José María de Pereda | |
|---|---|
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| Born | José María de Pereda y Sánchez de Porrúa (1833-02-06)6 February 1833 Polanco, Spain |
| Died | 1 March 1906(1906-03-01) (aged 73) Santander, Spain |
| Seatk of theReal Academia Española | |
| In office 21 February 1897 – 1 March 1906 | |
| Preceded by | José Castro y Serrano [es] |
| Succeeded by | Armando Palacio Valdés |
José María de Pereda y Sánchez de Porrúa (born 6 February 1833,Polanco,Cantabria – died 1 March 1906, Polanco) was a Spanish novelist, and a Member of theRoyal Spanish Academy.
Pereda was educated at the Institute Cántabro of Santander, whence he went in 1852 toMadrid, where he studied with the vague purpose of entering theartillery corps. Abandoning this design after three years' trial, he returned home and began his literary career by contributing articles to a local journal,La Abeja montañesa in 1858. He also wrote much in a weekly paper,El Tío Cayetano, and in 1864 he collected his powerful realistic sketches of local life and manners under the title ofEscenas montañesas (Mountain scenes).[1]
Pereda fought against the revolution of 1868 inEl Tío Cayetano, writing the newspaper almost single-handed. In 1871 he was elected as theCarlist deputy forCabuérniga. In this same year he published a second series ofEscenas montañesas under the title ofTipos y paisajes; and in 1876 appearedBocetos al temple, three tales, in one of which the author describes his disenchanting political experiences.[1]
TheTipos trashumantes belongs to the year 1877, as doesEl Buey suelto, which was intended as a reply to the thesis ofBalzac's work,Les Petites misères de la vie conjugale. More and more pessimistic as to the political future of his country, Pereda took occasion inDon Gonzalo González de la Gonzalera (1879) to ridicule the Revolution as he had seen it at work, and to pour scorn upon thenouveaux riches who exploitedLiberalism for their personal ends. Two novels by his friendPérez Galdós,Doña Perfecta andGloria, drew from Pereda a reply,De Tal palo tal astilla (1880), in which he endeavours to show that tolerance in religious matters is disastrous alike to nations and to individuals. TheEsbozos y rasguños (1881) is of lighter material, and is less attractive thanEl Sabor de la Tierruca (1882), a striking piece of landscape which won immediate appreciation.[1]
New ground was broken inPedro Sánchez (1883), where Pereda leaves his native province to portray the disillusion of a sincere enthusiast who has plunged into the political life of the capital. Pereda's masterpiece isSotileza (1884), a vigorous rendering of marine life. InLa Puchera (1889) he returned to the marine subjects which he knew and loved best. Again, inPeñas arriba (1895), the love of country life is manifested in the masterly contrast between the healthy fields and the corrupt, squalid cities.[1]
Pereda's fame was now established; the statutes of the Spanish Academy, which require members to reside at Madrid, were suspended in his favor (1896).[2] But his literary career was over. The death of his eldest son, the disastrous campaign inCuba and thePhilippines (during theSpanish–American War), darkened his closing years, and his health failed long before his death.[1]
Pereda belongs to the native realistic school of Spain, which, founded by the unknown author ofLazarillo de Tormes, was continued byMateo Alemán,Miguel de Cervantes,Francisco de Quevedo and many others. He saw, knew, understood character; he created not only types, but living personages, such as Andres, Cleto and Muergo inSotileza, Pedro Juan and Pilara inLa Puchera; and he personified the tumult and calm of the sea with more power thanVíctor Hugo displayed inLes Travailleurs de la mer.[1]
This article incorporates text from a publication now in thepublic domain: Fitzmaurice-Kelly, James (1911). "Pereda, José María de". InChisholm, Hugh (ed.).Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press. p. 137. Works by or aboutJosé María de Pereda atWikisource
