![]() ![]() She renounces what Zygmund Bauman calls the “plausibility of dichotomy” when she emerges ambivalent toward her humble beginnings and the advantages of the middle class (148). Fortunata rejects the requisites of a middle class housewife, namely fidelity. Sin volver con mi marido,” she tells Feijoo (2:98). The problem rises in the text when Fortunata questions the very foundation of the bourgeoisie, marriage: “Quiero ser honrada a carta cabal, honrada, honrada. The social stigma is not difficult to understand in the world of Pérez Galdós: if you marry and accumulate wealth, then your family may hand down its respectable reputation to the next generation. It clearly demarcates a difference between that which is valid and the Other, el cuarto estado, el pueblo, Fortunata. ![]() ![]() Parsons calls a masquerade and a chimera, predicts a person’s quality of life and tenure in this community (37).2 That is to say, the novel extends honor as a social stamp of approval. In Benito Pérez Galdós’ Fortunata y Jacinta (1886-1887), being an honorable person becomes synonymous with membership to the bourgeoisie.1 However well a character is able to play his or her role in the nineteen-century restored Madrid, a city Deborah L. ![]()
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