Cf. George P. Baker, Dramatic Technique, 1919, p. 513.
8
[8] Thus R. D. Perés (Cultura española, 1906, pp. 135-37), interprets doña Juana of Casandra as the ancien régime, Casandra as liberty working through the revolution of '68, Rosaura as truth. It is true that he is writing of the novel, not the play, but the characters are the same. In the novel El caballero encantado the spirit of Spain is personified in one of the chief characters.
It is perhaps in order to protest here against the amazing translation which has been adopted by several American writers: "Mad for the sake of her family."
12
For this reason, one may suppose, Gerona never appeared in the list of Dramas y comedias which is printed on the back cover of all Galdós' works. But the same reason cannot be alleged for the non-inclusion of El abuelo and Casandra in the same list. This curious bibliographical detail may be supplemented by saying that these three plays are out of print and unobtainable, although El abuelo was reprinted as No. 37 of "La novela cómica" (May 27, 1917).
13
The first poetry he ever tried to write, according to the author; but this is denied by Ed. de Lustonó. See Nuestro Tiempo, 1902, vol. I, pp. 155 ff.
14
Prólogo to J. M. Salaverría: Vieja España, p. xxxiv; Madrid, 1907.
