Emilia Pardo Bazán (1852–1921)
Author of Los pazos de Ulloa
About the Author
The Countess Emilia Pardo Bazan introduced the French naturalistic movement to Spain with The Burning Question (1881). While she recognized the excesses of naturalism in its exclusive concentration on the sordid aspects of life, she saw in it possibilities for directing the Spanish novel to social show more and political issues. The Son of the Bondwoman (Los Pasos de Ulloa, 1886), which deals with the degeneration of an aristocratic family, is naturalistic in subject and in its deterministic conclusion. (Bowker Author Biography) show less
Image credit: by Torquemada, at Wikisource
Series
Works by Emilia Pardo Bazán
El corazón perdido y otros relatos 7 copies
Morriña. La última fada. 6 copies
Obras completas : (cuentos). VIII, Cuentos nuevos ; Arco iris ; Cuentos de Amor ; Cuentos sacro-profanos (1999) 2 copies
Cuentos 2 copies
Cuentos Fantasticos / Fantastic Stories (Cuentos De Autores Espanoles / Stories of Spanish Authors) (Spanish Edition) (2000) 2 copies
La sirena negra ; Insolación 2 copies
Los Pazos de Ulloa tomo 3 1 copy
CADA UNO 1 copy
Emilia Pardo Bazán: Obra literaria completa: nueva edición integral (biblioteca iberica nº 10) (Spanish Edition) (2020) 1 copy
The Revolver 1 copy
SST 72 - Colpo di sole 1 copy
Božićne i novogodišnje priče 1 copy
Čežnja 1 copy
Ugaoni kamen 1 copy
El Fantasma 1 copy
Obras escogidas 1 copy
Obras Escogidas 1 copy
Dura Lex 1 copy
Cuentos escogidos. 1 copy
Belcebú (Spanish Edition) 1 copy
The Pardon 1 copy
Cuentos feministas 1 copy
Mi suicidio 1 copy
Las Medias Rojas 1 copy
OBRAS COMPLETAS. TOMO II 1 copy
Sí, señor 1 copy
La sirena negra insolación 1 copy
Novelas y cuentos. Tomo II 1 copy
La palinodia 1 copy
JUVENTUD 1 copy
Signorotti di Galizia 1 copy
Novelas y cuentos II 1 copy
Novelas y cuentos. Tomo I 1 copy
El corazón perdido 1 copy
Associated Works
Masterpieces of Terror and the Unknown: A Treasury of Bizarre Tales Old and New (1993) — Contributor — 213 copies, 2 reviews
The Masterpiece Library of Short Stories Vol. XVIII: Spanish & Portuguese (1900) — Contributor — 5 copies
Cigar Smoke and Violet Water: Gendered Discourse in the Stories of Emilia Pardo Bazan (1998) 2 copies
Even op verhaal komen — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Pardo Bazán, Emilia
- Legal name
- Pardo-Bazán y de la Rúa-Figueroa, Emilia
- Other names
- Countess de Pardo Bazán, Emilia
Condesa de Pardo Bazán, Emilia
Condesa de Bazán - Birthdate
- 1852-09-16
- Date of death
- 1921-05-12
- Gender
- female
- Education
- private tutors
- Occupations
- literary critic
novelist
short story writer
professor of literature
aristocrat
salonniere (show all 8)
journalist
publisher - Organizations
- Central University of Madrid
- Short biography
- Emilia Pardo Bazán was born in the seaport of La Coruña, the only child of wealthy Spanish aristocrats. A voracious reader, she started writing at a young age. Her first short story was published in 1866, In 1867, at age 18, she married José Quiroga, a much older man, and the couple went to live in Madrid. The condesa (she inherited the title in 1908) wrote essays and articles, and in 1876 won a prize for the best essay about the Enlightenment thinker Benito Jerónimo Feijoo. Her first novel, Pascual Lopez, was published in 1879. Emilia Pardo Bazán produced more than 600 short works and 18 novels, and was recognized as a leader in introducing feminism, realism, and naturalism to Spanish literature. She also travelled extensively through Europe in the early 1870s with her husband and parents and later on her own. Travel fuelled her interests in other European languages and the literary and intellectual ideas circulating in France, Germany and England. She presided over a famous literary salon in Madrid and introduced French and Russian writers to the public. She was later appointed a counsellor on public education, and named to a chair as professor of Contemporary Literature and Romance Languages at the Universidad Central of Madrid in 1916, the first woman to hold such a position. She was also a publisher of the Biblioteca de la Mujer (The Woman's Library), a series of biographies, translated novels, and books on topics of interest to women. In 1921, she was appointed to the Spanish Senate but never formally took her seat.
- Nationality
- Spain
- Birthplace
- La Coruña, Galicia, Spain
- Places of residence
- La Coruña, Spain
Madrid, Spain - Place of death
- Madrid, Spain
- Burial location
- Basílica de la Concepción de Nuestra Señora, Madrid, España
- Map Location
- Spain
- Associated Place (for map)
- Spain
Members
Reviews
Julian — naive, idealistic and recently ordained as a priest — goes to a remote corner of rural Galicia in the 1860s to act as secretary-chaplain for the young landowner Don Pedro, called by courtesy Marquess of Ulloa. The title and most of the money have long since passed to another branch of the family, the estate is in disrepair and Don Pedro spends most of his time shooting with his mayordomo Primitivo and is clearly having an affair with Primitivo’s daughter, who runs the show more kitchens. Julian tries to put things right by encouraging Don Pedro to come to Santiago and pick an eligible cousin to marry, but of course he gets the wrong one, and it doesn’t end well…
I’d heard that Pardo Bazán was the main Spanish exponent of French 19th century naturalism, but I was still surprised by how much this felt like a Zola novel — Julian could easily be one of Zola’s doomed young priests, and the innocence of the unnamed little girl and the pure evil of Primitivo would fit into the Rougon-Macquart clan seamlessly. The isolation of Ulloa also plays into this. But of course there are specifically Spanish aspects to all this as well, with the background of the political instability of the second half of the 19th century reflected in local conflicts. Pardo Bazán has a lot of fun with the rural priests and political bosses, and she isn’t afraid to take the narrative into “masculine” zones of action. Her feminism is evident too: the unfortunate cousin Nucha may be doomed by the logic of the plot and the nature of marriage at the time, but she is a strong and dignified character despite that. We aren’t allowed to take it for granted that she should submit to her dim and violent husband, and we have to respect the way she takes control whilst Julian panics at the first real hint of danger.
Very interesting — I’m glad I took the time to explore this. show less
I’d heard that Pardo Bazán was the main Spanish exponent of French 19th century naturalism, but I was still surprised by how much this felt like a Zola novel — Julian could easily be one of Zola’s doomed young priests, and the innocence of the unnamed little girl and the pure evil of Primitivo would fit into the Rougon-Macquart clan seamlessly. The isolation of Ulloa also plays into this. But of course there are specifically Spanish aspects to all this as well, with the background of the political instability of the second half of the 19th century reflected in local conflicts. Pardo Bazán has a lot of fun with the rural priests and political bosses, and she isn’t afraid to take the narrative into “masculine” zones of action. Her feminism is evident too: the unfortunate cousin Nucha may be doomed by the logic of the plot and the nature of marriage at the time, but she is a strong and dignified character despite that. We aren’t allowed to take it for granted that she should submit to her dim and violent husband, and we have to respect the way she takes control whilst Julian panics at the first real hint of danger.
Very interesting — I’m glad I took the time to explore this. show less
The House of Ulloa by Emilia Pardo Bazan was first published in Spain in 1886. It is set in 1868, the time of the Liberal Revolution that brought the vote for men over 25. The Carlists, backed by the aristocracy and the Catholic Church, opposed the Liberals. Towards the end of the book there's an election, wildly violent and blatantly corrupt, described in slapstick detail. An abbot and a priest are right in the thick of it. A great contrast to these hunting, drinking, fighting clerics is show more the newly ordained Father Julian, whom we meet in the first chapter, on his way to the House of Ulloa to provide guidance to the Marquis, the head of the House of Ulloa.
The pious, well-meaning, unworldly Father Julian is shocked by the unsavoury situation at the manor. His attempts to provide spiritual guidance to the marquis and to stem the corruption and disorder that surround him create new disasters. On his very first evening, Primitivo, the corrupt majordomo and the father of the serving girl who is the marquis's mistress, pours alcohol down the throat of his three-year-old grandchild. It's Gothic, and as you read on you're thinking, "Something terrible is going to happen," as though that's not terrible enough.
This is an extraordinary book, particularly considering that it was written in 1886. It's a gleeful satire of the corruption of society and the decline of the aristocracy in rural Spain. It's lively and funny, with characters a great deal larger than life. Highly recommended. show less
The pious, well-meaning, unworldly Father Julian is shocked by the unsavoury situation at the manor. His attempts to provide spiritual guidance to the marquis and to stem the corruption and disorder that surround him create new disasters. On his very first evening, Primitivo, the corrupt majordomo and the father of the serving girl who is the marquis's mistress, pours alcohol down the throat of his three-year-old grandchild. It's Gothic, and as you read on you're thinking, "Something terrible is going to happen," as though that's not terrible enough.
This is an extraordinary book, particularly considering that it was written in 1886. It's a gleeful satire of the corruption of society and the decline of the aristocracy in rural Spain. It's lively and funny, with characters a great deal larger than life. Highly recommended. show less
A largely-forgotten classic of 19th century Spanish literature, dusted off for a new publication by Penguin a few years back. I found a tatty paperback of it in some back-alley bookshop in Colombia, and devoured it happily.
Wonderfully merging the gothic and the farcical, the novel rotates around a naive priest trying to claw order from a crumbling mansion in rural Spain, with feral children and evil gamekeepers. Midway-through a slapstick local election takes place, with all the appropriate show more caricatures of stupid and venal local politicians. Nicholas Lezard called it “a bit like The Tenant of Wildfell Hall, but with jokes”, which is spot on. show less
Wonderfully merging the gothic and the farcical, the novel rotates around a naive priest trying to claw order from a crumbling mansion in rural Spain, with feral children and evil gamekeepers. Midway-through a slapstick local election takes place, with all the appropriate show more caricatures of stupid and venal local politicians. Nicholas Lezard called it “a bit like The Tenant of Wildfell Hall, but with jokes”, which is spot on. show less
A very odd little book, but wildly enjoyable: priestsploitation, plus gothicising HORROR, but the very next paragraph is broad satire or slapstick, so the gothic becomes funny. And I assume that's intentional. It moves very quickly for the 19th century, which helps. Even the clunky "oh, this book is kind of winding down too soon... I know, politics subplot!" twist ended up quite being quite fun.
Anything which just ignores genre boundaries like this is always more fun than even the best show more books that stick to them, I think. show less
Anything which just ignores genre boundaries like this is always more fun than even the best show more books that stick to them, I think. show less
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