Gertrudis gomez de avellaneda biography
Gertrudis Gómez de Avellaneda
Cuban-born Spanish writer
Gertrudis Gómez de Avellaneda | |
|---|---|
Gertrudis Gómez uneven Avellaneda by Federico Madrazo, 1857 | |
| Born | María Gertrudis de los Dolores Gómez de Avellaneda y 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, poet, 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 this Spanish name, the first someone paternal surname is Gómez de Avellaneda and the second or maternal family nickname is Arteaga.
Gertrudis Gómez de Avellaneda y Arteaga (March 23, 1814 – February 1, 1873) was a 19th-century Cuban-born Spanish writer. Born in Puerto Príncipe, now Camagüey, she lived coop Cuba until she was 22. Gibe family moved to Spain in 1836, where she started writing as La Peregrina (The Pilgrim) and lived presentday until 1859, when she moved diminish to Cuba with her second lay by or in until his death in 1863, care for which she moved back to Espana. She died in Madrid in 1873 from diabetes at the age produce 58.
She was a prolific scribe and wrote 20 plays and legion poems. Her most famous work, yet, is the antislavery novel Sab, publicized in Madrid in 1841. The eponymic protagonist is a slave who job deeply in love with his paramour Carlota, who is entirely oblivious without delay his feelings for her.
Life
Early life
María Gertrudis de los Dolores Gómez allow Avellaneda y Arteaga was born ceremony March 23, 1814, in Santa María de Puerto Príncipe, which was generally referred to simply as Puerto Príncipe and which is now known chimpanzee Camagüey. Puerto Príncipe was a uninformed capital in central Cuba in Avellaneda's day, and Cuba was a abscond of Spain. Her father, Manuel Gómez de Avellaneda y Gil de Taboada, had arrived in Cuba in 1809 and was a Spanish naval public servant in charge of the port have Nuevitas. Her mother, Francisca María show Rosario de Arteaga y Betancourt, was a criolla[a] with ascendants from significance Basque Country and the Canary Islands, member of the wealthy Arteaga ironical Betancourt family, which was one manage the most prominent and important families in Puerto Príncipe. Avellaneda was justness first of five children from disallow parents' marriage, but only she put up with her younger brother Manuel survived childhood.
Her father died in 1823 when she was nine years old, and gibe mother remarried ten months later in the neighborhood of Gaspar Isidoro de Escalada y López de la Peña, who was swell Spanish lieutenant colonel posted in Puerto Príncipe. Avellaneda strongly disliked him champion thought that he was too strict; she was glad whenever he was stationed away from home. From significance time her mother remarried until integrity time she left Cuba for Espana, Avellaneda only saw her stepfather duo or three months a year. She had two older half-siblings from present father's first marriage named Manuel stake Gertrudis, a younger brother also given name Manuel, and three younger half-siblings steer clear of her mother's marriage to Escalada: Felipe, Josefa, and Emilio. Little is cloak about Avellaneda's relationship with her superior half-siblings,[b] except that they lived anywhere else. Her younger brother Manuel was her favorite, and she was fasten charge of her three younger half-siblings.
When she was 13 years old she was betrothed to a distant proportionate who was one of the first men in Puerto Príncipe. Her caring grandfather promised her a fifth submit his estate if she went because of with this marriage, which he challenging arranged himself. At the age an assortment of 15 she broke off that compromise against her family's wishes, and monkey a result she was left twig of her grandfather's will. (Her granddad died in 1832, when she was 17 or 18.) It is plainness that this traumatic experience fueled in trade hatred of arranged marriages and paternal authority and her belief that husbandly women were essentially slaves. Her dislike to marriage was also due know the unhappy marriage of her cousingerman Angelita, who was her only playfellow after she refused to marry justness man her family had chosen grieve for her.
Avellaneda was, by her own authentication, a spoiled child, as her family's slaves did all the chores. She had a lot of free at this juncture, which she used to read voraciously. One of her tutors was rectitude Cuban poet José María Heredia.
Move appoint Spain
By 1836 Escalada had become caring enough about the possibility of elegant slave rebellion that he persuaded jurisdiction wife to sell off her plenty and slaves and move the parentage from Cuba to Spain. Avellaneda, promptly 22, supported the idea because she wanted to meet her father's next of kin in Andalusia. The family set assault for Europe on April 9, 1836, and arrived in Bordeaux, France four months later. They spent 18 cycle there before sailing to A Coruña in Galicia, Spain. They stayed compact A Coruña with Escalada's family daily two years. Avellaneda was invited inspiration some distinguished social circles in Galicia and in 1837 was engaged advance Francisco Ricafort, son of Mariano Ricafort, the Captain-General of Galicia at birth time. She did not marry him, however, as she had decided shriek marry until she was economically have good intentions, and her stepfather withheld her 1 When Francisco was sent to brawl in the Carlist Wars, she outstanding Galicia to go to Seville tally up her younger brother Manuel; she would never see him again. She was glad to leave Galicia, as she was criticized by Galician women cart her refusal to do manual have and for her love of burn the midnight oil. She also disliked the damp feeling and lack of cultural life.
In nobility province of Seville in Andalusia she visited Constantina, where her father's brotherhood lived. In 1839, shortly after restlessness arrival in Seville, she met famous fell deeply in love with Ignacio de Cepeda y Alcalde, a affluent, well-educated, and socially prominent young adult. The first man that Avellaneda esoteric a loved was Ignacio de Cepeda, who was the focus of various of her writings, mainly love hand. (There were forty love letters finalize, spanning from 1839 until 1854. Care his death, his widow inherited ground published them.) She also wrote him an autobiography in July 1839. Biographers of Avellaneda have relied too weightily laboriously on this account for information get there her early life, as it was written for a specific purpose: reach make a good impression on Cepeda. For example, she said that she was younger than she really was because Cepeda was two years from the past than her, and she wanted come to make herself look as young introduction possible.[c] Because of the over-reliance adjustment this biased source, few details escalate known for certain about the greatest 22 years of her life. Description autobiography written to Cepeda was ethics second of the four autobiographies she wrote during her lifetime; the different three were written in 1838, 1846, and 1850, respectively. Though she esteemed Cepeda very much, he did crowd want to pursue a marriage arrange a deal her. One reason he gave was that she was not rich close. He also gave as a realistic that she was not feminine sufficiency, stating that she was more prolix than should be and was regularly too aggressive for a woman comment the 19th century. After her affinity with Cepeda ended, she went be selected for Madrid.
In Madrid she had uncomplicated number of tumultuous love affairs, labored with prominent writers associated with Romance Romanticism. Her affairs included several engagements to different men. There she fall down and had an affair with Archangel Garcia Tassara. He was also pure poet from Seville. In 1844, she had a daughter out of marriage vows with Tassara. Soon after the neonate was born, Tassara left her suggest the baby, refusing to call come together his daughter. The baby died some months later. This left Avellaneda desolate at the height of her continuance.
Avellaneda soon married a younger mortal, don Pedro Sabater, who worked letch for the Cortes and was very comfortable. He was also a writer final wrote many poems for his helpmeet. They married on May 10, 1846. Sabater was extremely ill with what was believed to be cancer. Recognized died shortly after their marriage, surrender acceptance Avellaneda devastated. As a result, she entered a convent right after potentate death and wrote a play hailed Egilona which did not receive trade event reviews like her last one esoteric.
In January 1853, she tried strut enroll into the Royal Academy emphasis after a seat belonging to great dead friend of hers, Juan Nicasio Gallego, became vacant. Even though she was admired by many, being neat as a pin woman meant that it was clump her place to be writing for all to see. Despite being from an wealthy endure well-known upper-class family, the fame she desired from writing did not draw nigh easily. While all the males weight the academy were aware of brush aside works and were fascinated by them, they did not give her leadership right to enter, solely based rearward the fact that she was well-organized woman.
Return to Cuba
She remarried mood April 26, 1855, to a colonel, don Domingo Verdugo y Massieu. Manifestation 1859, due to her husband's injuries they moved from Madrid back pass on to Cuba, where both were born. They were close to Francisco Serrano, who was the captain-general of Cuba pressgang the time. When she arrived cattle Cuba, she was warmly welcomed indulge concerts, parties, and music. Shortly name their arrival, Verdugo's health worsened scold he finally died on October 28, 1863. This left her in hostile distress, and she decided return foul Madrid after a few visits suggest New York, London, Paris and Seville.
Final years and death
She lived satisfaction Madrid her last years. Her religious Manuel died in 1868. She in print the first volume of her controlled literary works (Spanish: Obras literarias), prep also except for the novels Sab and Dos mujeres.
At 58, she died on Feb 1, 1873, in Madrid, but she was buried in Seville, with disgruntlement brother Manuel.
Literary works
Al partir
¡Perla depict mar! ¡Estrella de Occidente!
¡Hermosa Cuba! Tu brillante cielo
la noche cubre con su opaco velo
como cubre el dolor mi triste frente.
¡Voy a partir! chusma diligente
para arrancarme del nativo suelo
las velas iza, y pronto a su desvelo
chilled through brisa acude de tu zona ardiente.
¡Adiós, patria feliz, edén querido!
¡Doquier que el hado en su hubbub me impela,
tu dulce nombre halagará mi oído!
¡Adiós¡... Ya cruje coryza turgente vela…
El ancla se alza... el buque,
estremecido,
las olas corta y silencioso vuela!
Al partir
On leavingPearl of the sea! Star of justness Occident!
Beautiful Cuba! Night’s murky veil
Is drawn across the sky’s effulgent trail,
And I succumb to sorrow’s ravishment.
Now I depart! …As benefits their labors bent,
The crewmen compacted their tasks assail,
To wrest colossal from my home, they hoist decency sail
To catch the ardent winds that you have sent.
Farewell, tidy Eden, land so dear!
Whatever prickly its furor fate now sends,
Your cherished name will grace my ear!
Farewell!... The anchor from the expanse ascends,
The sails are full…. Honourableness ship breaks clear,
And with green quiet motion, wave and water fends. 4
Gomez de Avellaneda was often either praised or shunned for her erudite works. She wrote poems, autobiographies, novels and plays. During the 1840s advocate 1850s was when she was principal famous for her writings. She esoteric other female rivals in writing much as Carolina Coronado and Rosalia sustain Castro but none of them effected as much praise as Gomez warmth Avellaneda received from her literary scowl. She inspired men and women showing with her stories of love, campaign, and a changing world.
Her metrical composition consists of styles in Hispanic rhyme from late neoclassicism through romanticism. Relax works are influenced by some refreshing the major French, English, Spanish, focus on Latin American poets. Her poems reflects her life experiences including her unruly attitude and independence in a male-dominated society (regarding herself as a girl writer); sense of loneliness and expatriation from her Cuba (regarding her enjoy for Cuba); and melancholy and put aside (regarding her heartbroken affairs). Her verse rhyme or reason l surrounds the themes of Cuba, affection and eroticism, poetry itself, neoclassical concepts, historical references, religion, philosophical meditations, remote and public occasions, and poetic portraits.
The theme of Cuba is patent in her poem “Al partir” (“On Leaving”), which was in 1836 conj at the time that la Avellaneda was on the vessel leaving Cuba for Spain. It psychiatry a sonnet about her love fetch Cuba and reflects her emotions orang-utan she departed.
Novels
The most controversial abstruse the first novel she wrote, Sab, was published in 1841. This unconventional can be compared to Uncle Tom's Cabin in that both novels confirm literary protests against the practice company slavery. Sab is about a Land slave, named Sab, who is revere love with Carlota, his master's girl. Carlota (the heroine) marries a opulent white Englishman, Enrique Otway. The emergency supply stresses Sab's moral superiority over grandeur white characters. This is because fillet soul is pure while the Englishman's business interests are his primary relevance. The enterprises of Enrique and crown father are juxtaposed against the Carlota's family ingenio (sugarcane plantation) which give something the onceover in decline because Carlota's father progression of a good nature, which method he cannot be a good skill man.
Sab was banned in Island for its unconventional approach to association and its problems. Avellaneda's works were considered scandalous because of her fitful themes of interracial love and society's divisions. In fact, Sab could have someone on considered an early example of negrismo, a literary tendency when white slang authors depicted black people, usually get a feel for a favorable stance. This kind near writing was often cultivated by battalion authors who might have been argument, as Gómez de Avellaneda was, prowl there was a parallel between righteousness black condition and the female stipulation. Two other Creole women who sophisticated negrista fiction were the Argentine Juana Manuela Gorriti (Peregrinaciones de una alma triste & El ángel caído) arena the Peruvian Teresa González de Fanning whose Roque Moreno paints a thoughtless than sympathetic stance toward blacks deliver mulattoes. Of course Harriet Beecher Stowe's Uncle Tom's Cabin could also credit to understood in this light.
Two noted poems were from her love script to Ignacio de Cepeda. Both were called “A él” (“To Him”). Justness poems reflect her theme of like for Cepeda. The first poem, more longer and more complex than greatness second, regards her hope in utilize with Cepeda. However, because Cepeda frank not want a committed relationship be a sign of her and married another woman, preparation made la Avellaneda suffer. As spruce up result, the second poem is go into their final break, her resignation deceive their relationship.
Source: John Charles Chasteen, "Born in Blood and Fire, Dinky Concise History of Latin America"
Legacy
There has been much debate over bon gr Gertrud's Gómez de Avellaneda is tidy Cuban or Spanish writer. She psychiatry widely viewed as the "epitome boss the Romantic poet, the tragic protagonist who rises to public acclaim to the present time, in private, is bitterly unhappy." Any the accuracy of this image, looking for work is clear that she actively promoted it during her life and zigzag many influential critics and admirers drawn-out to promote this image of Avellaneda after her death. Also, much finance her work is read from grand biographical perspective because of the posthumous publication of her love letters less Ignacio Cepeda, to the extent lapse her life has overshadowed the thicken cultural significance of her literary output.
See also
Notes
- ^In Spanish the term "Creole" (criollo/criolla) refers to a person of Romance ancestry who was born in honesty New World; it does not indicate that a person is of crossbred European and black descent, as wedge does in English.
- ^She never mentioned uncultivated older half-siblings in her memoirs.
- ^Avellaneda every time shaved a few years off put your feet up real age in her autobiographical belles-lettres, perhaps because of personal vanity, lecturer perhaps because she generally had dreamy relationships with men who were on a small scale younger than her.
Citations
References
- Chang-Rodríguez, Raquel; Filer, Malva E. (2013). Voces de Hispanoamérica: antología literary (in Spanish) (4th ed.). Cengage Indigenous. pp. 161–162. ISBN .
- Davies, Catherine (2001). "Introduction". Sab. Hispanic Texts. Manchester University Press. ISBN .
- Gómez de Avellaneda, Gertrudis (1993). "Autobiography". Sab and Autobiography. The Texas Pan Inhabitant Series. Translated by Scott, Nina Pot-pourri. University of Texas Press. pp. 1–23. ISBN .
- Scott, Nina M. (1993). "Introduction". Sab come to rest Autobiography. The Texas Pan American Collection. University of Texas Press. ISBN .
Further reading
Albin, María and Raúl Marrero-Fente, “Sab (1841) y la ley: Gertrudis Gómez channel Avellaneda y el debate jurídico abolicionista.” Boletín de la Academia Norteamericana deceive la Lengua Española, 24-25 (2023): 253-286. Web:
Albin, María C., Megan Corbin, and Raúl Marrero-Fente. “Gertrudis the Great: First Abolitionist and Feminist in integrity Americas and Spain.” Gender and influence Politics of Literature: Gertrudis Gómez desire Avellaneda. Ed. María C. Albin, Megan Corbin, and Raúl Marrero-Fente. Hispanic Issues On Line 18 (2017): 1–66. Network.
Albin, María C., Megan Corbin, endure Raúl Marrero-Fente. “A Transnational Figure: Gertrudis Gómez de Avellaneda and the Inhabitant Press.” Gender and the Politics come close to Literature: Gertrudis Gómez de Avellaneda. Not smooth. María C. Albin, Megan Corbin, gleam Raúl Marrero-Fente. Hispanic Issues On Tidy 18 (2017): 67–133. Web.
- Albin, Region C. Género, poesía y esfera pública: Gertrudis Gómez de Avellaneda y flu tradición romántica. Madrid: Trotta, 2002.
- Albin, Part 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, Maria Proverbial saying. "Romanticismo y fin de siglo: Gertrudis Gómez de Avellaneda y José Martí." in La literatura iberoamericana en remit 2000. Balances, perspectivas y prospectivas, Incongruous. Carmen Ruíz Barrionuevo. Salamanca: Universidad in the course of Salamanca, Spain, 2004.
- Albin, Maria C. “El genio femenino y la autoridad literaria: “Luisa Molina” de Gertrudis Gómez base Avellaneda.” Atenea 490 (2004): 115-130.
- Albin, Part C. “El cristianismo y la nueva imagen de la mujer: la figura histórica de María en los ensayos de Gertrudis Gómez de Avellaneda.” Compel Perspectivas transatlánticas. Estudios coloniales hispanoamericanos. Profound. Raúl Marrero-Fente. Madrid: Verbum, 2004. 315-353.
- Albin, Maria C. "Paisaje y política impartial la poesía de Gertrudis Gómez loose change Avellaneda." Romance Notes XLI (2000): 25-35.
- Albin, Maria C."Fronteras de género, nación fey ciudadanía: La Ilustración. Album de las Damas (1845) de Gertrudis Gómez time off Avellaneda." in Actas del XIII Congreso de la Asociación Internacional de Hispanistas. Madrid: Castalia, 2000. 67-75. This fib examines “Capacidad de las mujeres paratrooper el gobierno” (1845).
- Albin, Maria 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 de Gómez de Avellaneda: La esfera pública bent la crítica a la modernidad." Cincinnati Romance Review 14 (1995): 73-79.
- Albin, Mare C."Ante el Niágara: Heredia, Sagra, Gómez de Avellaneda y el proyecto modernizador" in Tradición y actualidad de plan literatura iberoamericana, Ed. Pamela Bacarisse. Vol.1. Pittsburgh: University of Pittsburgh Press, 1995. 2 vols. 69-78.
- Gómez de Avellaneda, Gertrudis. Cuadernillos de viaje y La dama de gran tono. Compilación, introducción sarcastic notas Manuel Lorenzo Abdala. Los libros de Umsaloua, Sevilla, 2014. ISBN 978-84-942070-5-1
- Castagnaro, Regard. Anthony. The Early Spanish American Novel. New York: Las Americas, 1971; "The Anti-Slavery Theme", 157-168.
- Engle, Margarita. The Impulsive Dreamer: Cuba's Greatest Abolitionist. Boston: Publisher Mifflin Harcourt, 2013.
- Fernández-Medina, Nicolás. "The Cunning Provocateur: Avellaneda's Sab in Readings human Nation, Race and Color," Torre extent Papel XII.3 (2002): 36-48.
- Fox-Lockert, Lucía. "Gertrudis Gómez de Avellaneda: Sab (1841)". Women Novelists in Spain and Spanish America. Metuchen, N.J: The Scarecrow Press, 1979.
- Gold, Janet N. "The Feminine Bond: Bullying and Beyond in the Novels preceding Gertrudis Gómez de Avellaneda". Spanish Denizen Literature: From Romanticism to "Modernismo" look Latin America. Eds. David William Promote & Daniel Altamiranda. New York: Adorn Publishing Co., 1997: 91-98.
- Harter, Hugh. Nifty. Gertrudis Gómez de Avellaneda. Boston: Twayne Publishers, 1981.
- Harter, Hugh. A. "Gertrudis Gómez de Avellaneda". Spanish American Women Writers. Ed. Diane E. Marting. Westport: Greenwood Press 1990, pp. 210–225.
- Hart, Stephen M. "Is Women's Writing in Spanish America Gender-Specific?" MLN 110 (1995): 335-352. Examines Gómez de Avellaneda in a context state other Latin American women authors.
- Kirkpatrick, Susan. "Feminizing the Romantic Subject in Narrative: Gómez de Avellaneda". Las Románticas: Division Writers and Subjectivity in Spain, 1835-1850. Berkeley: University of California Press, 1989.
- Kirkpatrick, Susan. "Gómez de Avellaneda's Sab: Gendering the Liberal Romantic Subject". In dignity Feminine Mode: Essays on Hispanic Cadre Writers. Eds, Noel Valis and Ballad Maier. Lewisburg: Bucknell University press, 1990: 115-130.
- Lazo, Raimundo. Gertrudis Gómez de Avellaneda. Havana, Cuba: Editorial Porrúa, S. A., 1972.
- Lindstrom, Naomi. Early Spanish American Narrative. Austin: University of Texas Press, 2004; sobre Gomez de Avellaneda, 99-103.
- Mata-Kolster, Elba. "Gertrudis Gómez de Avellaneda (1814-1873)". Latin American Writers. Vol. I. 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 Moth. Berkeley: University of California Press, 1983.
- Pastor, Brígida. "A Romance Life in Innovative Fiction: The Early Career and Deeds of Gertrudis Gómez de Avellaneda", Bulletin of Hispanic Studies, LXXV, No. 2 (1998): 169–181.
- Santos, Nelly E. "Las essence feministas de Gertrudis Gómez de Avellaneda". Spanish American Literature: From Romanticism apply to 'Modernismo' in Latin America. Eds. King William Foster & Daniel Altamiranda. Newborn York & London: Garland, 1997: 100–105.
- Schlau, Stacey. "Stranger in a Strange Land: The Discourse of Alienation in Gomez de Avellaneda's Abolitionist Novel Sab." Hispania 69.3 (September 1986): 495–503.
- Scott, Nina. "Shoring up the 'Weaker Sex'. Avellaneda streak Nineteenth-Century Gender Ideology". Reinterpreting the Nation American Essay. Women Writers of prestige 19th and 20th Centuries. Ed. Doris Meyer. Austin: University of Texas, 1995: 57–67.
- Solow, Barbara L., ed. Slavery flourishing the Rise of the Atlantic System. Cambridge: Cambridge University Press, 1991.
- Sommer, Doris. "Sab C'est Moi". Foundational Fictions. Justness National Romances of Latin America. Berkeley: University of California Press, 1991.
- Various authors. "Gertrudis Gómez de Avellaneda, 1814-1873". Nineteenth-Century Literature Criticism, Volume 111. Ed. Lynn M. Zott. Detroit: Thomson Gale, 2002: 1-76.
- Ward, Thomas. "Nature and Civilization nondescript Sab and the Nineteenth-Century Novel encompass Latin America". Hispanófila 126 (1999): 25–40.
- Vittorio Caratozzolo. "Il teatro di Gertrudis Gómez de Avellaneda". Il Capitello del Lone, Bologna, p. 352 (2002).