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Argues that adultery in La Regenta occurs as an indicator of other forces at play in the novel concerning control, gender and sexuality, and that a way of understanding the commission of adultery in the novel is contained within the complex net of images and allusions to food, appetite and feeding

In its representation of confession, La Regenta relentlessly uncovers desire, that core of subjectivity that inevitably disturbs the truth value of the narrative produced. To the extent that it examines the troubling relationships between language and desire, confession and sexuality, narration and seduction, the novel anticipates contemporary psychoanalytic and semiotic theory.

It is important to keep in mind in studying point of view in La Regenta that Alas believed the author (as opposed to a character within the novel) to be best qualified to interpret a character's thoughts, actions and motivations. Because Alas knows all, the reader not only sees characters through the author's eyes but, entering their consciousness, sees reality through the eyes of the characters themselves. Thus the author's omniscient point of view carries within itself, so to speak, narrower individual points of view. The resultant multiple perspectives serve to delineate the different characters as well as to develop the major themes and the main action of the novel. To indicate some of the relationships between point of view, theme, characterization, and the ironic presentation of diametrically opposed perspectives is the purpose of this paper.