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Notes
Páginas escogidas, Calleja, Madrid, 1917, p. 12. Cf. later p. 21: “Yo siempre he tendido a hacer descripciones por impresión directa y, sea amaneramiento o costumbre, no podría hablar de un personaje cualquiera si no supiera dónde vive y en qué ambiente se mueve.”
R. W. Fiddian, “Pıo Baroja's Novelistic Technique inEl gran torbellino del mundo”,Forum for Modern Language Studies, XVII (1981), 245–55.
C. A. Longhurst,Pío Baroja: El mundo es ansí, Critical Guides to Spanish Texts, Grant & Cutler, London, 1977.
See, for example, Myrna Solotorevsky, “Notas para el estudio intrínseco-comparativo deCamino de perfección y La voluntad”,Boletín de Filología, University of Chile, XV (1963), 111–64.
José Ares Montes, “Camino de perfección o las peregrinaciones de Pío Baroja y Fernando Ossorio”,Cuadernos Hispanoamericanos, 265–67 (1972), p. 484. There are five essays onCamino de Perfección in this centennial issue, testifying to the renewed interest in the novel and partly remedying the relative critical neglect just alluded to.
E. González López, “Camino de perfección y el arte narrativo español contemporáneo”,Cuardernos Hispanoamericanos, 265–67 (1972), p. 447.
González López, p. 448.
Emilia Pardo Bazán, “La nueva generación de novelistas y cuentistas en España”,Helios, No. 14 (1904), p. 262. She unwittingly concedes, however, that these observations are those of the “ degenerado” Ossorio who is, without doubt, the author himself.
Memorias III, Final del siglo XIX y principios del XX (Madrid, 1945), pp. 187–88.
Virginia Woolf, “Mr. Bennett and Mrs. Brown” (1924),Collected Essays, Vol. I (London, 1966), p. 321.
The whole idea of a literary generation of 1898 is at last being seriously challenged, most recently by J. W. Butt in his article “The Generation of 1898: A Critical Fallacy?”,Forum for Modern Language Studies, (1980), 136–52.
“Pérez de Ayala y la novela modernista europea”,Cuadernos Hispanoamericanos, Nos. 367–68 (1980), 21–36.
All references are to the Caro Raggio edition, Madrid 1974, and are incorporated in the text of the article.
Interestingly enough, Emilio González López writes of the influence of “una estética simbolista” onCamino de perfección (art. cit. p. 450). The early part of the novel, by contrast, with its emphasis on hereditary and environmental influences on the personality of Ossorio, reveals its Naturalist legacy. The quotation fromAxel's Castle (1931) is taken from the Fontana edition, 1974, p. 27.
This has been well documented by Richard A. Cardwell in his book,Juan Ramón Jiménez: The Modernist Apprenticeship (Berlin, 1977).
Quoted by Cardwell, p. 33.
Ideal de la humanidad para la vida (2nd. edition, Madrid, 1871), p. 3.
In a lecture, “Pío Baroja, realist or modernist?”, given in the University of Hull on 13th February 1981, Dr. C. A. Longhurst noted the chronological inconsistencies in Baroja's handling of this scene and attributed them, not to authorial carelessness, but to a deliberate interference with normal chronology occasioned by Fernando's quasi-mystical experience.
F. G. Sarriá, “Estructura y motivos deCamino de perfección”,Romanische Forshungen, LXXXIII, (1971), 246–66.
Sarriá, p. 253.
D. L. Shaw,The Generation of 1898 in Spain (London, 1975), p. 100.
G. Sobejano, “ComponiendoCamino de perfección”,Cuadernos Hispanoamericanos, 265–67 (1972), p. 479.
Juan Villegas, “Camino de perfección o el aparente triunfo del superhombre”, inLa estructura mítica del héroe, (Barcelona, 1973) pp. 139–75.
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Macklin, J.J. The modernist mind: Identity and integration in Pio Baroja'sCamino de perfección . Neophilologus 67, 540–555 (1983). https://doi.org/10.1007/BF02352412
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DOI: https://doi.org/10.1007/BF02352412