Gertrudis Gómez de Avellaneda

Gertrudis Gómez de Avellaneda
Gertrudis Gómez de Avellaneda
	Gertrudis Gómez de Avellaneda (1857), by Federico Madrazo. (Lázaro Galdiano Museum, Madrid).
Born	March 23, 1814; Santa María de Puerto Príncipe
Died	February 1, 1873 (aged 58); Madrid
	Writing career
Language	Spanish
Signature

Gertrudis Gómez de Avellaneda (Santa María de Puerto Príncipe, Cuba, March 23, 1814 – Madrid, February 1, 1873), affectionately called «Carcajada» or «La Avellaneda», was a Spanish novelist, playwright and poet of Romanticism.

Born in Puerto Príncipe (Cuba), she settled in the Peninsula at the age of twenty-two, where she began to publish under the pseudonym «La Peregrina» and made her name with the novel Sab, considered the first anti-slavery novel (earlier even than the much more famous American Uncle Tom's Cabin).

She is considered one of the forerunners of the Hispanic American novel, along with Juana Manso, Mercedes Marín, Rosario Orrego, Júlia Lopes de Almeida, Clorinda Matto de Turner, Juana Manuela Gorriti and Mercedes Cabello de Carbonera, among others.^[1] Of Neoclassical training, she was esteemed in her time as one of the key figures of Hispanic American Romanticism.

The treatment she gave her female characters made her one of the forerunners of modern feminism. Among her vast body of work, her historical novel Guatimozin, último emperador de México (1846) and her plays Saúl (1849) and Baltasar (1858) stand out, the latter being considered one of the masterpieces of Romantic theater.^[2]^[3]

Leading figures such as Margarita Nelken^[3] have reviewed her works, and among her contemporaries she enjoyed the admiration of her friend Alberto Lista and of the politician, orator and Mayor of Madrid Fermín Caballero. Both Juan Valera and Marcelino Menéndez y Pelayo were great admirers of her work, considering her one of the greatest poets of the Castilian language and referring to her as «the greatest poetess of modern times».^[4]

Biography

Gertrudis de los Dolores Gómez de Avellaneda y Arteaga was born on March 23, 1814, in Santa María de Puerto Príncipe, today Camagüey, in what was then the Spanish province of Cuba. She was the eldest daughter of the marriage of Don Manuel Gómez de Avellaneda y Gil de Taboada, a Spanish naval officer from the City of Constantina, Province of Seville, and Francisca María del Rosario de Arteaga y Betancourt, a criolla whose ancestors came from the Basque Country and the Canary Islands. Gertrudis's father had arrived in Cuba in 1809 and had two children from before the marriage, and together they had five children, but only she and her brother Manuel survived childhood. Her father died in 1823, and her mother remarried ten months later to the Spanish military officer Gaspar Isidoro de Escalada y López de la Peña, of Galician origin, with whom she had three children: Felipe, Josefa María de la Luz and Emilio Isidoro. Gómez de Avellaneda did not have a good relationship with her stepfather; she considered him very strict.

At the age of 13, her maternal grandfather arranged her betrothal to a wealthy distant relative, but she broke it off at 15, and was consequently excluded from his will. She spent her childhood in her native city and lived in Cuba until 1836.

Departure from Cuba

In that year her stepfather convinced his wife of the advisability of selling their properties in Cuba and settling in the Peninsula. The family set sail for Europe on April 9, 1836, and during the two-month voyage Gómez de Avellaneda composed one of her best-known poems: the sonnet «Al partir», an anthology piece par excellence, marked by existential anguish, which would later head her production in the future.

Stay in La Coruña

In the Peninsula they settled for two years in La Coruña, the city where her stepfather's relatives lived, and where she wrote her first six compositions, among them «A la poesía», «A las estrellas», «La serenata» and «A mi jilguero».

In the Galician capital she had a romantic relationship with the son of the Captain General of Galicia, Mariano Ricafort Palacín y Abarca, but the engagement was broken off because the young Ricafort did not consider it appropriate for his fiancée to devote herself to writing poetry.

Stay in Andalusia

From La Coruña she went, together with her brother Manuel Gómez de Avellaneda, to Andalusia, and there, thanks to the friendship she struck up with Alberto Lista and the young Manuel Cañete, she published verses in several newspapers of Cádiz and Seville (La Aureola de Cádiz and El Cisne de Sevilla) under the pseudonym La Peregrina, which earned her a great reputation. Having settled permanently in Seville, it was there that in 1839 she met the man who would be the first great love of her life, Ignacio de Cepeda y Alcalde, a young Law student with whom she lived a stormy love affair, never reciprocated in the passionate way she longed for, but which would leave an indelible mark on her. For him she wrote an autobiography and a great number of letters, which, published after the death of their recipient, reveal the writer's most intimate feelings. The originals of these letters, as well as the autobiography and other documents of the utmost importance for the study of the author, have recently been found in the Real Academia Sevillana de Buenas Letras. In the summer of 1840 she premiered in Seville her first drama, entitled Leoncia.

Settling in Madrid

In the autumn of that same year she left for Madrid, where she settled^[5] and became friends with the men of letters and writers of the time. The following year she published in Madrid, with great success, her first collection of verse, entitled Poesías, which contained the sonnet «Al partir» and a poem in short-meter verse dedicated, as its title indicates, «A la poesía».^[5] In 1841 she published her novel Sab. In 1842 she published Dos mujeres, a novel in which she supports divorce as the solution to an unwanted union, earning her first detractors because of the open feminism that already stood out in her work. Her third novel would be Espatolino, a work of social character in which she denounces the terrible state of the penitentiary system of the time. In 1844 she premiered Alfonso Munio, her second play. The triumph was resounding, and the writer's fame rose to unsuspected heights.

In those years she had met, among others, the poet Gabriel García Tassara. Between them arose a relationship based on love, jealousy, pride and fear. Tassara wished to win her in order to be more than the whole court of men who besieged her, but neither did he want to marry her. Angered by Tula's supposed arrogance and coquetry, he wrote verses that show us that he reproached her for her egotism, fickleness and frivolity. But Gómez de Avellaneda surrendered to this man, and shortly afterwards he nearly destroyed her. In 1847 she found herself pregnant and unmarried in mid-19th-century Madrid. In her bitter loneliness and pessimism, seeing what was coming upon her, she wrote «Adiós a la lira», which is a farewell to poetry. She thought it was her end as a writer. But it would not be so. In 1845 she won the first two prizes of a poetry contest organized by the Liceo Artístico y Literario of Madrid, from which moment Gómez de Avellaneda ranked among the most renowned writers of her time, becoming the most important woman in all of Madrid after Isabella II.

In April of that year she had her daughter María, or Brenhilde, as she preferred to call her. But the girl was born very ill and they gave her no hope that she would recover. During that time of despair she wrote again to Cepeda:

Aged at thirty, I feel that it will be my lot to outlive myself, if in a moment of utter weariness I do not suddenly leave this world, so small, so insignificant for giving happiness, and so great and so fertile for filling itself with and pouring out bitterness.

— Gertrudis Gómez de Avellaneda

The letters written by Gertrudis to Tassara asking him to see his daughter before she died, so that the girl could feel her father's warmth before closing her eyes forever, are chilling. Brenhilde died at seven months without her father ever having met her.

On May 10, 1846, she married Don Pedro Sabater, Civil Governor of Madrid, who became her first husband. He was a man with literary interests, wealthy and somewhat younger than she was. However, he suffered from a serious illness, and the newlyweds traveled to Paris in an attempt to find a cure for the sick man's ailment, but on August 1, during the return journey, Don Pedro Sabater died in Bordeaux in his wife's arms. Gómez de Avellaneda, in utter despair, withdrew to a spiritual center belonging to the Congregation of the Holy Family of Bordeaux, where she wrote Manual del cristiano.^[6]^[7]^[5] After the death of her first husband she composed two elegies that are counted among the most outstanding pieces of her poetic work. These, and the two poems entitled A él, give an account of her personal experiences, although she did not habitually use them as direct material for her lyric production.^[5] Later an enlarged second edition of her Poesías appeared (Madrid, 1850).

Encouraged by the success of her works and their reception by both literary critics and the public, in 1853, following the death of Juan Nicasio Gallego, her great friend and mentor, she put herself forward as a candidate for the Real Academia Española, but the available seat was taken by a man. The misogynist academicians of the time did not allow a woman to occupy a seat reserved exclusively for them. It was not until 1979 that a woman, Carmen Conde, was able to enter the RAE as an academician.^[8]

She married again on April 26, 1856, an influential politician, Colonel Domingo Verdugo y Massieu. In 1858, following the failure at the premiere of her comedy Los tres amores (a cat was thrown onto the stage), her husband blamed a certain Antonio Riber as the supposed author of the incident. For that reason the two confronted each other in the street, and Antonio Riber seriously wounded her husband.

Return to Cuba

The couple traveled to Cuba in 1859, in the hope that the Caribbean climate would heal the wounds.^[9] In Cuba, Gómez de Avellaneda was celebrated and feted by her compatriots after twenty-three years of absence. At a celebration in the Liceo of Havana she was proclaimed national poetess. For six months she directed a magazine in the capital of the Island, entitled Álbum cubano de lo bueno y lo bello (1860).^[10] At the end of 1863 her husband died, which heightened her spirituality and her mystical surrender to a severe and Spartan religious devotion.

Resettling in Madrid

In 1864 she returned to the Peninsula, after passing through New York, London, Paris and Seville. She settled again in Madrid, where she died at the age of fifty-eight on February 1, 1873. Her remains rest in the San Fernando Cemetery of Seville, together with those of her husband and her brother Manuel.^[6]

Works

Novels

Sab, Imprenta de la Calle Barco No. 26, Madrid, 1841.
Dos mujeres, (sic), Gabinete literario, Madrid, 1842–43.
Espatolino, La Prensa, Havana, 1844.
Egilona, Imp. de José Repullés, Madrid, 1845.
Guatimozín, último emperador de México, Imp. de A. Espinosa, Madrid, 1846.
Dolores, Imp. de V.G. Torres, Madrid, 1851.
La mano de Dios, Imp. del Gobierno por S.M., Matanzas, 1853.
La flor del ángel (Gipuzkoan tradition), A.M. Dávila, Havana, 1857.
El artista barquero, ó Los cuatro cinco de junio, El Iris, Havana, 1861.
Una anécdota de la vida de Cortés, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)
La ondina del lago azul, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)

Poetry

A él (No existe lazo ya; todo está roto;)
A él (En la aurora lisonjera)
A Francia (Bástete ¡oh Francia! la a tronante gloria)
A la luna (Tú, que rigiendo de la noche el carro,)
A la luna (¡Sol del que triste vela!)
A un cocuyo (Dime, luz misteriosa,)
A una joven madre en la pérdida de su hijo (1868, published in the Revista de España)
Al árbol de Guernica (Tus cuerdas de oro en vibración sonora)
Al destino (Escrito estaba, sí: se rompe en vano)
Al Excmo. Sr. Don Pedro Sabater (La pintura que hacéis prueba evidente)
Al pendón castellano (¡Salve, oh pendón ilustre de Castilla,)
El canto de Altabiscar (Súbito se alza un grito en las montañas)
El pescador (1868, published in the Revista de España)
El porqué de la inconstancia (Contra mi sexo te ensañas)
En la muerte del laureado poeta señor Don Manuel José Quintana (Cantos de regocijo y de victoria)
La clemencia (Iba tendiendo su luctuoso manto)
La pesca en el mar (¡Mirad! ya la tarde fenece...)
La vuelta a la patria (¡Perla del mar! ¡Cuba hermosa!)
Las siete palabras (Y María al pie de la cruz)
Los duendes (Palacios y chozas,)
Significado de la palabra yo amé (Con yo amé dice cualquiera)

Theater

El Príncipe de Viana, Imp. de José Repullés, Madrid, 1844.
Saúl, Imp. de José Repullés, Madrid, 1849.
Flavio Recaredo, Imp. de José Repullés, Madrid, 1851.
Errores del corazón, Imp. de José Repullés, Madrid, 1852.
La verdad vence apariencias, Imp. de José Repullés, Madrid, 1852.
La hija de las flores; o, Todos están locos, Imp. a cargo de C. González, Madrid, 1852.
La Aventurera; Imp. a cargo de C. González, Madrid, 1853.
Oráculos de Talía, ó los Duendes en palacio, Imp. de José Rodríguez, Madrid, 1855.
Simpatía y antipatía, Imp. de José Rodríguez, Madrid, 1855.
La hija del rey René, Imp. de José Rodríguez, Madrid, 1855.
Baltasar, Imp. de José Rodríguez, Madrid, 1858.
Catilina, Imprenta y Librería de Antonio Izquierdo, Seville, 1867.
Munio Alfonso, Madrid, Imprenta y Estereotipia de M. Rivadeneyra, 1869.
Recaredo, Madrid, Imprenta y Estereotipia de M. Rivadeneyra, 1869.
El millonario y la maleta, Madrid, Imprenta y Estereotipia de M. Rivadeneyra, 1870.
Los tres amores, Imp. de José Rodríguez, Madrid, 1858.
Leoncia, Tipografía de la Revista de Archivos, Biblioteca y Museos, Madrid, 1917.

Legends

La Baronesa de Joux, La Prensa, Havana, 1844.
El donativo del Diablo o La velada del Helecho, Imp. a cargo de C. González, Madrid, 1852.
La velada del helecho ó El donativo del diablo, Madrid, Imprenta de las Novedades, 1857.
El Cacique de Turmequé, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)
La dama de Amboto, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)
La bella toda y Los doce jabalíes, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)
La montaña maldita, Madrid, [s.n.], 1871 (Imprenta y Estereotipia de M. Rivadeneyra)
El aura blanca, Oficina del historiador de la Ciudad, Matanzas, 1959.

Diaries and memoirs

Diario de amor, Madrid, M. Aguilar, [1901]

Critical reception

Her poetry has been compared to that of Louise-Victorine Ackermann or that of Elizabeth Barrett Browning for its analysis of the emotional states arising from the experience of love.^[5] As mentioned, her poetry increasingly dealt with religious matters, especially after the death of Pedro Sabater and her cloistering in La Solitude de Martillac. This subject matter sought to answer one of the constant themes of her literary career: spiritual emptiness and unsatisfied longing, already expressed in a poem written before her marriage to Pedro Sabater:

I, like you, born to admire, / I, like you, created for love, / to admire and to love I would give my life, / to admire and to love I find nothing.

In this respect the poems «Dedicación de la lira de Dios», «Soledad del alma» and «La cruz» stand out, the meter of the last including a skillful shift from the hendecasyllable to the enneasyllable. In poems such as «La noche de insomnio y el alba» and «Soledad del alma» she also introduced metrical innovations that herald the experimentation in this area carried out by Modernismo. Thus, in the work of Gómez de Avellaneda one finds lines of thirteen syllables with a caesura after the fourth, and of fifteen and sixteen syllables, which are uncommon in Spanish-language poetry. She also used an Alexandrine line (of fourteen syllables) whose first hemistich is an octosyllable and the second a hexasyllable, or where the first is a pentasyllable and the second an enneasyllable.^[11]

She also cultivated the narrative genre and especially the dramatic one. In Spain she wrote a series of novels, the most famous being Sab (1841), a serial that deals with the anti-slavery theme and with unrequited love. Dos mujeres amounts to an invective against marriage. Her fourth novel, Guatimozín, brings together a great deal of historical erudition and is set in the Mexico of the period of the conquest. In her remaining narrative works, although they lack the vigor of the first three, a determined criticism of conventional society is still present.^[12]

As for theater, her work occupies an important place on the Spanish stage of the period 1845–1855, when Romantic drama had declined and high comedy had not yet emerged. Leoncia premiered in Seville in 1840, was well received^[13] and possessed a certain originality. Her first work premiered in Madrid, in 1844, was Munio Alfonso, set at the court of Alfonso VII of León and Berengaria of Barcelona,^[14] part of a production of historical dramas that followed in the wake of Manuel José Quintana, of which El príncipe de Viana (1844) and Egilona (1846) are representative examples.^[12]

But she obtained her greatest successes in the theater with two biblical dramas: Saúl (1849) and, above all, Baltasar (1858), considered her masterpiece in the dramatic field. The two show different aspects of Romanticism. Saúl represents rebellion, while Baltasar stages weariness of life, the melancholy of the «mal du siècle» that would be felt in the second half of the century by the French Symbolist poets and in Hispanic Modernismo.^[15]

Among her comedies, La hija de las flores (1852) deserves mention. In 1860 she wrote La mujer, a series of articles in which she argues for intellectual equality between women and men, and even for the intellectual superiority of women: "No longer the equality of the sexes, but the superiority of ours".^[16]

Legacy

Much has been debated about this writer's nationality. Both Cuba and Spain claim her as their own.^[17] Cubans and Spaniards alike include her in anthologies and studies devoted to the poets of their respective countries.

On the other hand, she has been considered the Romantic poet par excellence: the tragic heroine who, while acclaimed in public, was terribly unhappy in her private life. Regardless of whether that image is based on real events, it is evident that she promoted it during her lifetime, and that many of her later admirers and critics contributed to maintaining it after her death.^[18] Furthermore, a large part of her work is always read and analyzed from a biographical perspective, owing to the posthumous publication of her love correspondence with Ignacio Cepeda, so that her biography has to a great extent eclipsed the importance of her literary legacy.

Lucía Guerra (1985), a professor at the University of California, is one of the very many women writers who took on the task of carrying out an analysis and study of the novel, of its author and of the events that led Gertrudis Gómez de Avellaneda to stardom.^[19]

Feminist criticism of this last decade has brought to light the sui generis characteristics of women's literary production, whose dynamics are only now beginning to be understood in terms of the hegemonic values of a phallocentric culture, since on the historical and social plane, women always held a secondary role.

— Lucia Guerra

The importance of María Gertrudis de los Dolores Gómez de Avellaneda y Arteaga is imprinted on each of her novels and other literary works, which undeniably gave voice and support to women, who, holding an almost nonexistent role, were able to emerge and establish themselves in the literary canon. For this reason her work has been widely studied by many with the aim of conveying her ideas to the present day and making her legacy endure for a very long time.

Bibliography

Poesías de la señorita Da. Gertrudis Gómez de Avellaneda, Est. Tip. Calle del Sordo No. 11, Madrid, 1841.
Álbum cubano de lo bueno y lo bello, Havana, Imprenta del Gobierno y Capitanía General, 1860
La mujer: artículos publicados en un periódico el año de 1860, y dedicados por la autora al bello sexo
Devocionario nuevo y completísimo en prosa y en verso, Imprenta y Librería de Antonio Izquierdo, Seville, 1867.
Obras literarias, Imp. y estereotipia de M. Rivadeneyra, Madrid, 1869–1871, 5 vols.
Leyendas, novelas y artículos literarios. Reprint of volumes 4 and 5 of the Obras literarias, Imp. de Aribau, Madrid, 1877.
Obras dramáticas, Reprint of volumes 2 and 3 of the Obras literarias, Imp. y estereotipia de M. Rivadeneyra, Madrid, 1877.
Poesías líricas, Reprint of volume 1 of the Obras literarias, Librería de Leocadio López, Madrid, 1877.
La Avellaneda. Autobiografía y cartas de la ilustre poetisa, hasta ahora inéditas, with a prologue and an obituary by D. Lorenzo Cruz de Fuentes, Imprenta de Miguel Mora, Huelva, 1907.
Cartas inéditas y documentos relativos a su vida en Cuba de 1839 a 1864, La pluma de oro, Matanzas, 1911.
Obras de la Avellaneda (centenary edition).
Memorias inéditas de la Avellaneda, Imprenta de la Biblioteca Nacional, Havana, 1914.
Obras de la Avellaneda. Centenary edition, Imp. de Aurelio Miranda, Havana, 1914.
Teatro, Consejo Nacional de Cultura, Havana, 1965.

References

↑ Pinto Villarroel, Patricia (1999). Escritoras Chilenas: Novela y cuento (in español). Editorial Cuarto Propio. ISBN 978-95-6260-162-7.
↑ Segura Graíño, Cristina (1998). Celia Villar Rodríguez (ed.). Diccionario de Mujeres Célebres (in español). Madrid: ESPASA. ISBN 84-239-8670-5.
↑ ^3.0 ^3.1 Nelken, Margarita (1930). Las escritoras españolas (in español). Barcelona: Labor.
↑ Puig Guisado, Jaime; «Revisión de Gertrudis Gómez de Avellaneda en el canon literario» (in Spanish). Retrieved December 14, 2020.
↑ ^5.0 ^5.1 ^5.2 ^5.3 ^5.4 Shaw (1986:64)
↑ ^6.0 ^6.1 Fernández Rodríguez (1993:115)
↑ Also in the edition by Carmen Bravo-Villasante, 1975.
↑ Baquero Goyanes, M. (1978). Carmen Conde, desde Murcia. Monteagudo.
↑ Fernández Rodríguez (1993:118)
↑ Gómez de Avellaneda, G. (1860). Album cubano de lo bueno y de lo bello: Revista quincenal, de moral, literatura, bellas artes y modas. La Habana: Imprenta del Gobierno y Capitanía General.
↑ Shaw (1986:64-65)
↑ ^12.0 ^12.1 Shaw (1986:65)
↑ Fernández Rodríguez (1993:117)
↑ Fernández Rodríguez (1993:119)
↑ Shaw (1986:66)
↑ Gómez de Avellaneda, Gertrudis (2008). La mujer (in español). Biblioteca Virtual Miguel de Cervantes. Retrieved September 24, 2016.
↑ Davies 2001, p. 1.
↑ Davies 2001, p. 2.
↑ Guerra, L. (1985). Estrategias femeninas en la elaboración del sujeto romántico en la obra de Gertrudis Gómez de Avellaneda. Revista iberoamericana, 51(132), 707-722.

Sources

Teodosio Fernández Rodríguez, «Gertrudis Gómez de Avellaneda en Madrid», Anales de la literatura hispanoamericana, no. 22: Madrid y la literatura hispanoamericana, Madrid, Universidad Complutense, 1993, pp. 115–126. ISSN 1988-2351
Donald L. Shaw, Historia de la literatura española. El siglo XIX, Barcelona, Ariel, 1986, vol. 5, pp. 63–66. ISBN 978-84-344-8356-9
Gertrudis Gómez de Avellaneda, Cuadernillos de viaje y La dama de gran tono, compilation, introduction and notes by Manuel Lorenzo Abdala, Los libros de Umsaloua, Seville, 2014. ISBN 978-84-942070-5-1
José Manuel Ramírez Olid: "Tula, la pasión romántica", in Cuadernos de los Amigos de los Museos de Osuna, no. 11, December 2009, pp. 35–40. ISSN 1697-1019

External links

Gertrudis Gómez de Avellaneda, 200 años retratando al sexismo in Cimacnoticias (in Spanish)
Primer sello conmemorativo cubano, dedicado a Gertrudis Gómez in Cimacnoticias (in Spanish)
Documentary by the UNED on the life and work of Gertrudis Gómez de Avellaneda, by Edith Checa, for the bicentenary of her birth, 2014.
Gertrudis Gómez de Avellaneda in the Miguel de Cervantes Virtual Library
Catalog of works by Gertrudis Gómez de Avellaneda in the Miguel de Cervantes Virtual Library
Digitized works by Gertrudis Gómez de Avellaneda in the Biblioteca Digital Hispánica of the National Library of Spain

Mujeres en la historia: Las románticas. Episode devoted to Gertrudis Gómez de Avellaneda, Carolina Coronado and Robustiana Armiño.

[ref_5-1] Pinto Villarroel, Patricia (1999). Escritoras Chilenas: Novela y cuento (in español). Editorial Cuarto Propio. ISBN 978-95-6260-162-7.

[:0-2] Segura Graíño, Cristina (1998). Celia Villar Rodríguez (ed.). Diccionario de Mujeres Célebres (in español). Madrid: ESPASA. ISBN 84-239-8670-5.

[Nelken-3] 3.0 ^3.1 Nelken, Margarita (1930). Las escritoras españolas (in español). Barcelona: Labor.

[4] Puig Guisado, Jaime; «Revisión de Gertrudis Gómez de Avellaneda en el canon literario» (in Spanish). Retrieved December 14, 2020.

[Shaw64-5] 5.0 ^5.1 ^5.2 ^5.3 ^5.4 Shaw (1986:64)

[Fernández_Rodríguez_1-6] 6.0 ^6.1 Fernández Rodríguez (1993:115)

[7] Also in the edition by Carmen Bravo-Villasante, 1975.

[8] Baquero Goyanes, M. (1978). Carmen Conde, desde Murcia. Monteagudo.

[9] Fernández Rodríguez (1993:118)

[10] Gómez de Avellaneda, G. (1860). Album cubano de lo bueno y de lo bello: Revista quincenal, de moral, literatura, bellas artes y modas. La Habana: Imprenta del Gobierno y Capitanía General.

[Shaw6465-11] Shaw (1986:64-65)

[Shaw65-12] 12.0 ^12.1 Shaw (1986:65)

[13] Fernández Rodríguez (1993:117)

[14] Fernández Rodríguez (1993:119)

[Shaw66-15] Shaw (1986:66)

[16] Gómez de Avellaneda, Gertrudis (2008). La mujer (in español). Biblioteca Virtual Miguel de Cervantes. Retrieved September 24, 2016.

[FOOTNOTEDavies20011-17] Davies 2001, p. 1.

[FOOTNOTEDavies20012-18] Davies 2001, p. 2.

[19] Guerra, L. (1985). Estrategias femeninas en la elaboración del sujeto romántico en la obra de Gertrudis Gómez de Avellaneda. Revista iberoamericana, 51(132), 707-722.

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