323:, where her father's family lived. In 1839, shortly after her arrival in Seville, she met and fell deeply in love with Ignacio de Cepeda y Alcalde, a wealthy, well-educated, and socially prominent young man. The first man that Avellaneda had a loved was Ignacio de Cepeda, who was the focus of many of her writings, mainly love letters. (There were forty love letters total, spanning from 1839 until 1854. After his death, his widow inherited and published them.) She also wrote him an autobiography in July 1839. Biographers of Avellaneda have relied too heavily on this account for information about her early life, as it was written for a specific purpose: to make a good impression on Cepeda. For example, she said that she was younger than she really was because Cepeda was two years younger than her, and she wanted to make herself look as young as possible. Because of the over-reliance on this biased source, few details are known for certain about the first 22 years of her life. The autobiography written to Cepeda was the second of the four autobiographies she wrote during her lifetime; the other three were written in 1838, 1846, and 1850, respectively. Though she loved Cepeda very much, he did not want to pursue a marriage with her. One reason he gave was that she was not rich enough. He also gave reason that she was not feminine enough stating that she was more verbal than should be and was often too aggressive for a woman of the 19th century. After her relationship with Cepeda ended, she went to Madrid.
31:
263:
he was stationed away from home. From the time her mother remarried until the time she left Cuba for Spain, Avellaneda only saw her stepfather two or three months a year. She had two older half-siblings from her father's first marriage named Manuel and
Gertrudis, a younger brother also named Manuel, and three younger half-siblings from her mother's marriage to Escalada: Felipe, Josefa, and Emilio. Little is known about Avellaneda's relationship with her older half-siblings, except that they lived somewhere else. Her younger brother Manuel was her favorite, and she was in charge of her three younger half-siblings.
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351:
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against her family's wishes, and as a result she was left out of her grandfather's will. (Her grandfather died in 1832, when she was 17 or 18.) It is thought that this traumatic experience fueled her hatred of arranged marriages and patriarchal authority and her belief that married women were essentially slaves. Her aversion to marriage was also due to the unhappy marriage of her cousin
Angelita, who was her only friend after she refused to marry the man her family had chosen for her.
255:
342:, of hers became vacant. Even though she was admired by many, being a woman meant that it was not her place to be writing publicly. She was from an upper-class family of wealth and recognition, it did not give her the fame she desired from writing so easily. While all the males in the academy were aware of her works and were fascinated by them, they did not give her the right to enter, solely on the fact that she was a woman.
502:
male-dominated society (regarding herself as a woman writer); sense of loneliness and exile from her Cuba (regarding her love for Cuba); and melancholy and depression (regarding her heartbroken affairs). Her poetry surrounds the themes of Cuba, love and eroticism, poetry itself, neoclassical concepts, historical references, religion, philosophical meditations, personal and public occasions, and poetic portraits.
587:
she actively promoted it during her life and that many influential critics and admirers continued to promote this image of
Avellaneda after her death. Also, much of her work is read from a biographical perspective because of the posthumous publication of her love letters to Ignacio Cepeda, to the extent that her life has overshadowed the wider cultural significance of her literary output.
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366:, who was the captain-general of Cuba at the time. When she arrived in Cuba, she was warmly welcomed with concerts, parties, and music. Shortly after their arrival, Verdugo's health worsened and he finally died on October 28, 1863. This left her in severe distress, and she decided return to Madrid after a few visits to New York, London, Paris and Seville.
546:
could be considered an early example of negrismo, a literary tendency when white creole authors depicted black people, usually with a favorable stance. This kind of writing was often cultivated by women authors who might have been arguing, as Gómez de
Avellaneda was, that there was a parallel between
528:
is about a Cuban slave, named Sab, who is in love with
Carlota, his master's daughter. Carlota (the heroine) marries a rich white Englishman, Enrique Otway. The book stresses Sab's moral superiority over the white characters. This is because his soul is pure while the Englishman's business interests
330:
Avellaneda soon married a youngest man, don Pedro
Sabater, who worked for the Cortes and was very wealthy. He was also a writer and wrote many poems for his wife. They married on May 10, 1846. Sabater was extremely sick with what was believed to be cancer. He died shortly after their marriage leaving
326:
In Madrid she had a number of tumultuous love affairs, some with prominent writers associated with
Spanish Romanticism. Her affairs included several engagements to different men. There she met and had an affair with Gabriel Garcia Tassara. He was also a poet from Seville. In 1844, she had a daughter
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Two famous poems were from her love letters to
Ignacio de Cepeda. Both were called “A él” (“To Him”). The poems reflect her theme of love for Cepeda. The first poem, much longer and more complex than the second, regards her hope in being with Cepeda. However, because Cepeda did not want a committed
262:
Her father died in 1823 when she was nine years old, and her mother remarried ten months later to Gaspar
Isidoro de Escalada y López de la Peña, who was a Spanish lieutenant colonel posted in Puerto Príncipe. Avellaneda strongly disliked him and thought that he was too strict; she was glad whenever
586:
There has been much debate over whether
Gertrud's Gómez de Avellaneda is a Cuban or Spanish writer. She is widely viewed as the "epitome of the Romantic poet, the tragic heroine who rises to public acclaim yet, in private, is bitterly unhappy." Whatever the accuracy of this image, it is clear that
1138:
Albin, María C., Megan Corbin, and Raúl Marrero-Fente. “A Transnational Figure: Gertrudis Gómez de Avellaneda and the American Press.” Gender and the Politics of Literature: Gertrudis Gómez de Avellaneda. Ed. María C. Albin, Megan Corbin, and Raúl Marrero-Fente. Hispanic Issues On Line 18 (2017):
266:
When she was 13 years old she was betrothed to a distant relative who was one of the wealthiest men in Puerto Príncipe. Her maternal grandfather promised her a fifth of his estate if she went through with this marriage, which he had arranged himself. At the age of 15 she broke off that engagement
501:
Her poetry consists of styles in Hispanic poetry from late neoclassicism through romanticism. Her works are influenced by some of the major French, English, Spanish, and Latin American poets. Her poems reflects her life experiences including her rebellious attitude and independence in a
282:
By 1836 Escalada had become concerned enough about the possibility of a slave rebellion that he persuaded his wife to sell off her property and slaves and move the family from Cuba to Spain. Avellaneda, now 22, supported the idea because she wanted to meet her father's relatives in
251:, member of the wealthy Arteaga y Betancourt family, which was one of the most prominent and important families in Puerto Príncipe. Avellaneda was the first of five children from her parents' marriage, but only she and her younger brother Manuel survived childhood.
311:
with her younger brother Manuel; she would never see him again. She was glad to leave Galicia, as she was criticized by Galician women for her refusal to do manual labor and for her love of study. She also disliked the damp climate and lack of cultural life.
233:. Puerto Príncipe was a provincial capital in central Cuba in Avellaneda's day, and Cuba was a region of Spain. Her father, Manuel Gómez de Avellaneda y Gil de Taboada, had arrived in Cuba in 1809 and was a Spanish naval officer in charge of the port of
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Gomez de Avellaneda was often either praised or shunned for her literary works. She wrote poems, autobiographies, novels and plays. During the 1840s and 1850s was when she was most famous for her writings. She had other female rivals in writing such as
30:
303:, the Captain-General of Galicia at the time. She did not marry him, however, as she had decided not marry until she was economically independent, and her stepfather withheld her inheritance. When Francisco was sent to fight in the
679:
Avellaneda consistently shaved a few years off her real age in her autobiographical writings, perhaps because of personal vanity, and perhaps because she generally had romantic relationships with men who were slightly younger than
505:
The theme of Cuba is evident in her poem “Al partir” (“On Leaving”), which was in 1836 when la Avellaneda was on the boat leaving Cuba for Spain. It is a sonnet about her love for Cuba and reflects her emotions as she departed.
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out of wedlock with Tassara. Soon after the baby was born, Tassara left her and the baby, refusing to call her his daughter. The baby died several months later. This left Avellaneda heartbroken at the height of her career.
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was banned in Cuba for its unconventional approach to society and its problems. Avellaneda's works were considered scandalous because of her recurrent themes of interracial love and society's divisions. In fact,
228:
María Gertrudis de los Dolores Gómez de Avellaneda y Arteaga was born on March 23, 1814, in Santa María de Puerto Príncipe, which was often referred to simply as Puerto Príncipe and which is now known as
206:) and lived there until 1859, when she moved back to Cuba with her second husband until his death in 1863, after which she moved back to Spain. She died in Madrid in 1873 from diabetes at the age of 58.
270:
Avellaneda was, by her own admission, a spoiled child, as her family's slaves did all the chores. She had a lot of free time, which she used to read voraciously. One of her tutors was the Cuban poet
299:, Spain. They stayed in A Coruña with Escalada's family for two years. Avellaneda was invited into some distinguished social circles in Galicia and in 1837 was engaged to Francisco Ricafort, son of
498:
but none of them achieved as much praise as Gomez de Avellaneda received from her literary works. She inspired men and women alike with her stories of love, feminism, and a changing world.
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relationship with her and married another woman, it made la Avellaneda suffer. As a result, the second poem is about their final break, her resignation to their relationship.
215:, published in Madrid in 1841. The eponymous protagonist is a slave who is deeply in love with his mistress Carlota, who is entirely oblivious to his feelings for her.
1135:
and the Politics of Literature: Gertrudis Gómez de Avellaneda. Ed. María C. Albin, Megan Corbin, and Raúl Marrero-Fente. Hispanic Issues On Line 18 (2017): 1–66. Web.
661:) refers to a person of Spanish ancestry who was born in the New World; it does not imply that a person is of mixed European and black descent, as it does in English.
1457:
1466:
1525:
1176:
Albin, Maria C. “El cristianismo y la nueva imagen de la mujer: la figura histórica de María en los ensayos de Gertrudis Gómez de Avellaneda.” In
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1257:
1133:
Albin, María C., Megan Corbin, and Raúl Marrero-Fente. “Gertrudis the Great: First Abolitionist and Feminist in the Americas and Spain.” Gender
1237:
1102:
1083:
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535:(sugarcane plantation) which is in decline because Carlota's father is of a good nature, which means he cannot be a good business man.
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She lived in Madrid her last years. Her brother Manuel died in 1868. She published the first volume of her collected literary works (
358:
She remarried on April 26, 1855, to a colonel, don Domingo Verdugo y Massieu. In 1859, due to her husband's injuries they moved from
1520:
122:
1354:
Schlau, Stacey. "Stranger in a Strange Land: The Discourse of Alienation in Gomez de Avellaneda's Abolitionist Novel Sab."
560:
209:
She was a prolific writer and wrote 20 plays and numerous poems. Her most famous work, however, is the antislavery novel
547:
the black condition and the female condition. Two other Creole women who cultivated negrista fiction were the Argentine
1396:
Vittorio Caratozzolo. "Il teatro di Gertrudis Gómez de Avellaneda". Il Capitello del Sole, Bologna, p. 352 (2002).
350:
1454:
1515:
1340:
Pastor, Brígida. "A Romance Life in Novel Fiction: The Early Career and Works of Gertrudis Gómez de Avellaneda",
1214:
1167:
Albin, Maria C. “El genio femenino y la autoridad literaria: “Luisa Molina” de Gertrudis Gómez de Avellaneda.”
529:
are his primary concern. The enterprises of Enrique and his father are juxtaposed against the Carlota's family
271:
1274:
Gold, Janet N. "The Feminine Bond: Victimization and Beyond in the Novels of Gertrudis Gómez de Avellaneda".
1365:. Women Writers of the 19th and 20th Centuries. Ed. Doris Meyer. Austin: University of Texas, 1995: 57–67.
1198:. Madrid: Castalia, 2000. 67-75. This article examines “Capacidad de las mujeres para el gobierno” (1845).
1127:
1078:. The Texas Pan American Series. Translated by Scott, Nina M. University of Texas Press. pp. 1–23.
564:
548:
393:
At 58, she died on February 1, 1873, in Madrid, but she was buried in Seville, with her brother Manuel.
338:
In January 1853, she tried to enroll into the Royal Academy in after a seat belonging to a dead friend,
331:
Avellaneda devastated. As a result, she entered a convent right after his death and wrote a play called
1295:
110 (1995): 335-352. Examines Gómez de Avellaneda in a context with other Latin American women authors.
1444:
1425:
198:, she lived in Cuba until she was 22. Her family moved to Spain in 1836, where she started writing as
1510:
1505:
520:
339:
320:
1351:. Eds. David William Foster & Daniel Altamiranda. New York & London: Garland, 1997: 100–105.
1278:. Eds. David William Foster & Daniel Altamiranda. New York: Garland Publishing Co., 1997: 91-98.
1221:
Albin, Maria C."Ante el Niágara: Heredia, Sagra, Gómez de Avellaneda y el proyecto modernizador" in
254:
316:
1389:
Ward, Thomas. "Nature and Civilization in Sab and the Nineteenth-Century Novel in Latin America".
1232:. Compilación, introducción y notas Manuel Lorenzo Abdala. Los libros de Umsaloua, Sevilla, 2014.
629:
624:
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whose Roque Moreno paints a less than sympathetic stance toward blacks and mulattoes. Of course
1361:
Scott, Nina. "Shoring up the 'Weaker Sex'. Avellaneda and Nineteenth-Century Gender Ideology".
1225:, Ed. Pamela Bacarisse. Vol.1. Pittsburgh: University of Pittsburgh Press, 1995. 2 vols. 69-78.
1233:
1160:
Albin, Maria C. "Romanticismo y fin de siglo: Gertrudis Gómez de Avellaneda y José Martí." in
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1079:
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495:
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578:
Source: John Charles Chasteen, "Born in Blood and Fire, A Concise History of Latin America"
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300:
36:
1201:
Albin, Maria C. "Género, imperio y colonia en la poesía de Gertrudis Gómez de Avellaneda."
1153:
Albin, Maria C. “El costumbrismo feminista: los ensayos de Gertrudis Gómez de Avellaneda.”
530:
1461:
296:
1305:
Kirkpatrick, Susan. "Gómez de Avellaneda's Sab: Gendering the Liberal Romantic Subject".
1298:
Kirkpatrick, Susan. "Feminizing the Romantic Subject in Narrative: Gómez de Avellaneda".
1309:. Eds, Noel Valis and Carol Maier. Lewisburg: Bucknell University press, 1990: 115-130.
1148:
Género, poesía y esfera pública: Gertrudis Gómez de Avellaneda y la tradición romántica
248:
239:
1499:
604:
1183:
Albin, Maria C. "Paisaje y política en la poesía de Gertrudis Gómez de Avellaneda."
1122:(1841) y la ley: Gertrudis Gómez de Avellaneda y el debate jurídico abolicionista.”
304:
161:
1157:. vol. 36 (2007): 159-170. This articles examines “La dama de gran tono” (1843).
1439:
1420:
1281:
Harter, Hugh. A. Gertrudis Gómez de Avellaneda. Boston: Twayne Publishers, 1981.
1164:, Ed. Carmen Ruíz Barrionuevo. Salamanca: Universidad de Salamanca, Spain, 2004.
613:
292:
230:
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195:
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132:
53:
1349:
Spanish American Literature: From Romanticism to 'Modernismo' in Latin America
1330:. Vol. I. Ed. Solé/Abreu. NY: Charles Scribner's Sons, 1989, pp. 175–180.
1276:
Spanish American Literature: From Romanticism to "Modernismo" in Latin America
1162:
La literatura iberoamericana en el 2000. Balances, perspectivas y prospectivas
594:
1333:
Miller, Beth. "Gertrude the Great: Avellaneda, Nineteenth-Century Feminist".
1323:. Austin: University of Texas Press, 2004; sobre Gomez de Avellaneda, 99-103.
1140:
284:
598:
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in that both novels are literary protests against the practice of slavery.
1347:
Santos, Nelly E. "Las ideas feministas de Gertrudis Gómez de Avellaneda".
1291:
Hart, Stephen M. "Is Women's Writing in Spanish America Gender-Specific?"
1484:
1288:. Ed. Diane E. Marting. Westport: Greenwood Press 1990, pp. 210–225.
1212:
de Gómez de Avellaneda: La esfera pública y la crítica a la modernidad."
288:
237:. Her mother, Francisca María del Rosario de Arteaga y Betancourt, was a
234:
1128:
https://www.anle.us/site/assets/files/1657/banle_num_24_26_2024-rev.pdf
308:
165:
291:, France two months later. They spent 18 days there before sailing to
1196:
Actas del XIII Congreso de la Asociación Internacional de Hispanistas
1169:
1132:
359:
183:
112:
73:
1480:
1178:
Perspectivas transatlánticas. Estudios coloniales hispanoamericanos
1386:, Volume 111. Ed. Lynn M. Zott. Detroit: Thomson Gale, 2002: 1-76.
1337:. Ed. Beth Miller. Berkeley: University of California Press, 1983.
1300:
Las Románticas: Women Writers and Subjectivity in Spain, 1835-1850
1246:. New York: Las Americas, 1971; "The Anti-Slavery Theme", 157-168.
801:
799:
349:
287:. The family set sail for Europe on April 9, 1836, and arrived in
253:
187:
108:
1326:
Mata-Kolster, Elba. "Gertrudis Gómez de Avellaneda (1814-1873)".
1267:
Fox-Lockert, Lucía. "Gertrudis Gómez de Avellaneda: Sab (1841)".
1040:(in Spanish) (4th ed.). Cengage Learning. pp. 161–162.
57:
1382:
Various authors. "Gertrudis Gómez de Avellaneda, 1814-1873".
1377:
Foundational Fictions. The National Romances of Latin America
1097:. The Texas Pan American Series. University of Texas Press.
48:
María Gertrudis de los Dolores Gómez de Avellaneda y Arteaga
1124:
Boletín de la Academia Norteamericana de la Lengua Española
670:
She never mentioned her older half-siblings in her memoirs.
1190:
Albin, Maria C."Fronteras de género, nación y ciudadanía:
335:
which did not receive good reviews like her last one had.
1180:. Ed. Raúl Marrero-Fente. Madrid: Verbum, 2004. 315-353.
1074:
Gómez de Avellaneda, Gertrudis (1993). "Autobiography".
182:(March 23, 1814 – February 1, 1873) was a 19th-century
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704:
702:
700:
698:
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518:, was published in 1841. This novel can be compared to
362:
back to Cuba, where both were born. They were close to
1307:
In the Feminine Mode: Essays on Hispanic Women Writers
1223:
Tradición y actualidad de la literatura iberoamericana
1015:
1013:
753:
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514:
The most controversial and the first novel she wrote,
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738:
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1335:
Women in Hispanic Literature, Icons and Fallen Idols
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1251:
The Lightning Dreamer: Cuba's Greatest Abolitionist
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484:And with soft quiet motion, wave and water fends.
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96:
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1284:Harter, Hugh. A. "Gertrudis Gómez de Avellaneda".
1379:. Berkeley: University of California Press, 1991.
1302:. Berkeley: University of California Press, 1989.
1036:Chang-Rodríguez, Raquel; Filer, Malva E. (2013).
1472:Works by or about Gertrudis Gómez de Avellaneda
1059:. Hispanic Texts. Manchester University Press.
172: and the second or maternal family name is
1372:. Cambridge: Cambridge University Press, 1991.
1194:(1845) de Gertrudis Gómez de Avellaneda." in
480:Farewell!... The anchor from the sea ascends,
470:To catch the ardent winds that you have sent.
468:To wrest me from my home, they hoist the sail
8:
1316:Havana, Cuba: Editorial Porrúa, S. A., 1972.
1269:Women Novelists in Spain and Spanish America
1230:Cuadernillos de viaje y La dama de gran tono
1370:Slavery and the Rise of the Atlantic System
1271:. Metuchen, N.J: The Scarecrow Press, 1979.
1038:Voces de Hispanoamérica: antología literary
482:The sails are full…. The ship breaks clear,
428:¡Doquier que el hado en su furor me impela,
1253:. Boston: Houghton Mifflin Harcourt, 2013.
1141:https://cla.umn.edu/hispanic-issues/online
1055:Davies, Catherine (2001). "Introduction".
459:Is drawn across the sky’s refulgent trail,
18:
1363:Reinterpreting the Spanish American Essay
571:could also be understood in this light.
258:Woodcut of Gertrudis Gómez de Avellaneda
1455:Gertrudis Gómez de Avellaneda 1814-1873
1384:Nineteenth-Century Literature Criticism
1093:Scott, Nina M. (1993). "Introduction".
692:
646:
464:Now I depart! …As to their labors bent,
455:Pearl of the sea! Star of the Occident!
408:¡Perla del mar! ¡Estrella de Occidente!
180:Gertrudis Gómez de Avellaneda y Arteaga
1481:Works by Gertrudis Gómez de Avellaneda
1264:," Torre de Papel XII.3 (2002): 36-48.
1019:
1004:
992:
980:
944:
908:
896:
824:
790:
769:
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710:
477:Your cherished name will grace my ear!
1262:in Readings of Nation, Race and Color
1258:The Artful Provocateur: Avellaneda's
1155:Anales de Literatura Hispanoamericana
1118:Albin, María and Raúl Marrero-Fente,
968:
956:
932:
884:
757:
725:
475:Whatever in its furor fate now sends,
461:And I succumb to sorrow’s ravishment.
433:¡Adiós¡... Ya cruje la turgente vela…
414:como cubre el dolor mi triste frente.
7:
421:las velas iza, y pronto a su desvelo
417:¡Voy a partir!...La chusma diligente
466:The crewmen now their tasks assail,
439:las olas corta y silencioso vuela!
426:¡Adiós, patria feliz, edén querido!
423:la brisa acude de tu zona ardiente.
1192:La Ilustración. Album de las Damas
553:Peregrinaciones de una alma triste
457:Beautiful Cuba! Night’s murky veil
92:writer, poet, novelist, playwright
14:
430:tu dulce nombre halagará mi oído!
410:¡Hermosa Cuba! Tu brillante cielo
35:Gertrudis Gómez de Avellaneda by
1526:19th-century Cuban women writers
1488:
1434:By Gertrudis Gómez de Avellaneda
1375:Sommer, Doris. "Sab C'est Moi".
1321:Early Spanish American Narrative
1244:The Early Spanish American Novel
1228:Gómez de Avellaneda, Gertrudis.
873:Chang-Rodríguez & Filer 2013
597:
473:Farewell, my Eden, land so dear!
419:para arrancarme del nativo suelo
412:la noche cubre con su opaco velo
29:
1358:69.3 (September 1986): 495–503.
1344:, LXXV, No. 2 (1998): 169–181.
1314:Gertrudis Gómez de Avellaneda.
1286:Spanish American Women Writers
1126:, 24-25 (2023): 253-286. Web:
653:In Spanish the term "Creole" (
1:
1412:Gertrudis Gómez de Avellaneda
435:El ancla se alza... el buque,
354:Gertrudis Gómez de Avellaneda
23:Gertrudis Gómez de Avellaneda
1445:Resources in other libraries
1426:Resources in other libraries
1342:Bulletin of Hispanic Studies
1256:Fernández-Medina, Nicolás. "
1208:Albin, Maria C. "La revista
307:, she left Galicia to go to
164:, the first or paternal
152:Ignacio de Cepeda y Alcalde,
52:Puerto Príncipe (modern day
1487:(public domain audiobooks)
1542:
561:Teresa González de Fanning
159:
1440:Resources in your library
1421:Resources in your library
1215:Cincinnati Romance Review
319:in Andalusia she visited
243:with ascendants from the
144:Domingo Verdugo y Massieu
28:
16:Cuban-born Spanish writer
1521:19th-century Cuban poets
1242:Castagnaro, R. Anthony.
1203:Romance Languages Annual
921:Gómez de Avellaneda 1993
861:Gómez de Avellaneda 1993
849:Gómez de Avellaneda 1993
837:Gómez de Avellaneda 1993
806:Gómez de Avellaneda 1993
1368:Solow, Barbara L., ed.
1150:. Madrid: Trotta, 2002.
382:), omitting the novels
1328:Latin American Writers
487:
442:
379:
355:
259:
154:Gabriel García Tassara
1095:Sab and Autobiography
1076:Sab and Autobiography
565:Harriet Beecher Stowe
549:Juana Manuela Gorriti
443:
400:
370:Final years and death
353:
257:
1173:490 (2004): 115-130.
340:Juan Nicasio Gallego
1467:Gómez de Avellaneda
1205:10 (1999): 419-425.
559:) and the Peruvian
317:province of Seville
170:Gómez de Avellaneda
1460:2011-07-09 at the
1393:126 (1999): 25–40.
1319:Lindstrom, Naomi.
1249:Engle, Margarita.
1187:XLI (2000): 25-35.
630:1841 in literature
625:1873 in literature
356:
272:José María Heredia
260:
1516:Cuban women poets
1407:Library resources
1238:978-84-942070-5-1
1218:14 (1995): 73-79.
1104:978-0-292-70442-8
1085:978-0-292-70442-8
569:Uncle Tom's Cabin
521:Uncle Tom's Cabin
496:Rosalia de Castro
492:Carolina Coronado
364:Francisco Serrano
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1146:Albin, Maria C.
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380:Obras literarias
301:Mariano Ricafort
190:writer. Born in
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67:February 1, 1873
37:Federico Madrazo
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200:La Peregrina
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162:Spanish name
84:La Peregrina
69:(1873-02-01)
1511:1873 deaths
1506:1814 births
1391:Hispanófila
1020:Davies 2001
1005:Davies 2001
993:Davies 2001
981:Davies 2001
945:Davies 2001
909:Davies 2001
897:Davies 2001
825:Davies 2001
791:Davies 2001
770:Davies 2001
743:Davies 2001
711:Davies 2001
388:Dos mujeres
321:Constantina
204:The Pilgrim
133:Sab (novel)
123:Romanticism
105:Nationality
1500:Categories
1029:References
969:Scott 1993
957:Scott 1993
933:Scott 1993
885:Scott 1993
758:Scott 1993
726:Scott 1993
450:On leaving
224:Early life
89:Occupation
688:Citations
636:Footnotes
446:Al partir
403:Al partir
285:Andalusia
1485:LibriVox
1458:Archived
1356:Hispania
591:See also
293:A Coruña
289:Bordeaux
247:and the
235:Nuevitas
231:Camagüey
196:Camagüey
160:In this
97:Language
81:Pen name
54:Camagüey
1474:at the
659:criolla
655:criollo
532:ingenio
376:Spanish
333:Egilona
315:In the
309:Seville
297:Galicia
240:criolla
188:Spanish
174:Arteaga
166:surname
149:Partner
109:Spanish
100:Spanish
76:, Spain
1409:about
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1170:Atenea
1101:
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582:Legacy
555:&
510:Novels
360:Madrid
194:, now
186:-born
139:Spouse
74:Madrid
39:, 1857
1210:Album
641:Notes
184:Cuban
119:Genre
113:Cuban
1234:ISBN
1120:“Sab
1099:ISBN
1080:ISBN
1061:ISBN
1042:ISBN
680:her.
494:and
386:and
219:Life
64:Died
58:Cuba
45:Born
1483:at
1293:MLN
1260:Sab
1057:Sab
614:Sab
567:'s
544:Sab
539:Sab
526:Sab
516:Sab
384:Sab
295:in
212:Sab
168:is
56:),
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