Esteban Echeverría | |
|---|---|
 Portrait of Esteban Echeverría. | |
| Born | (1805-09-02)2 September 1805 |
| Died | 19 January 1851(1851-01-19) (aged 45) |
| Language | Spanish language |
| Alma mater | Sorbonne |
| Literary movement | Romanticism |
| Notable works | El Matadero, La Cautiva |
José Esteban Antonio Echeverría (2 September 1805 – 19 January 1851) was an Argentine poet, fiction writer, cultural promoter, andliberal activist who played a significant role in the development ofArgentine literature, not only through his own writings but also through his organizational efforts. He was one of Latin America's most important Romantic authors. Echeverría's romantic liberalism was influenced by both the democratic nationalism ofGiuseppe Mazzini and the utopian socialist doctrines ofHenri de Saint-Simon.[1][2]
Echeverría spent five decisive years in Paris (1825 to 1830), where he absorbed the spirit of the Romantic Movement, then in its heyday in France. He became one of the movement's promoters once he returned to Argentina. Once he returned toBuenos Aires, he wrote "Los Consuelos" in 1834 and "Las rimas" in 1837. He was a member of the group of young Argentine intellectuals who in 1840 organized theAsociación de Mayo ("May Association", after theMay Revolution that initiated Argentina's move towardsindependence). This institution aspired to develop a national literature responsive to the country's social and physical reality. Echeverría also devoted himself to the overthrow of thecaudillo ofBuenos Aires,Juan Manuel de Rosas. In 1840 he was forced to go intoexile in nearbyUruguay, where he wroteLa Insurrección del Sur andEl Matadero.
He remained in Uruguay until his death in 1851. His remains are said to be buried atBuceo Cemetery.[3]
Echeverría's renown as a writer rests largely on his powerful short storyEl matadero ("The Slaughter Yard", often mistranslated as "The Slaughterhouse"), written in sometime during 1838-1840 but not published until 1871), a landmark in the history of Latin American literature. It is mostly significant because it displays the perceived clash between "civilization and barbarism", that is, between the European and the "primitive and violent" American ways.Domingo Faustino Sarmiento, another great Argentine writer and thinker, saw this clash as the core of Latin American culture. Read in this light, "The Slaughter Yard" is a political allegory. Its more specific intention was to accuse Rosas of protecting the kind of thugs who murder the cultivated young protagonist at the Buenos Aires slaughterhouse. Rosas and his henchmen stand for barbarism, the slain young man for civilization.
Echeverría'sLa cautiva ("The Captive"), a long narrative poem about a white woman abducted byMapuche Indians, is also among the better-known works of 19th-century Latin American literature.
William H. Katra, The Argentine Generation of 1837: Echeverría, Alberdi, Sarmiento, Mitre (Madison, N.J.: Fairleigh Dickinson University Press, 1996)
