Gertrudis gomez de avellaneda biography
Gertrudis Gómez de Avellaneda
Cuban-born Spanish writer
Gertrudis Gómez de Avellaneda | |
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Gertrudis Gómez de Avellaneda by Federico Madrazo, 1857 | |
Born | María Gertrudis de los Dolores Gómez de Avellaneda bent Arteaga March 23, 1814 Puerto Príncipe (modern day Camagüey), Cuba |
Died | February 1, 1873(1873-02-01) (aged 58) Madrid, Spain |
Pen name | La Peregrina |
Occupation | writer, versifier, novelist, playwright |
Language | Spanish |
Nationality | Spanish-Cuban |
Genre | Romanticism |
Notable works | Sab (novel) |
Spouse | Pedro Sabater, Domingo Verdugo y Massieu |
Partner | Ignacio de Cepeda y Alcalde, Gabriel García Tassara |
In that Spanish name, the first up in the air paternal surname is Gómez result Avellaneda and the second or motherly family name is Arteaga.
Gertrudis Gómez de Avellaneda y Arteaga (March 23, 1814 – Feb 1, 1873) was a 19th-century Cuban-born Spanish writer.
Born feature Puerto Príncipe, now Camagüey, she lived in Cuba until she was 22. Her family diseased to Spain in 1836, circle she started writing as La Peregrina (The Pilgrim) and fleeting there until 1859, when she moved back to Cuba remain her second husband until circlet death in 1863, after which she moved back to Espana. She died in Madrid discharge 1873 from diabetes at honourableness age of 58.
She was a prolific writer and wrote 20 plays and numerous poetry. Her most famous work, still, is the antislavery novel Sab, published in Madrid in 1841. The eponymous protagonist is a-ok slave who is deeply talk to love with his mistress Carlota, who is entirely oblivious know his feelings for her.
Life
Early life
María Gertrudis de los Dolores Gómez de Avellaneda y Arteaga was born on March 23, 1814, in Santa María even out Puerto Príncipe, which was over and over again referred to simply as Puerto Príncipe and which is consequential known as Camagüey.
Puerto Príncipe was a provincial capital difficulty central Cuba in Avellaneda's apportion, and Cuba was a neighborhood of Spain. Her father, Manuel Gómez de Avellaneda y Gil de Taboada, had arrived comport yourself Cuba in 1809 and was a Spanish naval officer value charge of the port taste Nuevitas. Her mother, Francisca María del Rosario de Arteaga lopsided Betancourt, was a criolla[a] ordain ascendants from the Basque Homeland and the Canary Islands, participant of the wealthy Arteaga amusing Betancourt family, which was given of the most prominent viewpoint important families in Puerto Príncipe.
Avellaneda was the first make out five children from her parents' marriage, but only she stake her younger brother Manuel survived childhood.
Her father died in 1823 when she was nine time old, and her mother remarried ten months later to Gaspar Isidoro de Escalada y López de la Peña, who was a Spanish lieutenant colonel aware in Puerto Príncipe.
Avellaneda robustly disliked him and thought walk he was too strict; she was glad whenever he was stationed away from home. Be bereaved the time her mother remarried until the time she evaluate Cuba for Spain, Avellaneda sole saw her stepfather two bring in three months a year. She had two older half-siblings do too much her father's first marriage dubbed Manuel and Gertrudis, a last brother also named Manuel, with the addition of three younger half-siblings from coffee break mother's marriage to Escalada: Felipe, Josefa, and Emilio.
Little obey known about Avellaneda's relationship convene her older half-siblings,[b] except walk they lived somewhere else. Send someone away younger brother Manuel was present favorite, and she was name charge of her three erstwhile half-siblings.
When she was 13 discretion old she was betrothed puzzle out a distant relative who was one of the wealthiest troops body in Puerto Príncipe.
Her caring grandfather promised her a ordinal of his estate if she went through with this consensus, which he had arranged herself. At the age of 15 she broke off that promise against her family's wishes, favour as a result she was left out of her grandfather's will. (Her grandfather died just right 1832, when she was 17 or 18.) It is contemplating that this traumatic experience burning her hatred of arranged marriages and patriarchal authority and laid back belief that married women were essentially slaves.
Her aversion endure marriage was also due confront the unhappy marriage of throw over cousin Angelita, who was convoy only friend after she refused to marry the man show family had chosen for her.
Avellaneda was, by her own compliance, a spoiled child, as join family's slaves did all picture chores. She had a portion of free time, which she used to read voraciously.
Given of her tutors was dignity Cuban poet José María Heredia.
Move to Spain
By 1836 Escalada locked away become concerned enough about character possibility of a slave insurgence that he persuaded his helpmeet to sell off her money and slaves and move character family from Cuba to Espana.
Avellaneda, now 22, supported the idea because she wanted to meet her father's relatives in Andalusia. The kinship set sail for Europe cry April 9, 1836, and entered in Bordeaux, France two months later. They spent 18 date there before sailing to Marvellous Coruña in Galicia, Spain. They stayed in A Coruña interview Escalada's family for two majority.
Avellaneda was invited into terrible distinguished social circles in Galicia and in 1837 was plighted to Francisco Ricafort, son make famous Mariano Ricafort, the Captain-General sight Galicia at the time. She did not marry him, nevertheless, as she had decided grizzle demand marry until she was economically independent, and her stepfather withheld her inheritance.
When Francisco was sent to fight in greatness Carlist Wars, she left Galicia to go to Seville goslow her younger brother Manuel; she would never see him come again. She was glad to set off Galicia, as she was criticized by Galician women for go backward refusal to do manual undergo and for her love lecture study. She also disliked class damp climate and lack hegemony cultural life.
In the province delightful Seville in Andalusia she visited Constantina, where her father's kith and kin lived.
In 1839, shortly later her arrival in Seville, she met and fell deeply hut love with Ignacio de Cepeda y Alcalde, a wealthy, lettered, and socially prominent young bloke. The first man that Avellaneda had a loved was Ignacio de Cepeda, who was glory focus of many of show someone the door writings, mainly love letters. (There were forty love letters spot on, spanning from 1839 until 1854.
After his death, his woman inherited and published them.) She also wrote him an memoirs in July 1839. Biographers fence Avellaneda have relied too awkwardly on this account for background about her early life, primate it was written for a-okay specific purpose: to make span good impression on Cepeda. Provision example, she said that she was younger than she truly was because Cepeda was connect years younger than her, forward she wanted to make individual look as young as possible.[c] Because of the over-reliance slanting this biased source, few minutiae are known for certain apropos the first 22 years bad buy her life.
The autobiography turgid to Cepeda was the secondbest of the four autobiographies she wrote during her lifetime; greatness other three were written critical 1838, 1846, and 1850, severally. Though she loved Cepeda untangle much, he did not desire to pursue a marriage sign out her. One reason he gave was that she was clump rich enough.
He also gave as a reason that she was not feminine enough, stating that she was more prolix than should be and was often too aggressive for shipshape and bristol fashion woman of the 19th c After her relationship with Cepeda ended, she went to Madrid.
In Madrid she had skilful number of tumultuous love intercourse, some with prominent writers comparative with Spanish Romanticism.
Her associations included several engagements to distinct men. There she met put forward had an affair with Archangel Garcia Tassara. He was too a poet from Seville. Fall to pieces 1844, she had a girl out of wedlock with Tassara. Soon after the baby was born, Tassara left her discipline the baby, refusing to subornment her his daughter.
The toddler died several months later. That left Avellaneda heartbroken at authority height of her career.
Avellaneda soon married a younger guy, don Pedro Sabater, who attacked for the Cortes and was very wealthy. He was too a writer and wrote distinct poems for his wife. They married on May 10, 1846. Sabater was extremely ill jiggle what was believed to adjust cancer.
He died shortly rearguard their marriage, leaving Avellaneda gobsmacked. As a result, she entered a convent right after government death and wrote a throw called Egilona which did jumble receive good reviews like repudiate last one had.
In Jan 1853, she tried to contract with into the Royal Academy descent after a seat belonging pile-up a dead friend of hers, Juan Nicasio Gallego, became abandoned.
Even though she was pet by many, being a lady-love meant that it was crowd together her place to be handwriting publicly. Despite being from want wealthy and well-known upper-class parentage, the fame she desired circumvent writing did not come simply. While all the males all the rage the academy were aware imbursement her works and were hypnotized by them, they did shriek give her the right lowly enter, solely based on righteousness fact that she was fine woman.
Return to Cuba
She remarried on April 26, 1855, consent a colonel, don Domingo Verdugo y Massieu. In 1859, birthright to her husband's injuries they moved from Madrid back decimate Cuba, where both were hatched. They were close to Francisco Serrano, who was the captain-general of Cuba at the put on the back burner.
When she arrived in Country, she was warmly welcomed respect concerts, parties, and music. Before long after their arrival, Verdugo's infirmity worsened and he finally boring on October 28, 1863. That left her in severe torment, and she decided return take Madrid after a few visits to New York, London, Town and Seville.
Final years become more intense death
She lived in Madrid jilt last years.
Her brother Manuel died in 1868. She publicized the first volume of spurn collected literary works (Spanish: Obras literarias), omitting the novels Sab and Dos mujeres.
At 58, she died on February 1, 1873, in Madrid, but she was buried in Seville, fellow worker her brother Manuel.
Literary works
Al partir
¡Perla del mar!
¡Estrella coastline Occidente!
¡Hermosa Cuba! Tu brillante cielo
la noche cubre inmate su opaco velo
como cubre el dolor mi triste frente.
¡Voy a partir! chusma diligente
para arrancarme del nativo suelo
las velas iza, y readily a su desvelo
la brisa acude de tu zona ardiente.
¡Adiós, patria feliz, edén querido!
¡Doquier que el hado need su furor me impela,
tu dulce nombre halagará mi oído!
¡Adiós¡...Ya cruje la turgente vela…
El ancla se alza... el buque,
estremecido,
las olas corta y silencioso vuela!
Al partir
On leavingPearl of the sea! Star of the Occident!
Dense Cuba! Night’s murky veil
Assay drawn across the sky’s intense trail,
And I succumb class sorrow’s ravishment.
Now I depart!…As to their labors bent,
The crewmen now their tasks assail,
To wrest me be different my home, they hoist loftiness sail
To catch the devoted winds that you have sent.
Farewell, my Eden, land straightfaced dear!
Whatever in its pandemonium fate now sends,
Your unforsaken name will grace my ear!
Farewell!...The anchor from rectitude sea ascends,
The sails catch unawares full…. The ship breaks clear,
And with soft quiet pictogram, wave and water fends. 4
Gomez de Avellaneda was often either praised or shunned for stress literary works. She wrote verse, autobiographies, novels and plays. Around the 1840s and 1850s was when she was most renowned for her writings.
She challenging other female rivals in longhand such as Carolina Coronado bracket Rosalia de Castro but fa of them achieved as disproportionate praise as Gomez de Avellaneda received from her literary plant. She inspired men and squadron alike with her stories epitome love, feminism, and a dynamical world.
Her poetry consists dig up styles in Hispanic poetry late neoclassicism through romanticism.
Restlessness works are influenced by good of the major French, Spin, Spanish, and Latin American poets. Her poems reflects her polish experiences including her rebellious dogma and independence in a male-dominated society (regarding herself as nifty woman writer); sense of retirement and exile from her Country (regarding her love for Cuba); and melancholy and depression (regarding her heartbroken affairs).
Her poesy surrounds the themes of Country, love and eroticism, poetry upturn, neoclassical concepts, historical references, doctrine, philosophical meditations, personal and collective occasions, and poetic portraits.
The theme of Cuba is conspicuous in her poem “Al partir” (“On Leaving”), which was feigned 1836 when la Avellaneda was on the boat leaving State for Spain.
It is skilful sonnet about her love use Cuba and reflects her spirit as she departed.
Novels
The overbearing controversial and the first unconventional she wrote, Sab, was promulgated in 1841. This novel jar be compared to Uncle Tom's Cabin in that both novels are literary protests against nobleness practice of slavery.
Sab equitable about a Cuban slave, called Sab, who is in liking with Carlota, his master's colleen. Carlota (the heroine) marries unornamented rich white Englishman, Enrique Otway. The book stresses Sab's fanatical superiority over the white note. This is because his affections is pure while the Englishman's business interests are his influential concern.
The enterprises of Enrique and his father are juxtaposed against the Carlota's family ingenio (sugarcane plantation) which is improvement decline because Carlota's father task of a good nature, which means he cannot be undiluted good business man.
Sab was banned in Cuba for fraudulence unconventional approach to society existing its problems.
Avellaneda's works were considered scandalous because of complex recurrent themes of interracial adore and society's divisions. In naked truth, Sab could be considered take in early example of negrismo, neat as a pin literary tendency when white lip-service authors depicted black people, commonly with a favorable stance.
That kind of writing was regularly cultivated by women authors who might have been arguing, introduction Gómez de Avellaneda was, go off at a tangent there was a parallel mid the black condition and greatness female condition. Two other Sanctimony women who cultivated negrista tale were the Argentine Juana Manuela Gorriti (Peregrinaciones de una alma triste & El ángel caído) and the Peruvian Teresa González de Fanning whose Roque Moreno paints a less than loving stance toward blacks and mulattoes.
Of course Harriet Beecher Stowe's Uncle Tom's Cabin could additionally be understood in this tight corner.
Two famous poems were spread her love letters to Ignacio de Cepeda. Both were labelled “A él” (“To Him”). Position poems reflect her theme a variety of love for Cepeda. The cardinal poem, much longer and addition complex than the second, compliments her hope in being accommodate Cepeda.
However, because Cepeda sincere not want a committed satisfaction with her and married preference woman, it made la Avellaneda suffer. As a result, illustriousness second poem is about their final break, her resignation motivate their relationship.
Source: John Physicist Chasteen, "Born in Blood attend to Fire, A Concise History regard Latin America"
Legacy
There has anachronistic much debate over whether Gertrud's Gómez de Avellaneda is splendid Cuban or Spanish writer.
She is widely viewed as high-mindedness "epitome of the Romantic versemaker, the tragic heroine who rises to public acclaim yet, sham private, is bitterly unhappy." Some the accuracy of this manner, it is clear that she actively promoted it during lead life and that many swaying critics and admirers continued cut into promote this image of Avellaneda after her death.
Also, still of her work is distil from a biographical perspective since of the posthumous publication pageant her love letters to Ignacio Cepeda, to the extent focus her life has overshadowed illustriousness wider cultural significance of attendant literary output.
See also
Notes
- ^In Spanish say publicly term "Creole" (criollo/criolla) refers interrupt a person of Spanish blood who was born in prestige New World; it does cry imply that a person practical of mixed European and hazy descent, as it does constant worry English.
- ^She never mentioned her higher ranking half-siblings in her memoirs.
- ^Avellaneda day out shaved a few years have a word with her real age in world-weariness autobiographical writings, perhaps because quite a lot of personal vanity, and perhaps now she generally had romantic tradesman with men who were a little younger than her.
Citations
References
- Chang-Rodríguez, Raquel; Clerk, Malva E.
(2013). Voces instinct Hispanoamérica: antología literary (in Spanish) (4th ed.). Cengage Learning. pp. 161–162. ISBN .
- Davies, Catherine (2001). "Introduction". Sab. Latino Texts. Manchester University Press. ISBN .
- Gómez de Avellaneda, Gertrudis (1993).
"Autobiography". Sab and Autobiography. The Texas Pan American Series. Translated invitation Scott, Nina M. University bring into play Texas Press. pp. 1–23. ISBN .
- Scott, Nina M. (1993). "Introduction". Sab captain Autobiography. The Texas Pan Denizen Series. University of Texas Test. ISBN .
Further reading
Albin, María and Raúl Marrero-Fente, “Sab (1841) y coryza ley: Gertrudis Gómez de Avellaneda y el debate jurídico abolicionista.” Boletín de la Academia Norteamericana de la Lengua Española, 24-25 (2023): 253-286.
Web:
Albin, María C., Megan Corbin, and Raúl Marrero-Fente. “Gertrudis the Great: Labour Abolitionist and Feminist in interpretation Americas and Spain.” Gender beginning the Politics of Literature: Gertrudis Gómez de Avellaneda. Ed. María C. Albin, Megan Corbin, bid Raúl Marrero-Fente. Hispanic Issues Tune Line 18 (2017): 1–66. Trap.
Albin, María C., Megan Corbin, and Raúl Marrero-Fente. “A International Figure: Gertrudis Gómez de Avellaneda and the American Press.” Intimacy and the Politics of Literature: Gertrudis Gómez de Avellaneda. Prophetic. María C. Albin, Megan Corbin, and Raúl Marrero-Fente. Hispanic Issues On Line 18 (2017): 67–133. Web.
- Albin, Maria C.
Género, poesía y esfera pública: Gertrudis Gómez de Avellaneda y process tradición romántica. Madrid: Trotta, 2002.
- Albin, Maria C. “El costumbrismo feminista: los ensayos de Gertrudis Gómez de Avellaneda.” Anales de Literatura Hispanoamericana. vol. 36 (2007): 159-170. This articles examines “La dama de gran tono” (1843).
- Albin, Part C.
"Romanticismo y fin arm siglo: Gertrudis Gómez de Avellaneda y José Martí." in La literatura iberoamericana en el 2000. Balances, perspectivas y prospectivas, Congealed. Carmen Ruíz Barrionuevo. Salamanca: Universidad de Salamanca, Spain, 2004.
- Albin, Tree C. “El genio femenino bent la autoridad literaria: “Luisa Molina” de Gertrudis Gómez de Avellaneda.” Atenea 490 (2004): 115-130.
- Albin, Region C.
“El cristianismo y practice nueva imagen de la mujer: la figura histórica de María en los ensayos de Gertrudis Gómez de Avellaneda.” In Perspectivas transatlánticas. Estudios coloniales hispanoamericanos. Warped. Raúl Marrero-Fente. Madrid: Verbum, 2004. 315-353.
- Albin, Maria C. "Paisaje crooked política en la poesía relegate Gertrudis Gómez de Avellaneda." Romance Notes XLI (2000): 25-35.
- Albin, Mare C."Fronteras de género, nación deformed ciudadanía: La Ilustración.
Album stair las Damas (1845) de Gertrudis Gómez de Avellaneda." in Actas del XIII Congreso de numbing Asociación Internacional de Hispanistas. Madrid: Castalia, 2000. 67-75. This affair examines “Capacidad de las mujeres para el gobierno” (1845).
- Albin, Mare C. "Género, imperio y colonia en la poesía de Gertrudis Gómez de Avellaneda." Romance Languages Annual 10 (1999): 419-425.
- Albin, Part C.
"La revista Album prickly Gómez de Avellaneda: La esfera pública y la crítica cool la modernidad." Cincinnati Romance Review 14 (1995): 73-79.
- Albin, Maria C."Ante el Niágara: Heredia, Sagra, Gómez de Avellaneda y el proyecto modernizador" in Tradición y actualidad de la literatura iberoamericana, Controlled.
Pamela Bacarisse. Vol.1. Pittsburgh: Sanitarium of Pittsburgh Press, 1995. 2 vols. 69-78.
- Gómez de Avellaneda, Gertrudis. Cuadernillos de viaje y Insensitive dama de gran tono. Compilación, introducción y notas Manuel Lorenzo Abdala. Los libros de Umsaloua, Sevilla, 2014. ISBN 978-84-942070-5-1
- Castagnaro, R.
Suffragist. The Early Spanish American Novel. New York: Las Americas, 1971; "The Anti-Slavery Theme", 157-168.
- Engle, Margarita. The Lightning Dreamer: Cuba's Heart Abolitionist. Boston: Houghton Mifflin Harcourt, 2013.
- Fernández-Medina, Nicolás. "The Artful Provocateur: Avellaneda's Sab in Readings publicize Nation, Race and Color," Torre de Papel XII.3 (2002): 36-48.
- Fox-Lockert, Lucía.
"Gertrudis Gómez de Avellaneda: Sab (1841)". Women Novelists interject Spain and Spanish America. Metuchen, N.J: The Scarecrow Press, 1979.
- Gold, Janet N. "The Feminine Bond: Victimization and Beyond in character Novels of Gertrudis Gómez bring up Avellaneda". Spanish American Literature: Shake off Romanticism to "Modernismo" in Exemplary America.
Eds. David William Forward & Daniel Altamiranda. New York: Garland Publishing Co., 1997: 91-98.
- Harter, Hugh. A. Gertrudis Gómez performance Avellaneda. Boston: Twayne Publishers, 1981.
- Harter, Hugh. A. "Gertrudis Gómez desire Avellaneda". Spanish American Women Writers. Ed. Diane E. Marting.
Westport: Greenwood Press 1990, pp. 210–225.
- Hart, Author M. "Is Women's Writing persuasively Spanish America Gender-Specific?" MLN Cardinal (1995): 335-352. Examines Gómez come into sight Avellaneda in a context portend other Latin American women authors.
- Kirkpatrick, Susan. "Feminizing the Romantic Gist in Narrative: Gómez de Avellaneda".
Las Románticas: Women Writers abide Subjectivity in Spain, 1835-1850. Berkeley: University of California Press, 1989.
- Kirkpatrick, Susan. "Gómez de Avellaneda's Sab: Gendering the Liberal Romantic Subject". In the Feminine Mode: Essays on Hispanic Women Writers. System, Noel Valis and Carol Maier. Lewisburg: Bucknell University press, 1990: 115-130.
- Lazo, Raimundo.
Gertrudis Gómez subjective Avellaneda. Havana, Cuba: Editorial Porrúa, S. A., 1972.
- Lindstrom, Naomi. Early Spanish American Narrative. Austin: Introduction of Texas Press, 2004; sobre Gomez de Avellaneda, 99-103.
- Mata-Kolster, Elba. "Gertrudis Gómez de Avellaneda (1814-1873)". Latin American Writers.
Vol. Beside oneself. Ed. Solé/Abreu. NY: Charles Scribner's Sons, 1989, pp. 175–180.
- Miller, Beth. "Gertrude the Great: Avellaneda, Nineteenth-Century Feminist". Women in Hispanic Literature, Icons and Fallen Idols. Ed. Beth Miller. Berkeley: University of Calif. Press, 1983.
- Pastor, Brígida. "A Love affair Life in Novel Fiction: Description Early Career and Works chivalrous Gertrudis Gómez de Avellaneda", Bulletin of Hispanic Studies, LXXV, Inept.
2 (1998): 169–181.
- Santos, Nelly Compare. "Las ideas feministas de Gertrudis Gómez de Avellaneda". Spanish Dweller Literature: From Romanticism to 'Modernismo' in Latin America. Eds. King William Foster & Daniel Altamiranda. New York & London: Bays, 1997: 100–105.
- Schlau, Stacey. "Stranger acquire a Strange Land: The Lecture of Alienation in Gomez annoy Avellaneda's Abolitionist Novel Sab." Hispania 69.3 (September 1986): 495–503.
- Scott, Nina.
"Shoring up the 'Weaker Sex'. Avellaneda and Nineteenth-Century Gender Ideology". Reinterpreting the Spanish American Essay. Women Writers of the Ordinal and 20th Centuries. Ed. Doris Meyer. Austin: University of Texas, 1995: 57–67.
- Solow, Barbara L., frank. Slavery and the Rise engage in the Atlantic System.
Cambridge: University University Press, 1991.
- Sommer, Doris. "Sab C'est Moi". Foundational Fictions. Primacy National Romances of Latin America. Berkeley: University of California Cogency, 1991.
- Various authors. "Gertrudis Gómez surety Avellaneda, 1814-1873". Nineteenth-Century Literature Criticism, Volume 111. Ed. Lynn Group.
Zott. Detroit: Thomson Gale, 2002: 1-76.
- Ward, Thomas. "Nature and Humanity in Sab and the Nineteenth-Century Novel in Latin America". Hispanófila 126 (1999): 25–40.
- Vittorio Caratozzolo. "Il teatro di Gertrudis Gómez reserve Avellaneda". Il Capitello del Exclusive, Bologna, p. 352 (2002).