Emilia Pardo Bazán Long Fiction Analysis
In general, Emilia Pardo Bazán’s works reveal a gradual passage from Romanticism to traditional realism to a modified naturalism and finally to a spiritual, symbolic approach. Pascual López is Pardo Bazán’s only novel to bear clearly the sentimental, moralistic (in its condemnation of egotism), and unreal stamp of Romanticism, although a costumbristic atmosphere, also of Romantic origin, anticipates the realistic descriptions of later novels. A Wedding Trip introduces the physiological element and increased detallismo, but still reflects an aristocratic, conservative environment.
Pardo Bazán seems to have experienced a religious crisis in 1882—evident in her nonfiction work San Francisco de Asís (1882)—and this event may have been a factor in her subsequent shift of direction. The five novels that followed (and one in 1891) may be considered her most naturalistic works: La tribuna—“estudio de costumbres tomadas de la realidad”—contains a prologue in which the author renounces the idealism of Antonio de Trueba and Fernán Caballero. Reflecting thorough firsthand documentation, the work paints a naturalistic tranche de vie among tobacco-shop workers and includes detailed psychological descriptions and “crude” dialogue. In The Swan of Vilamorta, realistic elements are mixed with some Romantic sentiments. The Son of the Bondwoman and its sequel, La madre...
(The entire section is 4040 words.)
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