Her education, so far as she did not get it by herself, was principally obtained in a fashionable French boarding-school in Madrid, where “Télémaque” was served up three times a day, and where Emilia was given the idea that she had exhausted the possibilities of astronomical science when she had looked at an eclipse through a bit of smoked glass. Later she was turned over to the tender mercies of tutors. Instead of lessons on the piano, she begged her father to allow her to study Latin; but this was quite too wild a thing to ask, even of him, and his refusal only gave her a lasting hatred for the piano. By the time she was fourteen, she was allowed to read pretty much everything, though still forbidden to look into the works of Hugo, Dumas, and the French Romanticists generally. Instead of these, an uncle put into her hands the novels of Fernan Caballero—a most suggestive incident, the woman who worked out the beginnings of the modern Spanish novel, read by the girl who was to help carry it to its highest development! However, her unformed taste thought nothing worthy to be called a novel unless a man was fired out of a cannon or flung over a cliff in every chapter, and her furtive reading of Hugo—of course, she tasted the forbidden waters—confirmed her in a liking which she was long in outgrowing.
In 1868, just after she had first put on long dresses, she was married. To make short work with her domestic life, let it be added, that her husband’s name is Don José Quiroga, and that three children have been born to them. During the troublous times that came in with the Revolution of 1868, and throughout the reign of Amadeus, her family was in political eclipse, and with her father she traveled extensively in France and southern Europe, learning English and Italian, and from her industrious practice of keeping a diary acquiring the writing habit. On her return to Spain, she found the German philosophical influence in the ascendant, and to put herself abreast of the intellectual movement of the time, read deeply in philosophy and history. By this time she had come fully to perceive the defective nature of her education, and set herself rigorously to correct it, for some years devoting herself to the severest studies. At a literary contest in Orense, in 1876, she carried off the first prize both in prose and verse, though for three years after that she wrote nothing except occasional articles for a Madrid periodical. Finally, as a relaxation from her strenuous historical studies, she began reading novels again, beginning with contemporary English, French, and Italian writers; for in her provincial home, and in her absorption in philosophical and historical reading, she had never heard of the splendid development of the novel in her own country. At last a friend put her on the track, and then she read with deepening delight.
To her it was the chance magic touch that finally gave her genius its full vent. If a novel was thus a description of real life, and not a congeries of wild adventures, why could she not write one herself? That was the question she put to herself, and the answer came in the shape of her first novel, “Pascual López,” published in the Revista de España, and afterward separately. She began her biography of Francis de Assisi in 1880, but a temporary failure of health sent her off to Vichy. Of this journey was born her “Un Viaje de Novios,” the first chapters of which she wrote in Paris, and read to such distinguished auditors as Balzac, Flaubert, Goncourt, and Daudet. Fully conscious now of the place and method of the realistic novel, and of the high value of its development in Spain, her course was clear. Since then her novels have appeared with surprising rapidity. She has all along kept her feet on the earth, writing of what she knows, and thus it happens that most of her scenes are laid in Galicia. As a preparation for writing “La Tribuna,” a study of working women, she went to a tobacco factory for two months, morning and afternoon, to listen to the conversation and observe the manners of the women employed there. Her work has been steadily broadening, and “A Christian Woman,” with its sequel, is the largest canvas she has filled.
Though now definitely and mainly a novelist, her literary activity has been highly varied. Her letters on criticism, published in La Epoca in 1882, evoked the widest discussion, and her lectures on “The Revolutionary Movement and the Novel in Russia,” delivered before the most brilliant literary circle of Madrid, have already been given an English dress. Articles from her pen are a frequent attraction in the leading magazines, and her vivacious series of letters about the Paris Exposition won much attention. As might be inferred from her unflagging productiveness, she is possessed of as much physical as mental vigor. She is of winning appearance and unaffected manners. Since the death of her father, in 1888, she has been entitled as his sole heir to be called a countess; but she does not use the title. “Who would know me as a countess?” she asks. “I shall be simply Pardo Bazán as long as I live.”
Rollo Ogden.
A CHRISTIAN WOMAN.
CHAPTER I.
You will see by the following list the course of studies that the State obliged me to master in order to enter the School of Engineering: arithmetic and algebra as a matter of course; geometry equally so; besides, trigonometry and analytics, and, finally, descriptive geometry and the differential calculus. In addition to these mathematical studies, French, only held together with pins, if the truth must be told, and English very hurriedly basted; and as for that dreadful German, I would not put tooth to it even in jest—the Gothic letters inspired me with such great respect. Then there was the everlasting drawing—linear, topographic, and landscape even, the latter being intended, I presume, to enable an engineer, while managing his theodolite and sights, to divert himself innocently by scratching down some picturesque scene in his album—after the manner of English misses on their travels.
After entrance came the “little course,” so called, in order that we might not be afraid of it. It embraced only four studies—to wit, integral calculus, theoretical mechanics, physics, and chemistry. During the year of the “little course,” we had no more drawing to do; but in the following, which is the first year of the course properly speaking, we were obliged, besides going deep into materials of construction, applied mechanics, geology, and cubic mensuration, to take up new kinds of drawing—pen-drawing, shading and washing.