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PARDO BAZIN, EMILIA (1851– )

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Originally appearing in Volume V20, Page 800 of the 1911 Encyclopedia Britannica.
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BAZIN, See also:EMILIA (1851– ) , See also:Spanish author, was See also:born at See also:Corunna, See also:Spain, on the 16th of See also:September 1851. Married in her eighteenth See also:year to Sr D. Jose Quiroga, a Galician See also:country See also:gentleman, she interested herself in politics, and is believed to have taken an active See also:part in the subterranean See also:campaign against Amadeo of See also:Savoy and, later, against the See also:republic. In 1876 she came into See also:notice as the successful competitor for a See also:literary See also:prize offered by the See also:municipality of See also:Oviedo, the subject of her See also:essay being the See also:Benedictine See also:monk, Benito Jeronimo Feijeo. .This was followed by a See also:series of articles inserted in La Ciencia cristiana, a See also:magazine of the purest orthodoxy, edited by Juan M. Orti y See also:Lara. Her first novel, Pascual LDpez (1879), is a See also:simple exercise in fantasy of no remarkable promise, though it contains See also:good descriptive passages of the romantic type. It was followed by a more striking See also:story, Un Viaje de novios (1881), in which a discreet See also:attempt was made to introduce into Spain the methods of See also:French See also:realism. The See also:book caused a sensation among the literary cliques, and this sensation was increased by the See also:appearance of another naturalistic See also:tale, La Tribuna (1885), wherein the See also:influence of See also:Zola is unmistakable. Meanwhile, the writer's reply to her critics was issued under the See also:title of La CuestiOn palpitante (1883), a See also:clever piece of See also:rhetoric, but of no See also:special value as regards See also:criticism or dialectics. The naturalistic scenes of El Cisne de Vilamorta (1885) are more numerous, more pronounced, than in any of its predecessors, though the authoress shrinks from the logical application of her theories by supplying a romantic and inappropriate ending. Probably the best of Sra Pardo Bazan's See also:work is embodied in Los Pazos de Ulloa (1886), the painfully exact See also:history of a decadent aristocratic See also:family, as notable .for its portraits of types like Nucha and See also:Julian as for its creation of characters like those of the See also:political bravos, Barbacana and Trampeta.

Yet perhaps its most abiding merit lies in its pictures of country See also:

life, its poetic realization of Galician scenery set down in an elaborate, highly-coloured See also:style, which, if not always academically correct, is invariably effective. A sequel, with the significant title of La Madre naturaleza (1887), marks a further advance in the path of See also:naturalism, and henceforward Sra Pardo Bazan was universally recognized as one of the chiefs of the new naturalistic See also:movement in Spain. The title was confirmed by the publication of InsolaciOn and Morrina, both issued in 1889. In this year her reputation as a novelist reached its highest point. Her later stories, La Cristiana (1890), Cuentos de amor (1894), Arco See also:Iris (1895), Misterio (1903) and La Quimera (1905), though not wanting in See also:charm, awakened less See also:interest. In 1905 she published a See also:play entitled Verdad, remarkable for its boldness rather than for its dramatic qualities. U.

End of Article: PARDO BAZIN, EMILIA (1851– )

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