Emilia Pardo Bazán
| Emilia Pardo Bazán y de la Rúa-Figueroa | |
|---|---|
 |
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| Born |
16 September 1851 A Coruña, Spain |
| Died | 12 May 1921 (aged 69) Madrid, Spain |
| Occupation | Novelist, short story writer, journalist, critic |
| Nationality | Spanish |
| Period | Nineteeth century |
| Genre | Novel |
| Literary movement | Realism and Naturalism |
| Spouse | José Antonio de Quiroga y Pérez de Deza |
| Children | 3 |
Emilia Pardo Bazán (16 September 1851 – 12 May 1921) was a Spanish novelist, journalist, essayist, critic and scholar.
Pardo Bazán was born into a noble family in A Coruña, Galicia, Spain. The culture of her birthplace was incorporated into some of her most popular novels, including Los pazos de Ulloa ("The House of Ulloa") and its sequel, La madre naturaleza ("Mother Nature"). She is known for introducing naturalism to Spanish literature, for her detailed descriptions of reality, and for her role in feminist literature of her era. She was acknowledged for her creative stories such as Temprano y con Sol, which explicitly describes an ironic misfortune. She wrote a book called in which she expressed her opinion about equality. She was educated in Madrid.
At the age of sixteen she married Don José Antonio de Quiroga y Pérez de Deza, a country gentleman. She became interested in politics, and is believed to have taken an active part in the underground campaign against Amadeo of Spain and, later, against the republic. In 1876 she was the successful competitor for a literary prize offered by the municipality of Oviedo, the subject of her essay being the Benedictine monk Benito Jerónimo Feijoo. This was followed by a series of articles inserted in La Ciencia cristiana, a magazine of the purest orthodoxy, edited by Juan M. Orti y Lara.
Her first novel, Pascual López (1879), was followed by Un viaje de novios (1881), in which a discreet attempt was made to introduce the methods of French realism. The novel caused a sensation, which was increased by the appearance of another naturalistic tale, La tribuna (1885), wherein the influence of Émile Zola is unmistakable. Meanwhile, the writer's response to her critics was issued under the title of La cuestion palpitante (1883).
The naturalistic scenes of El Cisne de Villamorta (1885) are more numerous, more pronounced, than in any of its predecessors, though the author shrinks from the logical application of her theories by supplying a romantic and inappropriate ending. Probably the best of Emilia Pardo Bazán's work is embodied in Los pazos de Ulloa (1886), translated as The House of Ulloa by, 2013, which recounts the decadent of an family, as notable for the heroes Nucha and Julián as for characters including the political bravos, Barbacana and Trampeta. Yet perhaps its most abiding merit lies in its pictures of country life, its poetic realization of Galician scenery portrayed in an elaborate, highly colored style. A sequel, with the significant title of La madre naturaleza (1887), marks a further advance in the path of naturalism, and henceforth Pardo Bazán was universally recognized as one of the chiefs of the new naturalistic movement in Spain. The title was confirmed by the publication of Insolación and Morriña in 1889. In this year her reputation as a novelist reached its highest point. Her later stories, La cristiana (1890), Cuentos de amor (1894), Arco Iris (1895), Misterio (1903) and La quimera (1905), attracted less interest. In 1905 she published a play entitled Verdad, known for its boldness more than its dramatic qualities.
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