Set in Madrid in the late 19th century, Tristana, by Spanish writer Benito Pérez Galdós, is a classic story of a love triangle. As the novel opens, we are introduced to Don Lope Garrido, a handsome lifelong womaniser now living in somewhat reduced circumstances in rented rooms in the Chamberí district of Madrid. At fifty-seven (although he thinks of himself as perpetually aged forty-nine), Don Lope still cuts a dashing figure with his noble face, slim figure and his distinguished goatee beard. Here’s a great description of this gentleman:
He dressed as smartly and impeccably as his slender means permitted: a well-buffed top hat, a good-quality winter cape, dark gloves at every season of the year, an elegant cane in summer, and suits more appropriate to youth than to maturity. Don Lope Garrido – just to whet your appetite – was a skilled strategist in the war of love and prided himself on having stormed more bastions of virtue and captured more strongholds of chastity than he had hairs on his head. True, he was somewhat spent now and not fit for very much, but he could never quite give up that saucy hobby of his, and whenever he passed a pretty woman, or even a plain one, he would draw himself up and, albeit with no evil intentions, shoot her a meaningful glance, more paternal than mischievous, as if to say: “You had a very narrow escape! Think yourself lucky you weren’t born twenty years earlier…” (pg. 4)
Don Lope is aptly named as while ‘Garrido’ can mean ‘handsome and elegant,’ it also carries a suggestion of ‘garras’ meaning ‘claws’.
Living with Don Lope are two women: his maid, Saturna, and a twenty-one-year-old girl named Tristana. The inhabitants of the neighbourhood enjoy speculating on the nature of Tristana’s relationship with Don Lope. Various theories are bandied about ranging from daughter to niece to wife. But in reality the young girl is Don Lope’s ward. As the orphaned daughter of a close friend of her Don Lope’s, Tristana is entirely dependent on her guardian’s generosity, a status which this serial seducer has exploited. Within two months of Tristana’s arrival, Don Lope has added her to his very long list of conquests; she is, in effect, his plaything.
The problem was that the good gentleman’s moral sense lacked a vital component, and like some terribly mutilated organ, it functioned only partially and suffered frequent deplorable breakdowns. In accordance with the fusty old dogma of a knight sedentary, Don Lope accepted neither guilt nor responsibility when it came to anything involving the ladies. While he would never have courted the wife, spouse, or mistress of a close friend, he considered that, otherwise, everything was permitted in matters of love. (pg. 17)
At first Tristana accepts this way of life almost without question, failing to appreciate the reality of her situation. She is young, pretty and innocent. But as her twenty-second birthday approaches, Tristana begins to experience an awakening, a longing for independence and a sense of freedom.
Then there came a time when, like the shoot of a perennial plant that pushes its way up into life on a warm spring day, her mind suddenly flowered and filled with ideas, in tight little buds to begin with, then in splendid clusters. Indecipherable desires awoke in her heart. She felt restless, ambitious, although for quite what she didn’t know, for something very far off, very high up, which her eyes could not see; (pgs. 20-21)
As a result, there are signs that Tristana is starting to find life as Don Lope’s mistress more than a little distasteful. An ambitious and intelligent young woman, she dreams of learning a skill or profession, of living life as a painter, a writer or a teacher. Meanwhile, Don Lope is beginning to feel the effects of his advancing age. Sensing Tristana’s growing appetite to spread her wings, he begins to tighten the net around his young captive fearing she may deceive him or flee the nest forever.
Sensing that he was now an old lion, he, who had never considered any other man his rival, was suddenly filled with anxieties and saw robbers and enemies hiding in his very shadow. Aware of his own decrepitude, he was devoured by egotism, like a kind of senile leprosy, and the idea that the poor young woman should compare him, even if only mentally, with the imagined exemplars of youth and beauty, soured his life. His good judgement, it should be said, did not desert him entirely, and in his lucid moments, which usually occurred in the morning, he recognized the inappropriateness and irrationality of his behaviour and tried to calm his captive with trusting, affectionate words. (pgs. 29-30)
One day while out walking, Tristana meets and falls for Horacio, an attractive young artist and kindred spirit. The two young lovebirds continue to meet on a daily basis, a romance nurtured through afternoon strolls and, in time, secret trysts in the painter’s studio. Horacio, too, has experienced a difficult childhood. Orphaned at a young age and poorly treated by his tyrannical grandfather, he has found an outlet for his creativity through art. Horacio encourages Tristana’s eagerness to learn and the two feed off one another in a sense of mutual fascination and desire. Their love affair is teasing and playful.
Inside her, emotion was kicking and stamping, like a living being far larger than the breast containing it, and she vented this emotion by laughing wildly or bursting into sudden, passionate tears. It was impossible to say if this feeling was a source of joy to them or a lacerating sorrow, because they both felt as if they had been wounded by a sting that plunged deep into their souls, and were both tormented by a desire for something beyond themselves. (pg. 48)
With her spirit fully awakened, and scarred by Don Lope’s predatory behaviour, Tristana longs for the day when she can make her own way in life. Despite her love for Horacio, she is keen to reach a state of ‘honourable freedom,’ unwilling to accept dependency upon any man however much she idolises him.
And what of her home situation? Although she does not love her guardian, Tristana still feels tied to Don Lope in some way; she experiences a strange mix of emotions towards him. There are times when Tristana loathes Don Lope for taking away her virginity, but she also feels something bordering on affection as a daughter would for her father. In reality, Don Lope’s character is far from black and white; he is a curious blend of altruistic qualities and terrible failings. He seems to have two opposing consciences: one very pure and honourable in certain respects, the other rather reprehensible. In effect, he chooses which to apply depending on the situation putting them ‘on and off like shirts’.
Don Lope wielded such power over her, such mysterious authority, that in his presence, even though she had ample reasons to rebel, she could not dredge up so much as a breath of willpower. (pg. 60)
Don Lope soon guesses that Tristana has a suitor. The evidence of love is there; he can see it on her face and hear it in her voice. That’s about as much as I’m going to say about the plot of this wonderful novel, but there are a number of moves and counterplays to come which keep the reader guessing.
Tristana is a joy to read, a subtle story of love, power, liberty, and creativity. As you may have gathered from my opening quote, Don Lope is a cunning strategist and not to be underestimated. At times, he behaves like a jealous lover, at others a watchful father or doting grandfather. He is a tricky character to pin down as we see various different facets of his personality. Tristana, too, is a complex individual, and her wishes change as the story moves forward. Even Don Lope’s maid, Saturna, is painted in a vivid and lively manner. She is Tristana’s confidante, and the conversations between the two women are one of the book’s many pleasures. The writing is sublime too: Galdós’ prose is elegant and sprightly; Margaret Jull Costa’s translation reads very smoothly.
This is my second contribution to Richard and Stu’s Spanish Lit Month, and I must thank Guy and Scott for recommending Tristana, which I suspect will make my end-of-year highlights. You can read their excellent reviews by clicking on the links.
Tristana (tr. by Margaret Jull Costa) is published by NYRB Classics. Source: personal copy. Book 2/20, #TBR20 round 2.
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