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Emilia Pardo Bazán y de la Rúa-Figueroa, countess of Pardo Bazán, was a Spanish novelist, journalist, literary critic, poet, playwright, translator, editor and professor.

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She is known for introducing naturalism and feminism into Spanish literature. In the naturalism, the reality is reflected in the most objective and impersonal way possible, highlighting the degradation and injustices of society.

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Emilia Pardo Bazán y de la Rúa-Figueroa (16 September 1851 - 12 May 1921), countess of Pardo Bazán, was a Spanish novelist, journalist, literary critic, poet, playwright, translator, editor and professor. She is known for introducing naturalism into Spanish literature, for her detailed descriptions of reality, and for her ground-breaking introduction of feminist ideas into the literature of her era. Her ideas about women's rights for education also made her a prominent feminist figure.

Emilia Pardo Bazán was born into an affluent noble family in A Coruña, Galicia, Spain. The family's principal residence was in Rúa Tabernas but they also owned two other houses, one close to Sanxenxo and the other, known as the Pazo de Meirás, located in the outskirts of the city. Her father, believing in the intellectual equality of men and women, provided her with the best education possible, inspiring her life-long love for literature. She wrote her first poems at the age of nine. Emilia had access to a broad range of reading material in her father's library, later stating that among her favorites wereDon Quijote de la Mancha, the Bible and the . Other early readings included La conquista de México by Antonio de Solís and Parallel Lives by Plutarch. She was fascinated by books about the French revolution. Her family would spend their winters in Madrid, where Emilia attended a French school sponsored by the Royal Family, and where she was introduced to the work of La Fontaine and Jean Racine. Her frequent visits to France would prove to be especially useful later in her life by helping her connect with the literary world of Europe and become familiar with important authors like Victor Hugo. When she was twelve her family decided to stop their winter visits to Madrid, staying in A Coruña where she studied with private tutors. She refused to follow the rules that limited women to just learning about music and home economics. She received formal education on all types of subjects, with an emphasis on the humanities and languages. She became fluent in French, English, and German. She was not permitted to attend college. Women were forbidden to study science and philosophy, but she became familiar with those subjects by reading and talking with friends of her father.

At the age of sixteen Emilia married Don José Antonio de Quiroga y Pérez de Deza, a country gentleman who was himself only eighteen and still a law student. The following year, 1868, saw the outbreak of the Glorious Revolution, resulting in the deposition of Queen Isabella II and awakening in Emilia an interest in politics. She is believed to have taken an active part in the underground campaign against Amadeo I of Spain and, later, against the republic.

In 1876 she won a literary prize offered by the municipality of Oviedo, for an essay entitled Estudio crítico de las obras del padre Feijoo ( Critical Essay on the Works of Father Feijoo), the subject of her essay being a Benedictine monk. Emilia Pardo Bazán always had a great admiration for Feijoo, an eighteenth-century Galician intellectual, possibly due to his feminism avant la lettre. She also published her first book of poems in the same year, entitled Jaime in honor of her newborn son. This was followed by a series of articles in La Ciencia cristiana, a highly orthodox Roman Catholic magazine, edited by Juan Orti y Lara.

Her first novel, Pascual López: autobiografía de un estudiante de medicina ( Pascual López: Autobiography of a Medical Student), which appeared in 1879, was written in a realist, romantic style. She was encouraged by its success and, two years later, she published Un viaje de novios (A Honeymoon Trip), in which an incipient interest in French naturalism can be observed, causing something of a sensation at the time. This was further fuelled by the appearance of La tribuna (1883), which was more heavily influenced by the ideas of Émile Zola and is widely considered to be the first Spanish naturalist novel. Her response to the critics' outrage was published in 1884 under the title La cuestión palpitante ( The Critical Issue). Her husband did not feel strong enough to weather the ensuing social scandal created by a woman daring to express her views about such matters and two years later the couple began an amicable separation, Emilia living with their children while her husband took up residence in the Castle of Santa Cruz in A Coruña, which he had acquired at an auction. It was only after their separation that her relationship with the writer Galdós blossomed into a full-blown intimate affair, which was to prove enduring.

1885 saw the publication of El Cisne de Vilamorta ( The Swan of Vilamorta), in which the naturalist scenes are more numerous and more pronounced than in any of her previous works, although the author has been accused of shrinking from the logical application of her theories by inserting a romantic and inappropriate ending. Probably the best of Emilia Pardo Bazán's work is embodied in Los pazos de Ulloa (The House of Ulloa), published in 1886, which recounts the slide into decadence of an aristocratic 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 depiction of country life, the poetic realization of Galician scenery portrayed in an elaborate, colourful style. A sequel, with the significant title La madre naturaleza ( Mother Nature), published in 1887, marked a further advance in the path of naturalism, and henceforth Pardo Bazán was universally recognized as one of the principal exponents of the new naturalistic movement in Spain, a role confirmed by the publication of Insolación ( Sunstroke), and Morriña ( Homesickness) in 1889. In this year her reputation as a novelist reached its highest point.

During her last years of writing, Emilia Pardo Bazán wrote many essays and gave lectures in renowned institutions. She also began to intervene in political journalism as well as fighting for the right of women to social and intellectual emancipation. Thus, around 1890, her work evolved towards greater symbolism and spiritualism.

In 1905 she published a play entitled Verdad ( Truth), better known for its boldness than for its dramatic qualities. Her last novel, Dulce dueño ( Sweet Master) was published in 1911, but she continued to write short stories like El revólver (The Revolver), publishing more than 600 over the course of her career.

Support for women's rights

Pardo Bazán was a standard bearer for women's rights and dedicated both her literary production and her life to their defense. In all of her works she incorporated her ideas on the modernization of Spanish society, on the need for female education and on women's access to all the rights and opportunities that men already enjoyed.

In 1882, she participated in a conference organized by The Free Educational Institution, and openly criticized the education received by the Spanish women, in which values like passivity, obedience and submission to their husbands were relentlessly promoted.

In spite of the patent sexism in the intellectual circles of her era, Emilia Pardo Bazán became the first woman to preside over the literature section of the Ateneo de Madrid in 1906, and the first to occupy a chair of Neo-Latin literature at the Central University Of Madrid (former name of The Complutense University of Madrid). She inherited the title of Countess on her father's death in 1908 and in 1910 was appointed a member of the Council of Public Instruction. In 1921 she was appointed to the Senate but never formally took up her seat. Much to her frustration, she was repeatedly refused a seat at the Spanish Royal Academy, purely on the grounds of her gender. She died in Madrid in 1921.

According to Brian J. Dendle, her naturalism partially drinks from late 19th-century theories of racial heritage and atavism. She was well-versed in the racial theories applied to criminology by Cesare Lombroso. Featuring a Catholic ideological matrix close to Pidal y Mon, she espoused nonetheless racist views. She held antisemitic ideas, to the point of denigrating both Sephardic and Ashkenazi Jews. She tried to justify antisemitism in 1899 in the context of the Dreyfus affair in the pages of La Ilustración Artística: "The Dreyfus affair is nothing but an episode of the secular struggle that covered the Middle Ages in blood in the streets of Valencia and Toledo [...] The crusade against Dreyfus can be explained, and as it can be explained it can be partially justified".

Fond of gastronomy, in 1905 Pardo Bazán prologued La cocina práctica ("the practical cuisine") by her friend Manuel Purga y Parga, aka Picadillo. She later wrote her own culinary works, such as La cocina española antigua (1913). She is credited as one of the food writers and gastronomes who joined the initiative for pushing forward the idea of the modern Spanish national cuisine in the early 20th-century, recognisable by Spaniards as their own.

A statue dedicated to Pardo Bazán was unveiled in Madrid on 24 June 1926.

On September 16, 2017, Google celebrated her 166th birthday with a Google Doodle.

Bibliography

Álvarez Chillida, Gonzalo (2002). El antisemitismo en España: la imagen del judío, 1812-2002. Madrid: Marcial Pons Ediciones de Historia. ISBN 84-95379-44-9.

Dendle, Brian J. (1970). "The Racial Theories of Emilia Pardo Bazán". Hispanic Review. University of Pennsylvania Press. 38 (1): 17-31. doi:10.2307/472020. ISSN 0018-2176. JSTOR 472020.

Guereña, Jean-Louis (2003). ""Aunque fuera inocente ..." El "Affaire" Dreyfus y el antisemitismo en la crisis española de fin de siglo". In Joan i Tous, Pere (ed.). El olivo y la espada: Estudios sobre el antisemitismo en España (siglos XVI-XX). Romania Judaica. 6. Tübingen: Max Niemeyer Verlag GmbH. pp. 341-362. doi:10.1515/9783110922158.341. ISBN 3-484-57006-7. ISSN 1435-098X.

Pardo Bazán, Emilia (3 July 1899). "De Europa". La Ilustración Artística. Barcelona. XVIII (914): 426. ISSN 1889-853X.

Rehrmann, Norbert (2007). "El síndrome de Cenicienta: moros y judíos en la literatura española del siglo XIX y XX". In Álvarez Chillida, Gonzalo; Izquierdo Benito, Ricardo (eds.). El antisemitismo en España. Cuenca: Ediciones de la Universidad de Castilla-La Mancha. p. 207-236. ISBN 978-84-8427-471-1.

BURDIEL, Isabel (2019). Emilia Pardo Bazán. Barcelona, Taurus.

This article incorporates text from a publication now in the public domain: Fitzmaurice-Kelly, James (1911). "Pardo Bazán, Emilia". In Chisholm, Hugh (ed.). Encyclopædia Britannica. 20 (11th ed.). Cambridge University Press. p. 801.

Pardo Bazán, Emilia. Obras Completas :(cuentos). XI, Cuentos Dispersos, I (1865-1910). Edited by José Manuel González Herrán. Madrid: Fundación José Antonio de Castro, 2011.

Virgillo, Carmelo, et al. Aproximaciones al estudio de la literatura hispánica. New York: McGraw Hill, 2004.

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Emilia Pardo Bazán y de la Rúa-Figueroa (16 September 1851 - 12 May 1921), countess of Pardo Bazán, was a Spanish novelist, journalist, literary critic, poet, playwright, translator, editor and professor. She is known for introducing naturalism into Spanish literature, for her detailed descriptions of reality, and for her ground-breaking introduction of feminist ideas into the literature of her era.

# data[].attributes.body
Emilia Pardo Bazán was born into a noble family in A Coruña, Galicia, Spain. The city always appears in her novels under the name of “Marineda”.

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The family's principal residence was in Tabernas Street. They also owned two other houses: one close to Sanxenxo and the other, known as Pazo de Meirás, near Sada.

# data[].attributes.body
Her father believed in the intellectual equality of men and women, so he provided her with the best education posible. He wanted her to be strong, independent and curious.

# data[].attributes.body
Emilia had access to her father's library, full of all kind of books. Among her favorites were Don Quijote de la Mancha, the Bible and the Iliad.

# data[].attributes.body
She always was a curious, creative and talented girl. She wrote her first poems at the age of 9 and she published her first short story when she was 15 years old, creating around 650 in total.

# data[].attributes.body
Her family spent their winters in Madrid, where Emilia attended a French school sponsored by the Royal Family.

# data[].attributes.body
She was fascinated by books about the French revolution. She frequently travelled to France, where she become familiar with important authors like Victor Hugo and Emile Zola.

# data[].attributes.body
When she was 12, her family decided to stop their winter visits to Madrid, staying in A Coruña, where she studied with private tutors.

# data[].attributes.body
Despite the ideas of her time, she received formal education on all types of subjects, with an emphasis on the humanities and languages. However, she was not permitted to attend college. She became fluent in French, English, and German. She learned English because she wanted to read Shakespeare´s works in their original language. She also was a fan of Conan Doyle´s novels about Sherlock Holmes.

# data[].attributes.body
Women couldn´t study science and philosophy, but she became familiar with those subjects by reading and talking with friends of her father.

# data[].attributes.body
At the age of 16 Emilia married Don José Antonio de Quiroga y Pérez de Deza, a country gentleman who was himself only 18 and still a law student. They had 3 children: a boy (Jaime) and 2 girls (Carmen and Blanca).

# data[].attributes.body
In 1876 she won a literary prize offered by the municipality of Oviedo, for an essay entitled "Estudio crítico de las obras del padre Feijoo".

# data[].attributes.body
She also published her first book of poems in the same year, titled "Jaime" in honour of her newborn son.

# data[].attributes.body
Her first novel, "Pascual López: autobiografía de un estudiante de medicina" (1879), was written in a realist, romantic style.

# data[].attributes.body
Encouraged by its success, two years later she published "Un viaje de novios", causing something of a sensation at the time.

# data[].attributes.body
In 1883 she published "La tribuna", considered to be the first Spanish naturalist novel.

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Her husband couldn´t stand the scandal created by his wife, a woman who openly expressed her ideas and, two years later, the couple separated. After that she started a relationship with the writer Galdós, reflected in the book “Miquiño mío”, with the correspondence they exchanged.

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Benito Pérez Galdós (May 10, 1843 - January 4, 1920) was a Spanish realist novelist. He was the leading literary figure in 19th-century Spain, and some scholars consider him second only to Miguel de Cervantes in stature as a Spanish novelist.

Galdós was a prolific writer, publishing 31 novels, 46 Episodios Nacionales ( National Episodes), 23 plays, and the equivalent of 20 volumes of shorter fiction, journalism and other writings. He remains popular in Spain, and is considered as equal to Dickens, Balzac and Tolstoy. Some of his works have been translated into English, as he has slowly become popular in the Anglophone world.

While his plays are generally considered to be less successful than his novels, Realidad (1892) is important in the history of realism in the Spanish theatre.

The Galdós museum in Las Palmas, Gran Canaria features a portrait of the writer by Joaquín Sorolla.

Benito Pérez Galdós was born in his family's home, located in Calle Cano in Las Palmas de Gran Canaria (currently know as the Casa-Museo or House-Museum Pérez Galdós) on the 10th May 1843. He was the tenth and last son of the Lieutenant Colonel Don Sebastián Pérez and Doña Dolores Galdós. Two days after his birth, he was baptized under the name of Benito María de los Dolores in the church of San Francisco de Asís in the same city.

He studied at San Agustín school, where he was taught by teachers trained in the principles of the Enlightenment. This event awakened in the young Benito a critical spirit, his love for history and his passion for the visual arts and literature. In 1862, after having completed his secondary studies, he travelled to Tenerife in order to obtain his certificate in Bachillerato in Arts. That same year he moved to Madrid to start his Law degree, but he did not complete his studies.

While studying at university, he frequented the Ateneo of Madrid and other intellectual and artists' gatherings. Through them and his walks around the city, he became acquainted with the life in Madrid and witnessed the political and historical events of the time. These experiences are reflected in his journalistic works and first novels: The Golden Fountain Café ( La Fontana de oro) (1870) and El audaz (1871).

By 1865, he was publishing articles in La Nación on literature, art, music, and politics and it was clear that he was not going to pursue a legal career. His first attempt at a literary career came in 1867, when a didactic historical verse drama was rejected. His next venture into the theatre did not take place until 1892.

He had already become enthusiastic about the novels of Charles Dickens and, in 1868, his translation of Pickwick Papers introduced his work to the Spanish public. The previous year, he had visited Paris and had begun to read the works of Balzac. In 1870, he was appointed editor of La Revista de España and began to express his opinions on a wide range of diverse topics such as history, culture, politics, art, music and literature. Between 1867 and 1868, he wrote what would be his first novel, La Fontana de Oro, a historical work set in the period 1820-1823. With the help of money from his sister-in-law, it was published privately in 1870. Critical reaction was slow to gain momentum but it was eventually hailed as the beginning of a new phase in Spanish fiction, and was highly praised for its literary quality as well as for its social and moral purpose.

He next developed the outline of a major project, the Episodios Nacionales: a series of historical novels outlining the major events in Spanish history from the Battle of Trafalgar in 1805 to his own times. The ostensible aim of this project was to regenerate Spain through the awakening of a new sense of national identity. The first episode was called Trafalgar and appeared in 1873. Successive episodes appeared in fits and starts until the forty-sixth and final novel, Cánovas, appeared in 1912. Every so often, Galdós seemed to grow tired of this project and stated that he would not write another episode. However, the public bought them avidly, despite the criticism that was levelled at his other works, and they remained the basis of his contemporary reputation and income. He conducted an enormous amount of research in the writing of these stories because official reports, newspaper accounts and histories were often rigidly partisan. To achieve balance and a wider perspective, Galdós sought out survivors and eyewitnesses to the actual events - such as an old man who had been a cabin boy aboard the ship Santísima Trinidad at Trafalgar, who became the central figure of that book. Galdós is often critical of the official versions of the events he describes and often ran into problems with the Catholic Church, then a dominant force in Spanish cultural life.

His other novels were classified into the groups by José Montesinos:

1. The early works from La Fontana de Oro up to La familia de León Roch (1878). The best known of these is probably Doña Perfecta (1876), which describes the impact made by the arrival of a young radical on a stiflingly clerical town. In (1878) a young man regains his eyesight after a life of blindness and rejects his best friend Marianela for her ugliness.

2. The Novelas españolas contemporáneas, from La desheredada (1881) to Angel Guerra (1891), a loosely related series of 22 novels which are the author's major claim to literary distinction, including his masterpiece Fortunata y Jacinta (1886-87). They are bound together by the device of recurring characters, borrowed from Balzac's La Comédie humaine. Fortunata y Jacinta is almost as long as War and Peace. It concerns the fortunes of four characters: a young man-about-town, his wife, his lower-class mistress, and her husband. The character of Fortunata is based on a real girl whom Galdós first saw in a tenement building in Madrid, drinking a raw egg - which is the way in which the fictional characters come to meet.

3. The later novels of psychological investigation, many of which are in dialogue form.

Galdós was an enthusiastic traveller. His novels display a detailed knowledge of not only Madrid but many other cities, towns and villages of Spain - such as Toledo in Angel Guerra. He visited Great Britain on many occasions, his first trip being in 1883. The descriptions of the various districts and low-life characters that he encountered in Madrid, particularly in Fortunata y Jacinta, are similar to the approaches of Dickens and the French Realist novelists such as Balzac. Galdós also shows a Balzacian interest in technology and crafts, for example the lengthy descriptions of the ropery in La desheredada or the detailed accounts of how the heroine of La de Bringas (1884) embroiders her pictures out of hair.

He was also inspired by Émile Zola and Naturalism in which, under the influence of the deterministic philosophy of Hippolyte Taine, writers strove to show how their characters were forged by the interaction of heredity, environment and social conditions - race, milieu, et moment. In addition, these writers were keen to suggest that their works were scientific dissections of society. This set of influences is, perhaps, at its clearest in Lo prohibido (1884-85), which is also noteworthy for being told in the first person by an unreliable narrator who, in addition, dies during the course of the work - it pre-dates similar experiments by André Gide such as L'immoraliste.

Another influence came from the philosophy of Karl Christian Friedrich Krause, which became influential in Spain mainly due to the influence of the famous educationalist Francisco Giner de los Ríos. The clearest example of this influence on Galdós is in his novel El Amigo Manso (1882). However, it is also clear that the mystical tendencies of krausismo led to his interest in insanity and the strange wisdom that can sometimes be shown by those people who appear to be mad. This becomes a theme of great importance in the works of Galdós from Fortunata y Jacinta onwards, for example in Miau (1888) and his final novel La razón de la sinrazón.

All through his literary career, Galdós incurred the wrath of the Catholic press. He attacked what he saw as abuses of entrenched and dogmatic religious power rather than religious faith or Christianity per se. In fact, the need for faith is a very important feature in many of his novels and there are many sympathetic portraits of priests and nuns.

His first mature play was Realidad, an adaptation of his novel of the same name, which had been written in dialogue. Galdós was attracted to the idea of making direct contact with his public and seeing and hearing their reactions. Rehearsals began in February 1892. The theatre was packed on the opening night and received the play enthusiastically. Galdós took about 15 curtain calls. However, although the audience reception was good, the play did not receive universal critical acclaim because of its realistic dialogue which did not accord with the general theatrical language of the time, the setting of a scene in the boudoir of a courtesan, and the un-Spanish attitude towards a wife's adultery. The Catholic press did not attend the performance but this did not prevent them from denouncing the author as a perverse and wicked influence. The play ran for twenty nights.

In 1901, his play Electra caused a storm of outrage and floods of equally hyperbolic enthusiasm. As in many of his works, Galdós targeted clericalism and the inhuman fanaticism and superstition that can accompany it. The performance was interrupted by audience reaction and the author had to take many curtain calls. After the third night, the conservative and clerical parties organised a demonstration outside the theatre. The police moved in and arrested two members of a workers' organization who had reacted against the demonstration. Several people were wounded as a result of the clash and, the next day, the newspapers were divided between liberal support for the play and Catholic/conservative condemnation. Over one hundred performances were given in Madrid alone and the play was also performed in the provinces. In 1934, 33 years later, a revival in Madrid produced much the same degree of uproar and outrage.

Despite his attacks on the forces of conservatism, Galdós had shown only a weak interest in being directly involved in politics. In 1886 the Prime Minister Práxedes Mateo Sagasta appointed him as the (absent) deputy for the town and district of Guayama, Puerto Rico at the Madrid parliament; he never visited the place, but had a representative inform him of the status of the area and felt a duty to represent its inhabitants appropriately. This appointment lasted for five years and mainly seems to have given him the chance to observe the conduct of politics at first hand, which informs scenes in some of his novels.

By 1907, however, there was no sign of national regeneration and the government of the day was making no attempt to control or limit the powers of the Catholic Church. At the age of 64, he re-entered the political arena as a Republican deputy. He seems to have undertaken the task of uniting the anti-monarchic groups, which included Democrats, Republicans, liberals and socialists. He even approached the Marxist leader Pablo Iglesias and persuaded him to join a new organisation called La Conjunción Republicano-socialista, with Galdós as its titular head.

However, by 1912, Galdós was growing disillusioned with the way that the personal ambitions of his fellow Republicans conflicted with achieving genuine political change and it was becoming clear that the coalition of anti-monarchic groups was unable to exercise any great influence over developments. He began to fade from the scene of active political involvement. In 1914, he was the Republican candidate for Las Palmas, but this was more of a local tribute to him. In 1918, he joined in a protest with Miguel de Unamuno and Mariano de Cavia against the encroaching censorship and authoritarianism coming from the putatively constitutional monarch. He had been blind since 1912, was in financial difficulties and increasingly troubled by illness.

He was nominated for the Nobel Prize in Literature for five years, 1912-16, which would both have increased his prestige outside Spain and improved his financial status, but neither was successful. Among those who nominated Pérez Galdós was the 1904 winner José Echegaray. A national subscription scheme was set up to raise money to help Pérez Galdós, to which the King and his Prime Minister Romanones were the first to subscribe. The activities of the Catholic press, which sneered at the writer as a blind beggar, along with the outbreak of World War I, led to the scheme being closed in 1916 with the money raised being less than half what would be required to clear his debts and set up a pension. In that same year, however, the Ministry of Public Instruction appointed him to take charge of the arrangements for the Cervantes tercentenary, for a stipend of 1000 pesetas per month. Although the event never took place, the stipend continued for the rest of Galdós's life.

In 1897, Pérez Galdós had been elected to the Real Academia Española (Royal Spanish Academy). After becoming blind he continued to dictate his books for the rest of his life. Pérez Galdós died at the age of 76. Shortly before his death, a statue in his honour was unveiled in the Parque del Buen Retiro, the most popular park in Madrid, financed solely by public donations.

His novels have yielded many cinematic adaptations: Beauty in Chains ( Doña Perfecta) was directed by Elsie Jane Wilson in 1918; (1961), by Luis Buñuel, is based upon Halma; Buñuel also adapted (1959) and (1970); was filmed in 1972 by Rafael Gil; (1998) ( The Grandfather), by José Luis Garci, was internationally released a year later; it previously had been adapted as the Argentine film, (1954). In 2018, Sri Lankan director, Bennett Rathnayke directed the film .

Early Novels

Novelas Españolas Contemporáneas

Later Novels

Episodios Nacionales

Plays

Short stories

Una industria que vive de la muerte. Episodio musical del cólera (1865)

Necrología de un proto-tipo (1866)

La conjuración de las palabras. Cuento alegórico (1868)

El artículo de fondo (1871)

La mujer del filósofo (1871)

La novela en el tranvía (1871)

Un tribunal literario (1872)

Aquél (1872)

La pluma en el viento o el viaje de la pluma (1873)

En un jardín (1876)

La mula y el buey (1876)

El verano (1876)

La princesa y el granuja (1877)

El mes de junio (1878)

Theros (1883)

La tienda-asilo (1886)

Celín (1889)

Tropiquillos (1893)

El Pórtico de la Gloria (1896)

Rompecabezas (1897)

Rura (1901)

Entre copas (1902)

La república de las letras (1905)

Miscellaneous

Crónicas de Portugal (1890)

Discurso de Ingreso en la Real Academia Española (1897)

Memoranda, Artículos y Cuentos (1906)

Política Española I (1923)

Política Española II (1923)

Arte y Crítica (1923)

Fisonomías Sociales (1923)

Nuestro Teatro (1923)

Cronicón 1883 a 1886 (1924)

Toledo. Su historia y su Leyenda (1927)

Viajes y Fantasías (1929)

Memorias (1930)

In the United Kingdom

Gloria (1879. London: Remington and Co. Translated by Natham Wetherell; 1883. Trübner & Co. Translated by Clara Bell)

Doña Perfecta, a tale of Modern Spain (1886. London: Samuel Tinsley, Translated by D. P. W.)

Marianela (1893. London: Digby, Long. Translated by Mary Wharton)

Doña Perfecta (1894. London: The Fisher Unwin. Translated by Mary Wharton; 1999. London: Widenfeld & Nicolson Ltd. Translated by A. K. Tulloch; 2009. Oxford: Oxbow Books. Translated by Graham Whittaker)

The Spendthrifts [La de Bringas] (1951. London: Weidenfeld & Nicolson. The Illustrated Novel Library. Translated by Gamel Woolsey; 1953. London: Reader's Union. Translated by Gamel Woolsey)

Torment [Tormento] (1952. London: Widenfeld & Nicolson Ltd. Translated by J. M. Cohen)

Miau (1963. London: Methuen. Translated by J. M. Cohen)

Fortunata and Jacinta: Two Stories of Married Women [Fortunata y Jacinta] (1973. Harmondsworth: Penguin Books. Translated by Lester Clarck)

La desheredada (1976. London: The Folio Society. Translated by Lester Clarck)

Torquemada on the Fire [Torquemada en la hoguera] (1985. Glasgow: University of Glasglow. Translated by Nicholas Round)

Fortunata and Jacinta [Fortunata y Jacinta] (1987. London: Viking. Translated by Agnes Moncy Gullón; 1992. Cambridge: Cambridge University Press. Translated by Harriet S. Turner; 1998. London: Penguin Books. Translated by Agnes Moncy Gullón)

Torquemada (1988. London: André Deutsch. Translated by Frances M. López-Morillas)

Nazarín (1993. Oxford: Oxford University Press. Translated by Jo Labanyi)

Misericordia (1995. Santry: Dedalus. Translated by Charles de Salis; 2007. Madrid: Isidora. Revista de Estudios Galdosianos no. 3, pgs. 6-293. Translated by Robert H. Russell; 2013. Madrid: Ediciones. Translated by Robert H. Russell)

That Bringas Woman: The Bringas Family [La de Bringas] (1996. London: Phoenix. Translated by Catherine Jagoe)

Tristana (1996. London: Bristol Classical Press; 1998. London: Duckworth Publishers; 1998. London: Bloomsbury Publishing; 2016. Manchester: Manchester University Press. Translated by Pablo Valdivia)

Inferno [Tormento] (1998. London: Phoenix House (Weidenfeld & Nicolson). Translated by Abigail Lee Six)

Halma (2015. Cambridge: Cambridge Scholars Publishing. Translated by Robert S. Rudder, Ignacio López-Calvo)

Trafalgar (1905/1921/1951. Cambridge: Cambridge University Press. Translated by Frederick Alexander Kirkpatrick)

Meow. A Tragicomedy [Miau] (2014. Liverpool: Aris & Phillips Hispanic Classics. Translated by Ruth Katz Crispin)

The Conspiracy of Words [La conjuración de las palabras] ( 2007. Madrid: Isidora. Revista de Estudios Galdosianos no. 4, pgs. 165-170. Translated by Robert H. Russell)

In the United States

Gloria (1882. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 2012. Miami: Editorial Rarebooksclub. Translated by N. Wetherell)

Doña Perfecta (1884. New York: Gottsberger. Translated by Clara Bell; 1883. New York: George Munro, Publisher. Traslated by D. P. W.; 1885. New York: Harper & Brothers Publishers. Translated by Mary jane Serrano; 1940 New York: P. F. Collier & Son; 1960. New York: Barron's Educational Series, Inc. Translated by Harriet de Onís; 2013. Miami: Editorial Rarebooksclub. Translated by D. P. W)

Marianela (1883. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 2013. Miami: Editorial Rarebooksclub; 2015. Scholar's Choice Publisher. Translated by Mary Wharton)

La familia de León Roch (1888. New York: William S. Gottsberger Publisher. Translated by Clara Bell)

Marianela: A Story of Spanish Love [Marianela] (1892. Chicago: A.C. McClurg and Company. Translated by Hellen W. Lester)

The Spendthrifts [La de Bringas] (1952. Mew York: Farrar Straus & Young. The Illustrated Novel Library. Translated by Gamel Woolsley; 2013. Miami: Editorial Rarebooksclub)

Tristana (1961. Peterborough, NH: R. R. Smith. Translated by R. Selden-Rose. 2014. Review Books Classics. New York: ReadHowYouWant. Translated by Margarte Jull Costa)

Compassion [Misericordia] (1962. New York: Frederick Ungar Publishing Co. Translated by Toby Talbot)

El amigo Manso (1963. New York: Oxford University Press)

Miau (1970. New York: Oxford University Press. Translated by Eduard R. Mulvihill, Roberto G. Sánchez)

León Roch: a Romance [La familia de León Roch] (1974. New York: Howard Ferting. Translated by Clara Bell)

The Shadow [La sombra] (1980. Ohio: Ohio University Press. Translated by Karen O. Austin)

Fortunata and Jacinta: Two Stories of Married Women [Fortunata y Jacinta] (1986. Georgia: University of Georgia Press. Translated by Agnes Moncy Gullón)

Torquemada. Torquemada at the Stake - Torquemada on the Cross - Torquemada in Purgatory - Torquemada and Saint Peter [Torquemada en la hoguera. Torquemada en la Cruz. Torquemada en el Purgatorio. Torquemada y San Pedro] (1986. New York: Columbia University Press. Translated by Frances M. López-Morillas)

The Golden Fountain Café: a Historic Novel of the XIXth Century [La Fontana de Oro] (1989. Pittsburgh, PA: Latin American Literary Review Press. Translated by Walten Rubin et al.)

Our Friend Manso [El amigo Manso] (1987. New York: Columbia University Press. Translated by Robert Russell)

Ángel Guerra (1990. Lewiston, New York: Edwin Mellen Press. Translated by Karen O. Austin)

The Unknown [La incógnita](1991. Lewiston, New York: Edwin Mellen Press. Translated by Karen O. Austin)

Reality [Realidad] (1992. Lewiston, New York: Edwin Mellen Press. Translated by Karen O. Austin)

The Cape of Don Francisco Torquemada: 1.Torquemada in the Bonfire. 2. Torquemada on the Cross. 3. Torquemada in Purgatory. 4. Torquemada and Saint Peter [Torquemada en la hoguera. Torquemada en la Cruz. Torquemada en el Purgatorio. Torquemada y San Pedro] (1996. San Bernardino, CA: Borgo Press. Translated by Robert G. Trimble)

Nazarín (1997. Pittsburgh, PA: Latin American Literary Review Press. Translated by Robert S. Ruder, Gloria Chacón de Arjona)

Torquemada at the Stake [Torquemada en la hoguera] (2004. Mineola, New York: Dover. Translated by Stanley Appel Baum)

Dona Perfecta [Doña Perfecta] (2009. ReadHowYouWant Publisher. Easy Read Edition; 2014. United States: Independent Publishin-Platform)

Halma (2010. Volumne 69. Charleston: Nabu Press)

Misericordia (2017. Miami: Editorial Rarebooksclub)

Leon Roch: a Romance. Volumne 1. [La familia de León Roch] (2018. Franklin Classics Trade Press)

Benito Pérez Galdós. Best Novels (2017. Miami: Editorial Rarebooksclub. Translated by Mary J. Serrano)

Trafalgar. A Tale (1884. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 1993. New York: H. Fertig)

The Court of Charles IV. A Romance of the Escorial [La Corte de Carlos IV] (1886. New York: William S. Gottsberger Publisher. Translated by Clara Bell; 1993. New York: H. Fertig)

La batalla de los Arapiles (1985. Philadelphia: J. B. Lippincott. Translated by R. Ogden)

Saragossa. A History of Spanish Valor [Zaragoza] (1899. Boston: Little, Brown and Company. Translted by Minna Caroline Smith)

The Campaign of the Maestrazgo [La campaña del Maestrazgo] (1990. Wakefield. N. H.: Longwood Academic. Translated by Lila Wells Guzmán)

Gerona (1993. Lewiston, NY: Edwin Mellen Press. Translated by G. J. Racz; 20115. Scholar's Select. Palala Press. Goodreads)

A Royalist Volunteer [Un voluntario realista] (Lewiston, NY: Edwin Mellen Press. Translated by Lila Wells Guzmán)

Juan Martin el Empecinado (2009. Charleston: Nabu Press)

El Grande Oriente (2009. Charleston: Nabu Press)

Aita Tettuaen (2009. Miami: Editorial Rarebooksclub)

The Court of Charles IV [La Corte de Carlos IV] (2009. Miami: Editorial Rarebooksclub. Translated by Clara Bell)

Saragossa [Zaragoza] (2015. Miami: Editorial Rarebooksclub. Translated by Minna Smith)

Trafalgar (2016. Miami: Editorial Rarebooksclub)

The Grandfather. Drama in five acts [El abuelo] (1910. Boston: Poet Lore XXXI, no. 3. Translated by Elizabeth Wallace; 2017. Miami: Editorial Rarebooksclub)

Electra (1911. Chicago: The Drama, no. 2, pgs. 12-138; 1919. Boston: R. G. Badger in Contemporary Spanish Dramatists. Translated by Charles Alfred Turrell)

The Duchess of San Quintín, Daniela [La de San Quintín] (1928. New York-London: D. Appleton and Company. Translated by Eleanor Bontecou, P. M. Hayden, J. G. Underhill)

Marianela (2014. Texas: Stone Cottage Theater. Adapted by Mark-Brian Sonna)

The Duchess of San Quintín: a play in three acts [La de San Quintín] (2016. Newark: Juan de la Cuesta Cop. Translated by Robert M. Fedorcheck)

Pérez Galdós' House-Museum

The Pérez Galdós' House-Museum ( Casa-Museo Pérez Galdós in Spanish) is located in the Triana neighbourhood, in the centre of Las Palmas de Gran Canaria. The house (the place where Galdós was born) was acquired and created in 1954 by the Cabildo de Gran Canaria and inaugurated on 9 July 1960 by María Pérez Galdós Cobián, the writer's daughter.

In the House-Museum visitors can see the house where the writer grew up, as well as a display of documents (letters, manuscripts...), furniture, musical instruments, paintings and photos that belonged to both the writer and his family.

The aim of the House-Museum is the conservation, study and dissemination of the legacy of Benito Pérez Galdós. For this matter, the management of the House-Museum has organised eleven international congresses, countless conferences and exhibitions, school visits, and has developed a publishing line with several collections of its own.

The House-Museum also has its own library with numerous works by Galdós in different languages, as well as the author's complete collection in ePub format (only in Spanish) and a virtual tour, among others.

Montesinos, Jose (1971). Intro to Lo Prohibido. Madrid: Editorial Castalia. ISBN 84-7039-106-2.

Berkowitz, H, Chonon (1948). Perez Galdos, Spanish Liberal Crusader. Madison: University of Wisconsin Press.

Montesinos, Jose (1968-71). Galdos. Madrid.

Alfieri, J.J. (1968). "Galdós Revaluated (sic)" Books Abroad, Vol. 42, No. 2, pp. 225-226.

Bishop, William Henry (1917). "Benito Pérez Galdós." In: The Warner Library. New York: Knickerbocker Press, pp. 6153-6163.

Chamberlin, Vernon A. (1964). "Galdós' Use of Yellow in Character Delineation," PMLA, Vol. 79, No. 1, pp. 158-163.

Ellis, Havelock (1906). "The Spirit of Present Day Spain," The Atlantic Monthly, Vol. 98, pp. 757-765.

Geddes Jr., James (1910). "Introduction." In: Marianela. Boston: D.C. Heath & Co., pp. iii-xvi.

Glascock, C.C. (1923). "Spánish Novelist: Benito Perez Galdos," Texas Review, Vol. 8, No. 2, pp. 158-177.

Gómez Martínez, José Luis (1983). "Galdós y el Krausismo español" Nueva Revista de Filología Hispánica, Vol. 22, No. 1, pp. 55-79.

Huntington, Archer M. (1897). "Perez Galdós in the Spanish Academy," The Bookman, Vol. V, pp. 220-222.

Karimi, Kian-Harald (2007): Jenseits von altem Gott und 'Neuem Menschen'. Präsenz und Entzug des Göttlichen im Diskurs der spanischen Restaurationsepoche. Frankf./M.: Vervuert. ISBN 3-86527-313-0

Keniston, Hayward (1920). "Galdós, Interpreter of Life," Hispania, Vol. 3, No. 4, pp. 203-206.

Madariaga, Salvador de (1920). "The Genius of Spain," Contemporary Review, Vol. 117, pp. 508-516.

Miller, W. (1901). "The Novels of Pérez Galdós," The Gentleman's Magazine, Vol. 291, pp. 217-228.

Pattison, Walter T. (1954). Benito Pérez Galdós and the Creative Process. Minneapolis: University of Minnesota Press.

Ridao Carlini, Inma (2018): Rich and Poor in Nineteenth-Century Spain: A Critique of Liberal Society in the Later Novels of Benito Pérez Galdós. Woodbridge: Boydell & Brewer. ISBN 978-1-85566-330-5

Waldeck, R.W. (1904). "Benito Pérez Galdós, Novelist, Dramatist and Reformer" The Critic, Vol. 45, No. 5, pp. 447-449.

Warshaw, J. (1929). "Galdós's Apprenticeship in the Drama," Modern Language Notes, Vol. 44, No. 7, pp. 459-463.

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Benito Pérez Galdós (May 10, 1843 - January 4, 1920) was a Spanish realist novelist. He was the leading literary figure in 19th-century Spain, and some scholars consider him second only to Miguel de Cervantes in stature as a Spanish novelist.

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Probably the best of Emilia Pardo Bazán's work is "Los pazos de Ulloa", published in 1886, a story about the decadence of an aristocratic family. A sequel, titled "La madre naturaleza" , published in 1887, made Pardo Bazán be universally recognized as one of the principal exponents of the naturalism in Spain, a role confirmed by the publication of "Insolación", and "Morriña" in 1889. In this year her reputation as a novelist reached its highest point.

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During her last years, Emilia Pardo Bazán wrote many essays and gave lectures in renowned institutions. She also started to fight for the right of women to social and intellectual emancipation.

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In 1905 she published a play titled "Verdad". Her last novel, "Dulce dueño" was published in 1911, but she continued to write short stories like "El revólver", publishing more than 600 over the course of her career.

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In spite of the sexism in the intellectual circles of her era, Emilia Pardo Bazán became the first woman to preside over the literature section of the Ateneo de Madrid in 1906, and the first to occupy a chair of Neo-Latin literature at the Central University Of Madrid (former name of The
Complutense University of Madrid).

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In 1910 she was appointed a member of the Council of Public Instruction. And in 1921 she was appointed to the Senate, but never formally took up her seat. However, to her frustration, she was repeatedly refused a seat at the Spanish Royal Academy, just because of her gender.

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She died on the 12th of May 1921 in Madrid (aged 69).