acts
732:Pérez Galdós was nominated for the
467:(1878). The best known of these is
353:. In later years, he began to read
254:opposition to religious authorities
248:Pérez Galdós was nominated for the
13:
3170:Spanish dramatists and playwrights
3032:Pío Ignacio Lamo y Palacios (1787)
2425:
2191:"The Spirit of Present Day Spain,"
1865:. Translated by Lila Wells Guzmán)
1630:Marianela: A Story of Spanish Love
250:Nobel Prize for Literature in 1912
206:in stature as a Spanish novelist.
14:
3206:
2769:
2414:
2350:Davies, Rhian (25 January 1999).
2308:Vol. 44, No. 7, pp. 459–463.
2301:Vol. 45, No. 5, pp. 447–449.
2183:Vol. 79, No. 1, pp. 158–163.
2165:Vol. 42, No. 2, pp. 225–226.
1972:The Pérez Galdós Editions Project
709:, head of the reformists and the
2257:Vol. 3, No. 4, pp. 203–206.
2214:Vol. 8, No. 2, pp. 158–177.
2029:
1956:
1798:Benito Pérez Galdós. Best Novels
1745:. Translated by Karen O. Austin)
1731:. Translated by Karen O. Austin)
1717:. Translated by Karen O. Austin)
1577:
1403:Toledo. Su historia y su Leyenda
853:Novelas Españolas Contemporáneas
684:Republican–Socialist Conjunction
211:historical novels in five series
105:Novelist, playwright, politician
3155:Writers from the Canary Islands
3100:Francisco Javier Sánchez Cantón
3014:Francisco Antonio Zapata (1726)
2850:Benito Pérez Galdós Study Guide
2833:- (agosto 2011 — febrero 2013)
2666:
2650:
2637:
2624:
2611:
2576:
2564:
2552:
2476:(2): 158–177 – via JSTOR.
2263:(1920). "The Genius of Spain,"
2227:Vol. 22, No. 1, pp. 55–79.
2222:"Galdós y el Krausismo español"
1926:Contemporary Spanish Dramatists
1791:
713:, as well as writers including
589:Karl Christian Friedrich Krause
551:Portrait of Benito Pérez Galdós
446:
3195:19th-century Spanish novelists
3050:Eusebio María del Valle (1836)
2753:. Madrid: Editorial Castalia.
2426:Botrel, Jean François Botrel.
2389:
2375:
2362:
2252:"Galdós, Interpreter of Life,"
2230:Huntington, Archer M. (1897).
2168:Bishop, William Henry (1917).
1877:(2009. Charleston: Nabu Press)
1871:(2009. Charleston: Nabu Press)
1835:The Campaign of the Maestrazgo
1361:Memoranda, Artículos y Cuentos
1041:Quien Mal Hace, Bien no Espere
522:Influences and characteristics
1:
3019:José de Rada y Aguirre (1754)
2703:Berkowitz, H, Chonon (1948).
2621:Vol. 109, No. 2, pp. 392–416.
2571:"José Echegaray y Eizaguirre"
2464:Glascock, Clyde Chew (1923).
2332:
2272:"The Novels of Pérez Galdós,"
1951:Works by Pérez Galdós, online
1423:Works translated into English
705:'s representative in Spain),
294:to obtain his certificate in
3107:Torcuato Luca de Tena (1973)
3045:Ramón Cabrera y Rubio (1820)
2726:Montesinos, Jose (1968–71).
2676:. Sarasaviya. Archived from
2647:Vol. 80, No. 2, pp. 221–242.
2280:Pattison, Walter T. (1954).
2022:Works by Benito Pérez Galdós
1998:Works by Benito Pérez Galdós
1047:La Expulsión de los Moriscos
903:Celín, Tropiquillos y Theros
631:Portrayed in his studio, by
562:Galdós was also inspired by
423:The first volume was called
283:) two days after his birth.
23:, the first or paternal
7:
3070:León Galindo de Vera (1875)
3025:Vicente García de la Huerta
2619:The Modern Language Review,
2277:Vol. 291, pp. 217–228.
2267:Vol. 117, pp. 508–516.
2028:(public domain audiobooks)
1944:The Duchess of San Quintín:
1599:
1210:Necrología de un proto-tipo
968:Torquemada en el Purgatorio
611:(1888) and his final novel
593:Francisco Giner de los Ríos
225:. He is less well known in
10:
3211:
2695:
2323:Las Palmas de Gran Canaria
2250:Keniston, Hayward (1920).
2199:Geddes Jr., James (1910).
2196:Vol. 98, pp. 757–765.
1905:
1823:La batalla de los Arapiles
1336:La república de las letras
1055:(1867?, published in 1936)
691:Las Palmas de Gran Canaria
277:Las Palmas de Gran Canaria
74:Las Palmas de Gran Canaria
18:
3120:
3001:
2899:
2797:Pérez Galdós House Museum
2749:Montesinos, Jose (1971).
2383:"Galdós Editions Project"
2317:The Pérez Galdós museum (
2275:The Gentleman's Magazine,
2237:Vol. V, pp. 220–222.
2218:Gómez Martínez, José Luis
2046:Pérez Galdós House Museum
1869:Juan Martin el Empecinado
1432:
734:Nobel Prize in Literature
392:Pérez Galdós, circa 1863.
271:Childhood and first years
189:
185:
181:
169:
150:
139:
127:
123:
119:
109:
101:
84:
58:
49:
42:
2656:Ellis, Havelock (1901).
2632:Pacific Coast Philology,
2156:Works about Pérez Galdós
1981:Torquemada en la hoguera
1564:
1276:La princesa y el granuja
923:Torquemada en la Hoguera
607:onwards, for example in
314:The Golden Fountain Café
3084:Leonardo Torres Quevedo
3056:Frutos Saavedra Meneses
2663:, Vol. 39, pp. 213–217.
2370:Encyclopædia Britannica
2319:Casa-Museo Pérez Galdós
1976:University of Sheffield
1887:The Court of Charles IV
1761:Torquemada at the Stake
1624:La familia de León Roch
1584:The Conspiracy of Words
1312:El Pórtico de la Gloria
1234:La novela en el tranvía
1185:Santa Juana de Castilla
1016:La Razón de la Sinrazón
845:La Familia de León Roch
717:, Mariano de Cavia and
613:La razón de la sinrazón
465:La familia de León Roch
176:Leonardo Torres Quevedo
3165:Spanish male novelists
3150:People from Las Palmas
2989:Real Academia Española
2506:10.2307/j.ctv16zjzdb.3
2306:Modern Language Notes,
2261:Madariaga, Salvador de
2170:"Benito Pérez Galdós."
2122:was filmed in 1972 by
1493:Torquemada on the Fire
1161:Celia en los Infiernos
1010:El Caballero Encantado
974:Torquemada y San Pedro
786:Parque del Buen Retiro
782:a statue in his honour
778:Real Academia Española
774:
721:. Politicians such as
661:Práxedes Mateo Sagasta
636:
559:
393:
134:Real Academia Española
3112:Guillermo Rojo (2001)
3063:Salustiano de Olózaga
2751:Intro to Lo Prohibido
2559:"Benito Pérez Galdós"
2498:Galdos: Dona Perfecta
2194:The Atlantic Monthly,
1785:Leon Roch: a Romance.
1499:Fortunata and Jacinta
1428:In the United Kingdom
1240:Un tribunal literario
1228:La mujer del filósofo
956:Torquemada en la Cruz
767:Benito Pérez Galdós,
759:
630:
623:Return to the theatre
548:
508:is almost as long as
459:The early works from
391:
3185:Spanish blind people
2913:Episodios Nacionales
2372:15th Edition (1985).
2265:Contemporary Review,
1855:A Royalist Volunteer
1805:Episodios Nacionales
1709:Ángel Guerra (1990.
1666:León Roch: a Romance
1595:In the United States
1552:Episodios Nacionales
1397:Cronicón 1883 a 1886
1373:Política Española II
1349:Crónicas de Portugal
1222:El artículo de fondo
1053:Un Joven de Provecho
1029:Episodios Nacionales
1023:Episodios Nacionales
784:was unveiled in the
406:Episodios Nacionales
379:La Revista de España
362:Ramón Pérez de Ayala
265:Guayama, Puerto Rico
261:Pablo Iglesias Posse
157:León Galindo de Vera
3175:Spanish journalists
3076:Benito Pérez Galdós
2921:Fortunata y Jacinta
2893:Benito Pérez Galdós
2840:Benito Pérez Galdós
2831:Benito Pérez Galdós
2785:Benito Pérez Galdós
2776:Benito Pérez Galdós
2680:on 17 February 2018
2634:Vol. 46, pp. 46–64.
2540:Montesinos "Galdos"
2313:Pérez Galdós museum
2270:Miller, W. (1901).
2174:The Warner Library.
2065:(works in English)
1963:Benito Pérez Galdós
1571:Meow. A Tragicomedy
1385:Fisonomías Sociales
1367:Política Española I
896:Fortunata y Jacinta
605:Fortunata y Jacinta
532:Fortunata y Jacinta
505:Fortunata y Jacinta
493:Fortunata y Jacinta
411:Battle of Trafalgar
204:Miguel de Cervantes
196:Benito Pérez Galdós
44:Benito Pérez Galdós
3038:José Antonio Conde
2508:– via JSTOR.
2086:) was directed by
1863:Edwin Mellen Press
1859:Lewiston, New York
1849:Edwin Mellen Press
1845:Lewiston, New York
1743:Edwin Mellen Press
1739:Lewiston, New York
1729:Edwin Mellen Press
1725:Lewiston, New York
1715:Edwin Mellen Press
1711:Lewiston, New York
1409:Viajes y Fantasías
1193:(1922, unfinished)
1065:La Loca de la Casa
962:La Loca de la Casa
707:Melquiades Álvarez
646:In 1901, his play
637:
560:
499:La Comédie humaine
436:Santísima Trinidad
394:
328:Career as a writer
3127:
3126:
2955:
2954:
2293:978-1-85566-330-5
2088:Elsie Jane Wilson
2002:Project Gutenberg
1961:Works related to
1875:El Grande Oriente
1811:Trafalgar. A Tale
1264:La mula y el buey
1179:El Tacaño Salomón
1077:La de San Quintín
871:El Doctor Centeno
807:La Fontana de Oro
751:Miguel de Unamuno
719:José de Echegaray
715:Jacinto Benavente
673:Madrid parliament
461:La Fontana de Oro
398:National Episodes
383:La Fontana de Oro
318:La Fontana de oro
193:
192:
110:Literary movement
3202:
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3015:
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3007:Vicente Bacallar
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2100:, is based upon
2080:Beauty in Chains
2074:Film adaptations
2050:
2042:
2033:
2032:
2018:
2014:Internet Archive
2006:
1992:
1968:
1960:
1920:(1911. Chicago:
1704:Our Friend Manso
1636:The Spendthrifts
1586:( 2007. Madrid:
1463:The Spendthrifts
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451:Literary critic
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2385:. 12 July 2000.
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2315:
2201:"Introduction."
2187:Ellis, Havelock
2158:
2138:José Luis Garci
2134:The Grandfather
2076:
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2246:3-86527-313-0
2243:
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2236:
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2216:
2213:
2212:Texas Review,
2209:
2206:
2202:
2198:
2195:
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2167:
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2163:Books Abroad,
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2084:Doña Perfecta
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2061:
2056:
2052:
2051:
2047:
2044:
2039:
2035:
2027:
2023:
2020:
2015:
2011:
2008:
2003:
1999:
1996:
1989:
1988:0-9542608-3-X
1985:
1982:
1979:
1978:
1977:
1973:
1970:
1964:
1959:
1955:
1954:
1945:
1942:
1939:
1936:
1933:
1930:
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1916:
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1909:
1900:
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1894:
1891:
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1881:Aita Tettuaen
1879:
1876:
1873:
1870:
1867:
1864:
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1786:
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1768:
1767:Dona Perfecta
1765:
1762:
1759:
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1753:
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1646:
1643:
1640:
1637:
1634:
1631:
1628:
1625:
1622:
1619:
1616:
1613:
1612:Doña Perfecta
1610:
1607:
1604:
1603:
1589:
1585:
1582:
1581:
1578:Short stories
1572:
1569:
1568:
1559:
1556:
1555:
1546:
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1537:
1534:
1531:
1528:
1525:
1522:
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1479:
1476:
1473:
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1464:
1461:
1458:
1457:Doña Perfecta
1455:
1452:
1449:
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1371:
1368:
1365:
1362:
1359:
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1347:
1346:
1345:
1344:
1343:Miscellaneous
1337:
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1328:
1325:
1322:
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1313:
1310:
1307:
1304:
1301:
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1226:
1223:
1220:
1217:
1214:
1211:
1208:
1205:
1202:
1201:
1200:
1199:
1198:Short stories
1192:
1189:
1186:
1183:
1180:
1177:
1174:
1171:
1168:
1165:
1162:
1159:
1156:
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1129:
1126:
1123:
1120:
1117:
1114:
1111:
1108:
1105:
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1099:
1096:
1095:Doña Perfecta
1093:
1090:
1087:
1084:
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1072:
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1060:
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950:
946:
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918:
915:
912:
911:
907:
904:
901:
898:
897:
893:
890:
887:
884:
883:La de Bringas
881:
878:
875:
872:
869:
866:
863:
860:
857:
856:
855:
854:
846:
843:
840:
837:
834:
831:
828:
827:
826:Doña Perfecta
823:
820:
817:
814:
811:
808:
805:
804:
803:
802:
789:
787:
783:
779:
770:
763:
758:
754:
752:
747:
744:
740:
735:
730:
728:
724:
723:Antonio Maura
720:
716:
712:
708:
704:
700:
699:Gustavo Bauer
696:
692:
687:
685:
682:, he led the
681:
676:
674:
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666:
662:
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629:
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590:
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583:
582:
581:L'immoraliste
577:
573:
569:
565:
557:
553:
552:
547:
543:
541:
540:La de Bringas
537:
533:
529:
516:
513:
512:
511:War and Peace
507:
506:
501:
500:
495:
494:
489:
485:
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477:
472:
471:
470:Doña Perfecta
466:
462:
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454:
444:
442:
438:
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432:
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418:
416:
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408:
407:
399:
390:
386:
384:
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375:
370:
365:
363:
360:According to
358:
356:
352:
348:
344:
340:
336:
325:
323:
320:) (1870) and
319:
315:
310:
305:
303:
299:
298:
293:
289:
288:enlightenment
284:
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61:
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34:
30:
26:
22:
3075:
2993:
2943:
2935:
2927:
2919:
2911:
2903:
2892:
2843:
2825:(in Spanish)
2819:(in English)
2813:(in English)
2807:(in English)
2800:(in Spanish)
2792:(in Spanish)
2750:
2727:
2704:
2682:. Retrieved
2678:the original
2668:
2660:
2652:
2644:
2639:
2631:
2626:
2618:
2613:
2588:
2584:
2578:
2566:
2554:
2545:
2536:
2497:
2473:
2470:Texas Review
2469:
2436:. Retrieved
2434:(in Spanish)
2431:
2404:. Retrieved
2400:
2391:
2377:
2369:
2364:
2355:
2327:
2318:
2316:
2305:
2298:
2281:
2274:
2264:
2254:
2235:The Bookman,
2234:
2224:
2211:
2204:
2193:
2180:
2173:
2162:
2147:
2141:
2133:
2127:
2117:
2111:
2105:
2101:
2091:
2083:
2079:
2077:
2049:(in Spanish)
2041:(in Spanish)
2038:google books
2017:(in Spanish)
2005:(in Spanish)
1991:(in Spanish)
1967:(in Spanish)
1943:
1937:
1931:
1925:
1921:
1917:
1911:
1898:
1892:
1886:
1880:
1874:
1868:
1854:
1840:
1834:
1828:
1822:
1816:
1810:
1797:
1792:Compilations
1784:
1779:Misericordia
1778:
1772:
1766:
1760:
1754:
1748:
1734:
1720:
1703:
1697:
1693:
1687:
1683:
1677:
1671:
1665:
1659:
1653:
1647:
1641:
1635:
1629:
1623:
1617:
1611:
1605:
1587:
1583:
1570:
1557:
1544:
1538:
1532:
1526:
1520:
1517:Misericordia
1516:
1510:
1504:
1498:
1492:
1486:
1480:
1474:
1468:
1462:
1456:
1450:
1444:
1438:
1414:
1408:
1402:
1396:
1390:
1384:
1378:
1372:
1366:
1360:
1354:
1348:
1342:
1341:
1335:
1329:
1323:
1318:Rompecabezas
1317:
1311:
1306:Tropiquillos
1305:
1299:
1293:
1287:
1281:
1275:
1269:
1263:
1258:En un jardín
1257:
1251:
1245:
1239:
1233:
1227:
1221:
1215:
1209:
1203:
1197:
1196:
1190:
1184:
1178:
1172:
1166:
1160:
1154:
1148:
1142:
1136:
1130:
1124:
1118:
1112:
1106:
1100:
1094:
1088:
1082:
1076:
1070:
1064:
1058:
1052:
1049:(1865, lost)
1046:
1043:(1861, lost)
1040:
1034:
1033:
1022:
1021:
1015:
1009:
1003:
997:
992:Misericordia
991:
985:
979:
973:
967:
961:
955:
947:
942:Later Novels
941:
940:
935:Ángel Guerra
934:
928:
922:
917:La Incógnita
916:
908:
902:
894:
889:Lo Prohibido
888:
882:
876:
870:
864:
858:
852:
850:
844:
838:
832:
824:
818:
812:
806:
801:Early Novels
800:
799:
794:(in Spanish)
775:
768:
760:
755:
748:
731:
711:Duke of Alba
695:Eduardo Dato
688:
677:
658:
647:
645:
640:
638:
617:
612:
604:
600:
596:
586:
579:
572:Lo prohibido
571:
561:
549:
539:
535:
531:
528:Angel Guerra
527:
525:
509:
503:
497:
491:
488:Angel Guerra
487:
483:
474:
468:
464:
460:
450:
447:Other novels
434:
430:
424:
422:
419:
404:
402:
397:
382:
378:
372:
368:
366:
359:
347:Lope de Vega
331:
321:
317:
313:
306:
297:bachillerato
296:
285:
274:
258:
247:
239:Gran Canaria
230:
208:
195:
194:
171:Succeeded by
141:
129:
90:(1920-01-04)
37:
32:
28:
21:Spanish name
3145:1920 deaths
3140:1843 births
2916:(1872–1912)
2684:17 February
2401:Nobel Prize
2299:The Critic,
2110:(1959) and
2098:Luis Buñuel
2096:(1961), by
1721:The Unknown
1330:Entre copas
1143:Pedro Minio
1113:Alma y Vida
743:World War I
669:Puerto Rico
355:Leo Tolstoy
335:Shakespeare
160: [
152:Preceded by
71:10 May 1843
3134:Categories
2661:The Critic
2591:(4): 330.
2438:3 February
2406:2 February
2333:References
2205:Marianela.
2124:Rafael Gil
2069:government
1684:Torquemada
1672:The Shadow
1648:Compassion
1505:Torquemada
1173:Sor Simona
703:Rothschild
576:André Gide
568:naturalism
564:Émile Zola
486:(1881) to
252:, but his
235:Las Palmas
227:Anglophone
102:Occupation
67:1843-05-10
2929:Marianela
2736:cite book
2730:. Madrid.
2713:cite book
2531:Berkowitz
2255:Hispania,
2143:El Abuelo
2129:El Abuelo
2093:Viridiana
2090:in 1918;
1938:Marianela
1922:The Drama
1899:Trafalgar
1893:Saragossa
1618:Marianela
1558:Trafalgar
1451:Marianela
1270:El verano
1125:El Abuelo
998:El Abuelo
899:(1886–87)
891:(1884–85)
839:Marianela
813:La Sombra
739:Romanones
601:krausismo
476:Marianela
426:Trafalgar
369:La Nación
351:Euripides
343:Cervantes
142:In office
2945:Tristana
2835:fan site
2805:Brochure
2500:: 1–21.
2220:(1983).
2189:(1906).
2132:(1998) (
2116:(1970);
2113:Tristana
2026:LibriVox
1686:novels:
1642:Tristana
1533:Tristana
1415:Memorias
1155:Casandra
1149:Zaragoza
1119:Mariucha
1101:La Fiera
1089:Voluntad
1059:Realidad
1004:Casandra
949:Tristana
929:Realidad
877:Tormento
819:El Audaz
765:—
757:(1912):
641:Realidad
578:such as
324:(1871).
322:El audaz
292:Tenerife
231:Realidad
19:In this
2696:Sources
2119:La Duda
2107:Nazarín
2012:at the
1918:Electra
1843:(1993.
1755:Nazarín
1737:(1992.
1735:Reality
1723:(1991.
1539:Inferno
1511:Nazarín
1469:Torment
1167:Alceste
1131:Barbara
1107:Electra
980:Nazarín
792:Works
769:Cánovas
727:Lerroux
671:at the
665:Guayama
648:Electra
633:Franzen
558:, 1894.
431:Cánovas
417:said:
415:Max Aub
339:Dickens
223:Tolstoy
215:Dickens
200:realist
132:of the
114:Realism
97:, Spain
80:, Spain
25:surname
3102:(1949)
3094:(1938)
3086:(1920)
3078:(1897)
3065:(1871)
3040:(1818)
3027:(1760)
3009:(1713)
2948:(1892)
2940:(1888)
2932:(1878)
2924:(1887)
2908:(1876)
2889:Novels
2853:enotes
2846:(2004)
2757:
2728:Galdos
2605:469762
2603:
2291:
2244:
2136:), by
1986:
1841:Gerona
1698:et al.
1606:Gloria
1600:Novels
1439:Gloria
1433:Novels
1417:(1930)
1411:(1929)
1405:(1927)
1399:(1924)
1393:(1923)
1387:(1923)
1381:(1923)
1375:(1923)
1369:(1923)
1363:(1906)
1357:(1897)
1351:(1890)
1338:(1905)
1332:(1902)
1326:(1901)
1320:(1897)
1314:(1896)
1308:(1893)
1302:(1889)
1296:(1886)
1290:(1883)
1288:Theros
1284:(1878)
1278:(1877)
1272:(1876)
1266:(1876)
1260:(1876)
1254:(1873)
1248:(1872)
1242:(1872)
1236:(1871)
1230:(1871)
1224:(1871)
1218:(1868)
1212:(1866)
1206:(1865)
1187:(1918)
1181:(1916)
1175:(1915)
1169:(1914)
1163:(1913)
1157:(1910)
1151:(1908)
1145:(1908)
1139:(1905)
1133:(1905)
1127:(1904)
1121:(1903)
1115:(1902)
1109:(1901)
1103:(1897)
1097:(1896)
1091:(1896)
1085:(1895)
1079:(1894)
1073:(1893)
1071:Gerona
1067:(1893)
1061:(1892)
1018:(1915)
1012:(1909)
1006:(1905)
1000:(1897)
994:(1897)
988:(1895)
982:(1895)
976:(1895)
970:(1894)
964:(1893)
958:(1893)
952:(1892)
937:(1891)
931:(1889)
925:(1889)
919:(1889)
913:(1888)
905:(1887)
885:(1884)
879:(1884)
873:(1883)
867:(1882)
861:(1881)
847:(1878)
841:(1878)
835:(1877)
833:Gloria
829:(1876)
821:(1871)
815:(1871)
809:(1870)
635:, 1901
463:up to
309:Ateneo
302:Madrid
219:Balzac
95:Madrid
33:Galdós
2992:seat
2817:Guide
2601:JSTOR
2181:PMLA,
2102:Halma
1906:Plays
1773:Halma
1565:Plays
1545:Halma
1300:Celín
1246:Aquél
1035:Plays
986:Halma
554:, by
164:]
128:Seat
29:Pérez
2937:Miau
2823:Tour
2780:IMDb
2755:ISBN
2742:link
2719:link
2686:2018
2440:2023
2408:2023
2289:ISBN
2242:ISBN
2203:In:
2172:In:
2149:Nela
2055:ePub
1984:ISBN
1660:Miau
1475:Miau
1324:Rura
910:Miau
609:Miau
566:and
349:and
221:and
85:Died
59:Born
2891:by
2811:Map
2787:at
2778:at
2593:doi
2502:doi
2024:at
2000:at
1974:at
725:or
27:is
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2738:}}
2734:{{
2715:}}
2711:{{
2599:.
2587:.
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2496:.
2482:^
2472:.
2468:.
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2430:.
2416:^
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2354:.
2340:^
2152:.
2126:;
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1861::
1847::
1741::
1727::
1713::
667:,
615:.
584:.
502:.
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341:,
337:,
281:es
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237:,
217:,
162:es
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2721:)
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2607:.
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2410:.
2358:.
2082:(
2053:(
1857:(
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35:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
