The March 4, 1849, in Seville newspaper The Herald, published the first chapter of the serial novel "The Seagull, written by one such Fernán Caballero, on which he warned José Joaquín Mora, the editor, was not "one of those writers repentistas, whose mission is to translate the draft paper and the printing indigestible outbreaks of a disordered imagination," referring no doubt to the author realistically desire, so realistic, that be the first to receive the label of "manners" thus opening a flagship literary schools of the nineteenth century. This work aroused such excitement among readers of Spain, one of the most authoritative critics of the time, Eugenio de Ochoa, after faithfully following the course of The Seagull, decreeing end to Knight as "the Walter Scott English." Cleverly, Mora kept secret the real identity of its star writer, collected in the interim all kinds of flattering comments. From the outset it was suggested that "Fernán Caballero" was a pseudonym, but no one imagined was that he was hiding behind a woman: "If he had said it was a lady explain Cecilia Bohl von Faber, nobody reads it! ...
Cecilia, whom we shall call "Fernando", in deference to the name he chose to sign their works, taking the pseudonym of a small town just Fernán Caballero, who gained notoriety after he became the scene of a crime of passion that no one remembers. This detail reveals the great sense of humor of the author, despite the dour countenance wore in his portraits. In a letter to Mora, his first editor, Fernando explained how it is encouraged to publish up to the age of fifty years, having read those manuscripts in the most tender youth: "Too much modesty or have too much pride fact that no one has given to read until my parents died, whose enthusiastic endorsement was, as you may think, all my encouragement, my yearning, all my good and my reward, again, missing them, and abetted by my brothers and husband, I decided to try to give them publicity. "As will be seen, Fernán has with George Sand, her contemporary, something more in common than having assumed a pseudonym for a man: a liberal education. Like Sand, Fernan and her big blue eyes would tremble with passion to a young man named Antonio Arrom de Ayala, twenty-three, who would be appointed Consul of Spain in Manila and in Australia, is known to be forties widow (previously doing your thing with a certain Fred Cuthbert, the "Sir George Percy" Clemency), a relationship that would Fernán the altar for the third time. Unlike its French counterpart, however, never resorted to disguise Fernán dandy, indeed, he looks very feminine in their arrangement, wrapped in blankets and wearing combs. Neither committed conduct "outrageous" (no lover, just husbands), and the most marked difference in the Sand: never assumed ideological positions that could be described as "feminist" ... well, not too obviously. While his novels ridiculed a bit, which not too much, the desire emancipation of women in mid-nineteenth century, particularly in The Seagull (so called by the nickname her rebellious heroine, Marisalada, we awarded in honor of his long thin legs) and another one on Clemency This position may well be due to attempts to pass for male Fernán. His biography, however, exhibited as a woman ahead of her time.
born on December 27, 1796, in the Swiss town of Morges, Cecilia Francisca Josefa, daughter of Juan Nicolas Bohl, intellectual pedigree of German origin, Hispanic high-flying and monarchist ideology (appears as a character in the novel's new Robinson, Joaquin Enrique Campo, the name "Johannes" ... later be "Stein", the touching of the offended husband graviota) and the English Frasquita Larrea, fond of Mary Wollstonecraft, inherit their parents' passion for books. His childhood elapse between Germany and Italy, although come to Cadiz in 1813, at age 17, age of Fernán write "a novelilla" called Magdalene, recently married her first husband, Captain Antonio Planels, better known as Fernando Thief Guevara gives a dog's life to the protagonist of Mercy, autobiographical, indeed. This marriage, fortunately for the young, will last very little due to the premature death of a spouse. At 18, Fernando is already a beautiful widow with no children. It takes just two years living in Spain, home of the deceased, barely chewing the language, in fact, the original version of The Seagull, which dates from that period, is written in French and will be translated into Castilian by José Joaquín Mora . This difficulty familiar with the language of Cervantes and his singular determination to dominate at any cost, could be attributed its fixation on the folklore of Andalusia and the idealization of rural life. Fernan, independent woman devoted to travel the world, settling in Hamburg where seasonal drafted German accounts Albareda's family and Sola, until 1822 known to her second husband, the Seville Don Francisco Ruiz del Arco, Marquis de Arco Hermoso. And as marquise, begin the final version of The Seagull that would not have been published in installments until twenty years later, a little later in book form (1856), inspired by her third husband who Sercia: "(...) to our modern literature, will write to Mora, who certainly has something to boast beautiful works, it lacks a genre that in other countries hold dear and have been so perfectly. This is the novel of manners. "
English The Walter Scott, which by a title was removed when it emerged that she was a woman ... and Switzerland, as well (but we'll reallocate, of course), says his intention is to write a custom box, play lifestyle of Seville, including idioms and popular sayings. Did not even dare to define The Seagull as "novel", however be in any form. His characters, he says, have not exaggerated ideals, that is, not bad bad, not good good, are simply human beings, "in vain in these pages look perfect characters, noted in the 1853 edition of that first novel, because the subject of the novel of manners should be to illustrate the view by the truth about what is painting, not to mislead through exaggeration. "Fernán Achieves its mission? Is it limited to "paint" the truth? The gull is indeed a novel of manners, more accurately, realistic, but it is primarily a novel that critics have noted more believed Balzac influence of the Brothers Grimm (who Fernán recognizes as his inspiring) , where the issue is clearly a passionate conflict involving three characters: The Seagull, Stein and seductive matador Pepe Vera. There is a moral lesson in this conflict, it leaves the noble Gull Stein fickle run after the bullfighter who die during a run. Left alone, they will die before forgive Stein, fall into the clutches of Ramón Pérez that somehow you will pay for the damage inflicted on her first husband.
It was accused of overly moralistic Fernán, like other novelists of his contemporaries would not make the same mistake. At least Fernán characters are more real, more credible, far from the romantic stereotypes. Evil may not be big, but huge characters like the gentle human dimensions Stein and his beloved rebel Gaviota. Of course, the pious Fernán loses no opportunity to rebuke the English intellectuals biased from the trenches of his creation: "And there are still people who presume to be endowed with a superior merit, they close their souls to the fresh impressions of candor, which is the innocence and serenity of the soul! Did not know that the innocence is lost, while in enthusiasm goes off? "(P. 75)
maturity in his novel, published in 1862, Tears, whose heroine, rightly called Tears, is the opposite of Gaviota indomitable, critics warn believed autobiographical details, related primarily to the great goodness of the protagonist. In an interview in 1862 that serves as a prologue to the aforementioned, I would say Fernán, assuming their masculine identity: "I'm convinced that all the finest satires, gender and so universal that many mills have excelled above, have done nothing, nor have done any good feeling germinate, and if only the wretched man's contempt for man. Quite the reverse references of good and noble feelings aroused in us like they put in circulation, inoculated ...", to which Antonio Cavanilles, his partner, said: "Nobody has understood as well as you the merit of the actions that go unnoticed, the reason for certain practices, the philosophy of some such vulgar ... "Back in Spain, a widow for the third time trabaría Fernán a close friendship with Elizabeth II, who granted him spend the last years of his life in an Andalusian palace immortalized by Fernán itself in one of his stories. Fernán Caballero
died in his beloved Seville on 7 April 1877, although in his own words to the literature, escaped death "of hypochondria or me going mad." Carmen Bravo Villasante, prologue of the 2001 edition of The Seagull (Classical Library Castalia, Madrid), said that criticism of our contemporaries as Juan Valero, and calling to Fernan Caballero's tiresome, stands Benedetto Croce who expressed his admiration the way our She combines the beauty of his prose with his moral superiority.
Cecilia, whom we shall call "Fernando", in deference to the name he chose to sign their works, taking the pseudonym of a small town just Fernán Caballero, who gained notoriety after he became the scene of a crime of passion that no one remembers. This detail reveals the great sense of humor of the author, despite the dour countenance wore in his portraits. In a letter to Mora, his first editor, Fernando explained how it is encouraged to publish up to the age of fifty years, having read those manuscripts in the most tender youth: "Too much modesty or have too much pride fact that no one has given to read until my parents died, whose enthusiastic endorsement was, as you may think, all my encouragement, my yearning, all my good and my reward, again, missing them, and abetted by my brothers and husband, I decided to try to give them publicity. "As will be seen, Fernán has with George Sand, her contemporary, something more in common than having assumed a pseudonym for a man: a liberal education. Like Sand, Fernan and her big blue eyes would tremble with passion to a young man named Antonio Arrom de Ayala, twenty-three, who would be appointed Consul of Spain in Manila and in Australia, is known to be forties widow (previously doing your thing with a certain Fred Cuthbert, the "Sir George Percy" Clemency), a relationship that would Fernán the altar for the third time. Unlike its French counterpart, however, never resorted to disguise Fernán dandy, indeed, he looks very feminine in their arrangement, wrapped in blankets and wearing combs. Neither committed conduct "outrageous" (no lover, just husbands), and the most marked difference in the Sand: never assumed ideological positions that could be described as "feminist" ... well, not too obviously. While his novels ridiculed a bit, which not too much, the desire emancipation of women in mid-nineteenth century, particularly in The Seagull (so called by the nickname her rebellious heroine, Marisalada, we awarded in honor of his long thin legs) and another one on Clemency This position may well be due to attempts to pass for male Fernán. His biography, however, exhibited as a woman ahead of her time.
born on December 27, 1796, in the Swiss town of Morges, Cecilia Francisca Josefa, daughter of Juan Nicolas Bohl, intellectual pedigree of German origin, Hispanic high-flying and monarchist ideology (appears as a character in the novel's new Robinson, Joaquin Enrique Campo, the name "Johannes" ... later be "Stein", the touching of the offended husband graviota) and the English Frasquita Larrea, fond of Mary Wollstonecraft, inherit their parents' passion for books. His childhood elapse between Germany and Italy, although come to Cadiz in 1813, at age 17, age of Fernán write "a novelilla" called Magdalene, recently married her first husband, Captain Antonio Planels, better known as Fernando Thief Guevara gives a dog's life to the protagonist of Mercy, autobiographical, indeed. This marriage, fortunately for the young, will last very little due to the premature death of a spouse. At 18, Fernando is already a beautiful widow with no children. It takes just two years living in Spain, home of the deceased, barely chewing the language, in fact, the original version of The Seagull, which dates from that period, is written in French and will be translated into Castilian by José Joaquín Mora . This difficulty familiar with the language of Cervantes and his singular determination to dominate at any cost, could be attributed its fixation on the folklore of Andalusia and the idealization of rural life. Fernan, independent woman devoted to travel the world, settling in Hamburg where seasonal drafted German accounts Albareda's family and Sola, until 1822 known to her second husband, the Seville Don Francisco Ruiz del Arco, Marquis de Arco Hermoso. And as marquise, begin the final version of The Seagull that would not have been published in installments until twenty years later, a little later in book form (1856), inspired by her third husband who Sercia: "(...) to our modern literature, will write to Mora, who certainly has something to boast beautiful works, it lacks a genre that in other countries hold dear and have been so perfectly. This is the novel of manners. "
English The Walter Scott, which by a title was removed when it emerged that she was a woman ... and Switzerland, as well (but we'll reallocate, of course), says his intention is to write a custom box, play lifestyle of Seville, including idioms and popular sayings. Did not even dare to define The Seagull as "novel", however be in any form. His characters, he says, have not exaggerated ideals, that is, not bad bad, not good good, are simply human beings, "in vain in these pages look perfect characters, noted in the 1853 edition of that first novel, because the subject of the novel of manners should be to illustrate the view by the truth about what is painting, not to mislead through exaggeration. "Fernán Achieves its mission? Is it limited to "paint" the truth? The gull is indeed a novel of manners, more accurately, realistic, but it is primarily a novel that critics have noted more believed Balzac influence of the Brothers Grimm (who Fernán recognizes as his inspiring) , where the issue is clearly a passionate conflict involving three characters: The Seagull, Stein and seductive matador Pepe Vera. There is a moral lesson in this conflict, it leaves the noble Gull Stein fickle run after the bullfighter who die during a run. Left alone, they will die before forgive Stein, fall into the clutches of Ramón Pérez that somehow you will pay for the damage inflicted on her first husband.
It was accused of overly moralistic Fernán, like other novelists of his contemporaries would not make the same mistake. At least Fernán characters are more real, more credible, far from the romantic stereotypes. Evil may not be big, but huge characters like the gentle human dimensions Stein and his beloved rebel Gaviota. Of course, the pious Fernán loses no opportunity to rebuke the English intellectuals biased from the trenches of his creation: "And there are still people who presume to be endowed with a superior merit, they close their souls to the fresh impressions of candor, which is the innocence and serenity of the soul! Did not know that the innocence is lost, while in enthusiasm goes off? "(P. 75)
maturity in his novel, published in 1862, Tears, whose heroine, rightly called Tears, is the opposite of Gaviota indomitable, critics warn believed autobiographical details, related primarily to the great goodness of the protagonist. In an interview in 1862 that serves as a prologue to the aforementioned, I would say Fernán, assuming their masculine identity: "I'm convinced that all the finest satires, gender and so universal that many mills have excelled above, have done nothing, nor have done any good feeling germinate, and if only the wretched man's contempt for man. Quite the reverse references of good and noble feelings aroused in us like they put in circulation, inoculated ...", to which Antonio Cavanilles, his partner, said: "Nobody has understood as well as you the merit of the actions that go unnoticed, the reason for certain practices, the philosophy of some such vulgar ... "Back in Spain, a widow for the third time trabaría Fernán a close friendship with Elizabeth II, who granted him spend the last years of his life in an Andalusian palace immortalized by Fernán itself in one of his stories. Fernán Caballero
died in his beloved Seville on 7 April 1877, although in his own words to the literature, escaped death "of hypochondria or me going mad." Carmen Bravo Villasante, prologue of the 2001 edition of The Seagull (Classical Library Castalia, Madrid), said that criticism of our contemporaries as Juan Valero, and calling to Fernan Caballero's tiresome, stands Benedetto Croce who expressed his admiration the way our She combines the beauty of his prose with his moral superiority.
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