Wow. Amelia Paolo Boston
was born on September the 16th, 1851.
At number three, Cara ego the agua in La Coruna,
and was baptised there at the Parish church of St Nicholas.
The Galician city in Spain's lush north west
would always appear in her novels under the pseudonym Marinella.
The family lived for some time at what was then
number seven Plaza de Los Angeles, and when Amelia was five,
they moved to a large house they owned in the tavernas.
Currently headquarters of the Galician Royal Academy
and Museum dedicated to Amelia Pablo Bazan,
the only child of Don Jose, Pablo Bazan Ni Mosquera
and Dona Amalia de La Figueroa is mother.
She received a thorough education.
She was still very young when she discovered the joys of reading.
One summer in San Franco,
while renovation work was being carried out on the three day
Mira Flores, where the family used to spend their summer months,
Amelia read the books left there by the landlords of the house
in which they were staying.
A copy of Don Quixote, a Bible
and a History of the Crusades in 1886.
This was how she recalled those early reading experiences
in her A Puntos autobiography.
Cause I was one of those children who read everything that come
their way, even the paper twists used to wrap spices or doughnuts
in everything that fell into my hands and that I found to my taste.
I would read for five or even six times
entire chapters of some of those books.
Notably, Don Quixote would remain fresh in my memory.
At her new house in La Coruna.
A veritable treasure chest was awaiting her.
We came to settle in La Coruna and in the vast, quiet,
imposing house,
I discovered a treasure of the same magnitude as that of sun crinkle.
What wonderful afternoons I spent
devoted to the pleasures of those unexpected discoveries
amongst those tedious books I stumbled across others that captivated me.
I have lost count of the number of times
I went to the La Conquista the mythical by the elegant solace.
Nor can I remember how many dozens of times
I reread Plutarch's Parallel lives behind those iron gates.
I also discovered the romanticism.
Nobility in blood is
yawning in the irksome company of light.
Elvina el Castillo Misterioso Lost Wolf, A.L.
Aldea and several other tedious novels drawn from the lurid, tearful genre
which I devoured with the appetite afforded by my youth.
The good Abbot Barthelemy and his travels of a young and a cast.
His enticed me, but conduce a story of this genius
surpassed them.
A tireless reader from the age of eight,
at the age of nine, she composed her first poems.
My first literary memory dates back to a momentous, now
far off historical moment the end of the African War,
an event to which I dedicated my very earliest musings.
The nature of those poems can will be imagined
when one considers that I was bordering on the age
at which the Catholic Church allows children the use of reason.
At the age of 15.
She wrote her first story Who Matrimonial Del Siglo The Century
which she sent to the Almanac of La Salle, Bologna Nacional,
and which would be the first of a huge number.
She completed her education in the Spanish capital,
where the family normally spent the winter, partly
due to the political activity of her father, who was now active
in the Progressive Liberal Party.
In Madrid, where we used to spend the winter.
I attended a certain French school patronised by the royal family
and the creme de la creme of the fashionable schools of the day.
1868 was a milestone year
in Amelia's life.
Three
important events in my life came, one on top of the other.
My debut in society.
My wedding and the outbreak of the revolution of September 1868.
Emilia was six
years old and her husband, Jose Quiroga, a law student. 20.
The marriage ceremony was held on July the 10th in the chapel
on the McGrath's estate property of the bride's parents.
Her father's election as member of Parliament for Carbonneau
in the legislature immediately following the revolution,
forced the entire family.
Newlyweds included, to move to Madrid.
Once my father was elected member of Parliament in 69,
we began to spend winters in Madrid and summers in Galicia.
But those winters of intense social activity left Emilia
with the sense that time was slipping between her fingers.
Almost without her noticing.
Every morning,
formal calls or riding lessons at the stable
every afternoon, a carriage rides along like a Siena.
Every evening, the theatre or soirees.
In the spring, there were Monasterio concerts.
Afterwards, bullfighting.
To see the matador well-to-do
in summer and evening, stroll in the retiro
on horseback, occasionally to the Casa de Campo, or la Ronda.
And once in a while a trip out to El Escorial or orange, with
very pleasant pastimes in reality, and which corrected in Meet
a certain tendency to withdraw and a certain pitiful shyness.
The product of my childhood experiences and interests,
but which, as they became
systematic and drew out over several winters, began
to leave an emptiness in my soul, a feeling of inexplicable distress.
Like a man who lays down to sleep on the eve of a duel
and whose dreams are weighed down by the fear
of not waking up in time to carry out his duty.
When the
Progressive Party was dissolved in 1870, the family temporarily left
Spain shortly after her father was awarded the pontifical title of Condé.
The was then later recognised by the Italian Amadeo of Savoy
before his abdication.
The future was darker than ever after the departure of the Italian,
and my father was determined to die for the political cause.
This coincided with the demise of the honest Progressive Party,
whose ideal was to reconcile
religious interests with constitutional freedom.
Thus, we moved to France in the hope that from Paris
we might watch the muddy waters of the revolution run their course.
The journey took them to several European countries
France, Italy and Austria.
This awakened in Amelia an enthusiasm for languages with a desire to read
the great authors of each country in their mother tongue.
Far from the fervent activity of Spain.
With few a social connections than in Madrid,
and leading a life more conducive to weakening intellectual needs.
In my moments of leisure, after visiting a museum or
historic monument or in the evenings spent relaxing in the hotel,
I would take out my books and go over my English.
For I was determined to read Byron
and Shakespeare in their own language.
That same year, on the Banks of the Bull
and by the Canal of Venice, I savoured poems by Alfieri
and Hugo Foss, Colour and Prose by Manzoni and Silvio Politico
and saw Juliet's balcony in Verona and the Palace of Miramar in Trieste
and the progress of industry at the Great Vienna Exhibition.
It was a beautiful journey.
Her intellectual restlessness continued to grow,
and on her return to Spain, she was introduced to the work
of the philosopher Kraus by Francisco and Adler's views,
with whom she would seal a great friendship.
Although Krauss's philosophy disappointed her.
On reading Closer, he struck me as a steel sophist,
a visionary, a dreamer with a passionate soul,
completely opposed to how I imagined to think it to be,
and who I saw personified in Kant.
The influence of the Kraus lists
led her to read the Mystics and Count
and these in turn pointed her towards this.
Got this.
St Thomas Aquinas, Aristotle and Plato.
Today I understand how much I owe to that curiosity
that drove me to delve into Kraus documents.
Thanks to that curiosity, I developed a liking for constant,
methodical and thoughtful reading that goes
beyond mere pleasure and verges on study.
My mind developed, my intellectual faculties was set
in motion, and I acquired the steadiness that every artist needs
so as not to drift aimlessly as a cork bobbing on the sea.
In 1876, the
year that her first son, Hymie, was born,
she received recognition as a writer when she won the contest,
organised in a frenzy to mark the bicentenary of Fay Hawes birth
as well as receiving a prize for her work
in Psycho critical Sybil as Obras del Padre Fay Hall.
She was awarded the Golden Rose for her Ode
Allen Senior Philosophy Hall.
During these years, she had not yet completely abandoned poetry,
for which she acknowledged having little talent.
Poetry satisfies me only when it approaches perfection
and is also original in the sense that I understand originality
when it wholly and sincerely expresses
the personality of a poet.
Five years
later, Amelia's book of poems, Hymie, was published
thanks to hint at the loss of a year and half into a world.
Again, it would find precisely this quality in Donya Amelia's poetry
and inclination
towards novel writing appeared late in Amelia,
who considered the novel a lesser genre, a mere pastime.
In fact,
aware of the many shortcomings in her self-taught education,
she decided to follow a more ordered study program
to compensate.
Given the poor foundations of my learning,
my superficial erudition and the disordered nature of my readings,
I set myself the task of tying them together and ordering them,
filling the gaps in my knowledge as a stonemason fills cracks in a wall.
The method to which I subjected myself strictly prohibited
the reading of novels
and in general, all books that provided pure entertainment.
For this is how I judged novels at that time.
What I am about to write hardly seems possible,
and yet it is very true and highly significant.
Back then, in
74 and 75, not only was
I not familiar with glossies and previous work,
but I was ignorant of their very existence
and had barely heard of Barletta and Alarcon.
Her stays in the city of Santiago de Compostela,
however, where her husband was finishing a degree in law.
Inspired her first novel, Pascual Lopez autobiography.
Here they witness to the ANTI-democracy
that which she was writing at the same time
as her first newspaper articles were being published.
And while she was pregnant with her daughter, Blanca.
Around that time,
I began to write San Francisco, and despite its length,
I would have finished it without lifting pen from paper.
Were it not for the fact that my health failed something
unusual in me being of a robust and vigorous constitution,
I was diagnosed with a liver complaint whose first symptoms must have been
the deep sadness and gloomy ideas that I had tried to forget.
At the convent store, the doctor prescribed Vichy water
and I departed for France in September 1880.
Production of the Revista de Galicia,
the magazine she had founded in La Coruna, stopped abruptly.
The trip would open up intellectual horizons for her,
and for the first time, she read Balzac Flaubert.
Though that
finally I understood what I had been brooding over.
After publishing Pasquale Lopez the direction of the modern novel,
its importance and fundamental role within contemporary letters
and its unyielding strength and given its epic quality,
its duty to experience and reflect nature and society
without disregarding truth in favour of more or less
beautiful literary fiction.
On her return, she finished ambitiously the novels,
a novel for which she used her experiences from her trip
to France later during the summer and made as she finished San Francisco
that she's pregnant at the time with her second daughter, Carmen.
The prologue to Umi Arkadin of yours is critical in order to understand
naturalism in the context of Amelia Pardo, Barton's work,
as is the series of articles that she published between 1882
and 1883 under the title Linguistic Palpatine.
So on those icy cold afternoons between
reading the highly entertaining do and the funeral of Anna,
I scribble away at my articles for LA costume pulpy Dante.
And every eight days I sent one to La Época,
in whose pages they appeared.
La question pulpy.
Then there was that of naturalism, a French literary school
related to scientific determinism and spearheaded by Emil Zola,
whose first translations appeared in Spain around 1879
to 1880.
Donya Amelia then was the first great defender
of literary naturalism in Spain, which for five years put her
at loggerheads with the leading writers and critics of the day.
Amelia's third novel, Latorre Buna, 1883,
was written using this naturalist approach, as were the later works.
Lost pathos de Yoga, 1886
La madre After a letter 1887
and Lapidary Angular 1891.
It should be noted, however,
that the naturalism of Amelia above the Bazan whilst
adopting this ethics of the French school, did not share its underlying
philosophy as hereditary determinism was in direct
contradiction with her Catholic beliefs.
Latorre Buna tells the tragic story of Amparo,
a worker at the tobacco factory in Laconia.
To portray both the atmosphere and the characters
as naturally as possible, Amelia Pat Robertson used the observation
techniques advocated by the naturalists.
For two months,
I visited the factory morning and afternoon to listen, to talk,
make character sketches and catch snippets of conversation and feelings.
I obtained copies of local newspapers from the federal era.
Already in short supply,
I summoned memories, described La Corona as it was in my childhood
and reconstructed the days of the famous pact.
An important chapter in the political history of this region.
Nevertheless, using a familiar technique, her work,
the city of La Corona, appears under the pseudonym Marinella
for three reasons that she herself provides,
and that helped to understand her work as a whole.
First, to stave off objections
based on any factual inaccuracy that I might commit.
Second, to free myself from the bonds of servile realism
that I detest as much as I love the heartfelt truth that emerges
from an overall impression and not from trivial details.
Third, to have greater freedom to create character.
For though this may come as a surprise,
I have never copied any of the characters in my novels.
While it is sometimes neither legitimate nor delicate to copy,
it is never artistic.
The scandal and controversy that normally greeted Amelia Pat
Robertson's work erupted with the publication of these novels
and the articles like Question Pulp and the later
collected in a single volume with a prologue by Clarin,
her husband, the lawyer Jose Quiroga,
wanted Amelia to abandon literature and publicly to recant.
But Amelia refused, and the husband and wife agreed
amicably on a separation that had been brewing for some time.
Nevertheless, they remained on good terms
and continued to appear side by side whenever the family occasion
required it.
From this moment on, nothing deterred the young writer
from her path embarked upon with some difficulty.
In a male dominated world
between La
Tribune and Los Banos de Yoga.
Amelia Paloma Fan wrote a novel in which she abandoned naturalism.
This was a season in the Villa Mata, a pseudonym behind
which hides the Galician town of Cabell,
in which she combines realist observation
with certain romantic features.
As these neared, the Villa Mata was a success, and Clarin praised it.
Although he pointed out certain stylistic faults in Amelia's style.
Clarin
condemns my Archy isms and you my Gallas isms.
I shall end up by not knowing how to speak.
Her style is as dynamic as her temperament,
forceful fluid and skilful in her approach.
Her plots have vocabulary.
Our thoreen would say of her
words do not matter, and part of her writing seethes with such life
that we forget elocution and are swept up
as if by a whirlwind
lost pathos.
They were Yoga, published in 1886, is without doubt her
finest novel set in Galicia.
It tells of the decadence of a rural manor and portrays
the effects of environmental determinism on human nature.
The novel represents the author at the peak of her
creative powers,
La madre Naturalism
portrays a similar setting and characters as lost.
They Thursday OÜ.
It was published one year later in 1887, the same year
in which Barletta began to publish his articles sobre El Nuevo.
After described novellas which attacked the naturalist,
while that the Galician writer championed
also in 1887
amidst great expectations, Emilia Pablo was on addressed
the Ateneo in Madrid on La Revolucion il novella Andalusia.
In December, the writer travelled
to Rome as correspondent for El Paso, and her impressions from the stay,
which extended until January 1888, would be recorded in the book.
Miro Maria.
On her return,
she also published Dimitra and Confession Politica.
This last chronicle, the visit she paid in Venice to the exiled Don
Carlos, held by colonists to be the rightful heir to the throne,
and which would provoke her break with the Communist Party.
Some years later, in 1902, Emilia
Pablo Button done clarify her political position.
I was a romantic, Carlos, when I was very young
in 1876, when I embarked on my literary career.
I was no longer a car leased.
I did not take the trouble to notify the public of this change.
I subscribe to no one.
I was a close, almost sisterly friend to such prominent men as Castilla
and Cano until Castillo, who would not dream of swelling
the ranks of their followers with my name.
A fervent patriot is somewhat inclined to point out our misfortunes.
Yet all the more impassioned in my patriotism on that account.
Politics, insofar as they affect my country, are not immaterial to me.
Most certainly not.
And yet I despise
politics in all their manifestations of petty selfishness.
I take infinite pleasure in the company of politicians
and enjoy much contact of this nature.
For which reason, the aforementioned legend has caused me
to maintain a most cautious and Orellana.
I attribute this graphic adjective to Warrnambool
independence from Partisans of this or the Other movement.
Such eagerness to pigeonhole people.
Emilia Pablo Bazan was already a well-known and controversial figure
in 1889, the year in which he published
two more novels Insolation and Marina,
and a collection of articles under the title.
Alpay The latter he fell.
She made a bid to enter the Spanish Royal Academy.
Her candidature was rejected,
as was that of her through this Gomez Derby, another before her
on the simple grounds that she was a woman.
Emilia Pablo Bazan rebelled against situations
of such manifest discrimination and inequality.
Nonetheless, as Nelly clemency
and authority on Amelia, Pablo Bazan explains,
her feminism was not revolutionary, but reformer.
Not only it was, however profoundly reformist.
She left it to the frontline of European feminists
to campaign in favour of women's political rights.
Hers was an intensely vital approach, expressed more through her life
than through her novels, precisely because she detested the romance
that is in favour of this or any other matter.
When she studied her last theories of the Italian criminalist school,
she led a newspaper campaign
in favour of the abolition of the death penalty.
But when she explored this problem in Lapidary Angular,
the resulting novel can in no way be regarded as propaganda.
Perhaps an exception lies in El Nino de Guzman
and several stories set in the turbulent events of 1898.
In this novel, the character in question,
who is a Spaniard educated abroad, feels disillusioned on returning home
and finding that the reality of Spain did not match his idealised image
forged overseas.
Between La madre Natural Leather 1887
and Lapidary Angular 1891,
Amelia Pablo Bazan published four novels
that cannot be considered naturalist.
Amelia
Pablo Bazan rejected these labels, and years later, when she recalled
the storm created by the question about pedantic, she declared.
Whoever reads my critical essays will understand that
I am neither an idealist nor a realist, nor a naturalist.
Only eclectic.
Nonetheless,
critics view installation and Marina,
both published in 1889 and set in Madrid as works of realism.
And when I Christina and La Prima,
both from 1890 as proponents of a certain idealism,
this idealism can also be found
with the exception of La Pierre Triangular in the Adam and Eve series,
comprising memory as they consulted on 1891
and Dona Milagros, 1894,
she was given a second opportunity to apply for a Royal Academy chair
in 1891, the year following the publication
in La Espana, Modena, of her articles on
the Spanish woman.
It is at this moment
when the controversy with Barletta turned ugly,
Barletta wrote Las Mujeres yields
Academia's women and Academies, an article
whose arguments would cause the contemporary reader to smile.
At the very least,
Amelia Pablo Bazan, published
in La Espana, Modena and in the third edition of her Nuevo
Teatro critical la question Academica,
where she summarises her thinking
level.
Theatre Critical was a magazine founded and written entirely by her,
which both in its title and eclectic approach
was conceived as a tribute to the esteemed faco.
Defending all
women is tantamount to offending almost all men.
This talk against womankind is the work of superficial men.
The simplest of logic demonstrates that there is no necessary
link between a lack of accomplishment and a lack of power.
Thus, we cannot infer from women's limited knowledge
the incapacity to overcome that limitation.
In 1892,
Emilia Pablo Bazan also founded and directed the Biblioteca Del
Amo had a library of selected authors and titles
that would provide enrichment to women in every sense.
Biographies of important women, together
with a treatise on Christian morals, sociological work,
or a good cookery book included in this collection were her
two volumes on traditional Spanish cookery and modern Spanish cookery.
I was always tied up with cooking and
I even have a certain liking for these domestic tasks.
I regret that I do not have more time to dedicate to them.
I am no doctor in the art of Moodle, Duma, Rossini,
brilliant Savarin and picadillo, but I never saw
any incompatibility between this and the study of the arts.
In fact,
she herself wrote the prologue to Peccadillos Cocina practica
a book she presented as a gift to Concha LIZARRAGA.
The wife of Una mono, when she discovered
that she did not read her husband's books.
The year was 1905.
She always maintained a cordial relationship with when I mono.
Nonetheless, her combative attitude in a male dominated world
inevitably provoked a certain rejection,
even among the more liberal intellectual set of the time.
Thus, at several points in her life, she clashed with a number of writers,
and her friendship with them waxed and waned.
This was the case with Pereda
as a result of the publication of Know Best.
Still a chapter of which Amelia Pablo Bazan took personally.
It was also the case with Clarin,
Menendez, Palacio, Valera, Blasco Ibanez,
and with Manuel Murguia, Rosalia de Castro's husband.
Her friendship with Carlos, however, led to a profound and lasting
affair of the heart, as reflected in highly eloquent letters.
For some time, Amelia Pablo Bazan had been contributing
articles, essays and countless stories
to many magazines and newspapers,
pieces that she would publish in several collections.
Quintus Demarais neither Quintus, they are more Quintus
Sacra professionals in Ranvir Quinto's Quintus Grammaticus
Gwen Thursday Navidad, Elias Quintus de la Patria
Quintus Antigua's
in 1903,
instalments of her novel Lucky Mirror
started appearing in lecturer
and was published in book form two years later.
In accordance with her belief that the novel should reflect
the moment in which it was written.
Lucky Mira has certain modernist and symbolist overtones.
The central character Silvio Lago, who aspires to an impossible
ideal, is closely modelled on the painter
Joaquin Varma on the.
She also lectured frequently
and took part in public functions as early as 1892.
Her lecture La Educacion the Isla de la muerte sous la jeunesse
ideas caused great impact
of the Hispanic Portuguese American education Law Conference.
The lecture expressed
her thinking on the deficiencies in women's education.
One of the most powerful reasons, in her opinion,
for there being considered of inferior public status
and her close sympathy with the ideas of Concepcion, Arenal
and the institution Librarians in that.
It is almost impossible for men
to understand how difficult it is for a woman to educate herself
men from the moment that they can walk and talk.
Attend primary school.
Later they go to secondary school, then college,
and from there to university.
Nothing but advantages.
While for women, nothing but disadvantages.
She declared herself a feminist at a lecture she gave on life.
Spaniard Dear a lady away at the Sorbonne
in April 1899.
The following year, she read the inaugural lecture
of the Ateneo de Valencia
in 1901.
She gave a talk at the Hugos Florals Literary Festival in a frenzy
in 1904.
She presented important ideas in
Goya, Elizabeth, Annie, that Espanola.
And the following year her talk on the poet Gabriel Galan
at the University of Salamanca caused great impact.
In 1906, she was appointed
president of the second Day Literature Day at the New,
an institution with which she had long maintained links.
She moved her typewriter there to write two novels, and it was
then that La Sirena Negra in 1908, a novel
whose central theme was Death,
a tireless traveller.
She also continued to publish her
impressions in newspaper articles and books.
In 1900, El Impartiality began
to publish her articles on the Paris Universal Exhibition.
Later collected in quarantine, Diaz
L'exposition in 1902, Pola Europa
Catolica was published The Fruit of a Journey through the Netherlands.
Her plays,
however, had still not been put on the stage and in 1906,
Verdad and Cuesta BARCO opened in Madrid.
Neither were a success.
When her husband died in 1912,
Amelia, who went into mourning for the customary period,
had already achieved the social, intellectual
and literary recognition for which she had fought so hard.
In 1908, she began to use the title Contessa
de Pablo Bazan bestowed on her by Alfonso Tracy
in recognition of her contribution to the world of literature.
From 1910, she was made advisor
to the Ministry for Public Education.
She became a full member of the Madrid Society of Amigos
Del Pais in 1912.
Two years later, she was awarded the Ribbon of the Order of Maria Luisa
and received the Pro Ecclesia at Pontifical Cross
from Pope Benedict the 15th.
In 1916,
the Minister of Public Education appointed her Professor
of Contemporary Writers and Romance Languages at the Central University.
As a female instructor of male students,
she met with intolerance and opposition
and soon abandoned her teaching.
Her combative and assertive spirit
distinguished her from other 19th century Spanish women
such as Fernand Caballero, who hid behind the male pseudonym
and always kept modestly to the background.
Or the lawyer, Concepcion Arenal, who donned masculine attire
in order to make headway in a male dominated field.
Emilia
Pablo Bazan took pride in her womanhood
and made her voice heard at every level.
Whilst perhaps not a classic beauty.
Men of the intellectual stature of Dos Lazaro Gagliano
and Blasco Ibanez were strongly attracted to.
On May
12, 1921, shortly before her 70th birthday.
She fainted while writing,
though initially thought to be of little consequence.
At her request, the Bishop of Madrid gave her the last sacraments.
She died from diabetes related complications.
The following day, all the newspapers carried the story of the writer
who had passed away the day before and was buried
in the crypt of Madrid's Iglesia de la Concepcion.