The Attitude to Women, and Women Poets, in Spanish Romantic Poetry

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Notes

* The original typescript of Geoffrey Ribbans' Lecture, as given on 18 May 1998, is preserved in the Ivy McClelland Papers, Archives, University of Glasgow.

1 See Studies for I. L. McClelland, ed., with an intro., by David T. Gies, Special Issue of Dieciocho: Hispanic Enlightenment, Aesthetics, and Literary Theory, 9:1–2 (1986), and The Eighteenth Century in Spain. Essays in Honour of I. L. McClelland, ed., with an intro., by Ann L. Mackenzie, BHS, LXVIII:1 (1991); published simultaneously as a book (Liverpool: Liverpool U. P., 1991). A Memorial Volume would appear in 2009: Hesitancy and Experimentation in Enlightenment Spain and Spanish America. Studies on Culture and Theatre in Memory of I. L. McClelland, ed., with an intro., by Ann L. Mackenzie & Jeremy Robbins, BSS, LXXXVI:7–8 (2009), 269 pp.; also published as a book (Abingdon: Routledge, 2011).

2 Ivy McClelland taught Ann Mackenzie in the 1960s in the Department of Hispanic Studies at the University of Glasgow. In 1995 the University of Glasgow established the Ivy McClelland Research Chair of Spanish in Ivy's honour; to Ivy's great pleasure, Ann Mackenzie was appointed to be its first holder/professor.

3 E. Allison Peers, Ivy's professor at Liverpool University, referred to her first name in these words, when he persuaded Ivy to avoid using it on her publications (quoted by Mackenzie, in her ‘Introduction’ to The Eighteenth Century in Spain, ed. Mackenzie, 1–9 [p. 3]). Therefore, Ivy's books and articles appeared as by ‘I. L. McClelland’, thereby causing many foreign Hispanists to assume that the author of The Origins of the Romantic Movement in Spain, of Spanish Drama of Pathos 1750–1808, and of many other works, was a man.

4 See, for instance, I. L. McClelland, Benito Jerónimo Feijoo (New York: Twayne, 1969).

5 Benito Jerónimo Feijoo, Teatro crítico universal: colección de los discursos más notables que en todo género de materias, para desengaño de errores comunes escribió el Rmo. P.M.Fr. Benito Geronimo Feijoo, Volumes 1–2 (Madrid: Imprenta de Ayguals de Izco Hermanos, 1832); Discurso V, 97–169 (p. 97). Further references are to this source.

6 ‘Woman! when I behold thee flippant, vain’, in John Keats, Complete Poems, ed. Jack Stillinger (Cambridge, MA: Harvard U. P., 1982), ll. 1–2, l. 9. Further references are to this source.

7 Bruce W. Wardropper, ‘Espronceda's Canto a Teresa and the Spanish Elegiac Tradition’, BHS, XL:2 (1963), 89–100 (p. 89).

8 José de Espronceda, The Student of Salamanca. El estudiante de Salamanca, trans. C. K. Davies, with intro. & notes by Richard A. Cardwell (Warminster: Aris & Phillips, 1991), 48–50 (ll. 140, 144, 146).

9 Margaret A. Rees, Espronceda: ‘El estudiante de Salamanca’, Critical Guides to Spanish Texts 25 (London: Grant & Cutler, in association with Tamesis Books, 1979), 51.

10 ‘A Jarifa en una orgía’, in José de Espronceda, Antología poética, ed., con estudio preliminar, de Gabriela Pozzi (Madrid: Ediciones AKAL, 1999), 94–97. Subsequent references are from this source and are given by line number.

11 Espronceda, ‘Canto II. A Teresa’, in El diablo mundo, Antología poética, ed. Pozzi, 214–26. Further references are given by line number.

12 See Wardropper, ‘Espronceda's Canto a Teresa’, 96, n. 1.

13 Wardropper, ‘Espronceda's Canto a Teresa’, 98.

14 Espronceda, The Student of Salamanca. El estudiante de Salamanca, trans. Davies; see Cardwell, ‘Introduction’, 1–40 (pp. 29, 38).

15 Tom Lewis, ‘Gender, Discourse and Modernity in Bécquer's Rimas', Revista de Estudios Hispánicos, 31:3 (1997), 419–48 (p. 425).

16 Gustavo Adolfo Bécquer, Rimas, ed. & intro. Luis Caparrós Esperante. See the electronic resource, Centro Virtual Cervantes: <http://cvc.cervantes.es/obref/rimas/rimas/indice.htm> (accessed 16 January 2015). The words quoted are from Rima XXI. For all quotations from Bécquer, see this edition.

17 See Bécquer, Rimas, ed. Caparrós Esperante, ‘Cartas literarias a una mujer’, Apéndice I, <http://cvc.cervantes.es/obref/rimas/apendices/carta.htm> (accessed 16 January 2015).

18 Rosario Castellanos, Poesía no eres tú: obra poética, 1948–1971 (México D.F.: Fondo de Cultura Económica, 1972).

19 See José María Aguirre, ‘Bécquer y “lo evanescente” ’, BHS, XLI:1 (1964), 28–39.

20 The quotation is taken from Avellaneda, ‘La mujer’ (originally published in the Álbum Cubano de lo Bueno y lo Bello and included in Gertrudis Gómez de Avellaneda, Obras, Edición Nacional del Centenario (La Habana: Imp. de Aurelio Miranda, 1914), VI, ‘Autobiografía’, 283; cited by Luisa Campuzano in her chapter ‘Apuntes para un epílogo imposible’, in Más allá del umbral: autoras hispanoamericanas y el oficio de la escritura, coord. Silvana Serafin, Emilia Perassi, Susanna Regazzoni & Luisa Campuzano (Sevilla: Renacimiento, 2010), 357–70 (p. 362).

21 See A Critical Anthology of Spanish Verse, comp. & ed. E. Allison Peers (Liverpool: The Univ. Press of Liverpool/London: Hodder & Stoughton, 1948), No. 242, 515–16. References are to this edition.

22 Cited by Susan Kirkpatrick in her book ‘Las Románticas’: Women Writers and Subjectivity in Spain 1835–1850 (Berkeley/Los Angeles/London: Univ. of California Press, 1989), 86.

23 Poem reproduced in Kirkpatrick, ‘Las Románticas’, 319–20.

24 Cited by Kirkpatrick, Las Románticas, 94.

25 María del Pilar Sinués de Marco, Flores del alma. Poesías (Barcelona: Estab. Tip. de Narciso Ramírez, 1860), 15–16. Further references to this poem are given in the text by line number.

26 The quotation ‘viudas dos vivos e viudas dos mortos’ is from Rosalía de Castro's poem ‘¡Pra a Habana!’, published in her Follas novas (1880) (l. 79).

27 This phrase is taken from Rosalía de Castro's ‘Prólogo’ to her Follas novas. See Rosalía de Castro, Poesía completa en galego, ed., con intro., de Benito Varela Jácome (Vigo: Edicións Xerais de Galicia, 1980), 9.

28 The quotation is from Castro's ‘Prólogo’, cited in the Introduction to Rosalía de Castro, Poems, ed. & trans. Anna-Marie Aldaz, Barbara N. Gantt & Anne C. Bromley (Albany: State Univ. of New York Press, 1991), 9.

29 See the Introduction to Antonio Machado, Campos de Castilla, ed., intro. & notes by Robert Havard (Bristol: Bristol Classical Press, 1997).

* Disclosure Statement: No potential conflict of interest was reported by the author.