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The galley stag in the production of Galdós's novels provided the author with an opportunity for final revision before his texts went to press. Despite Berkowitz's claims to the contrary, Galdós did make numerous changes in his works prior to their publication. Indeed, no page of Fortunata y Jacinta's galleys is left untouched. Yet, surprisingly little critical attention has been afforded this important stage in the production of Galdós's masterpiece. In 1978 James Whiston pioneered the way for further study in this area by publishing a brief article discussing how minor substitutions and additions to the galleys rendered the language of the text more natural or expressive and created a more positive impression of Fortunata's character. Some eight years later Francisco Caudet acknowledged the importance of the galleys by supplementing the text of his 1985 edition of the novel with footnotes, quoting some of the material that was either discarded or changed at the galley stage. More recently, in her 1992 book analyzing the development of Fortunata y Jacinta from the Alpha manuscript through its published version, Mercedes López-Baralt dedicated a chapter to showing how various galley revisions affected the characterization process. Finally, my own 1993 article examined the relationship between Moreno-Isla and Jacinta in light of material that was deleted from the galleys.
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Willem, Linda M. "Jacinta's 'vista al cuarto estado': The Galley Version," Anales Galdosianos 31-32 (1996-97): 97-103.