Rosalia de castro

María Rosalía Rita de Castro (Santiago de Compostela, February 23, 1837-Padrón, July 15, 1885) was a Spanish poet and novelist who wrote in both Galician and Spanish. Considered among the great poets of Spanish literature of the 19th century, he represents, along with Eduardo Pondal and Curros Enríquez, one of the leading figures emblematic of the Galician Rexurdimento, not only for his literary contribution in general and for the fact that his Galician Songs are understood as the first great work of contemporary Galician literature, but also for the process of sacralization to which she was subjected and which ended up making her the incarnation and symbol of the Galician people. In addition, she is considered, along with Gustavo Adolfo Bécquer, the precursor of modern Spanish poetry.

Writing in Galician in the XIX century, that is, in the time Rosalía lived, was nothing easy for a number of reasons. Most of them were linked to the thought and structure of the society of the moment, in which the Galician language was highly discredited and underestimated, increasingly distant from that time when it had been the language of Galician-Portuguese lyric. All the written tradition had been lost, so it was necessary to start from scratch, breaking with the feeling of contempt and indifference towards the Galician language, but few were those who considered the task, since this would have constituted a reason for social discredit. In an environment in which Spanish was the language of culture and the protected language of the dominant minority class, Rosalía de Castro gave Galician prestige by using it as a vehicle for her work Galician Songs and thus strengthened the cultural renaissance of the language.

Although she was an assiduous cultivator of prose, Rosalía excelled in the field of poetry, through the creation of what can be considered her three key works: Galician Songs, Follas novas and On the banks of the Sar. The first one represents a collective song, artistically achieved, which served as a dignifying mirror for the Galician community by using their language and traditions. She was also useful in continuing the trend timidly started by Xoán Manuel Pintos from Pontevedra with his work entitled & # 34; A gaita galega & # 34; (1853).

In the second work, the author wrote a poetry of great depth, which uses the symbol as a method to express the ineffable and which reveals the multi-meaning characteristic of the highest poetry. Together with the works Aires da miña terra (Curros Enríquez), Saudades gallegas (Valentín Lamas Carvajal) and Maxina ou a filla espurea (Marcial Valladares Núñez) completes the set of works published in the 1880s that made these years a key stage in the development of Galician literature, although Rosalía's work always maintained a predominant position with respect to the rest.

Finally, En las orillas del Sar manifests a tragic tone that fits with the harsh circumstances that surrounded the last years of Rosalía's life. Written in Spanish, the work delves into the subjective lyricism typical of Follas novas while at the same time consolidating the metric forms that were pointed out there. Initially described as a precursor and ignored by the critics of its time, today there are different scholars who consider it the main poetic creation of the entire century XIX.

Currently, the figure of Rosalía de Castro and her literary creations continue to be the subject of an abundant bibliography and receive constant critical attention, both in Spain and abroad. Such is the acceptance and interest that the works of this writer awaken in the world, that in recent decades her poems have been translated into languages such as French, German, Russian and Japanese.

Biography

Childhood

He was born in the early morning of February 23, 1837 in a house located on the right bank of the Camiño Novo (Santiago de Compostela), the old entrance road to the city of Santiago de Compostela for all those travelers coming from Pontevedra. The natural daughter of the priest José Martínez Viojo (1798-1871), chaplain of the church of Iria, and of María Teresa de la Cruz Castro y Abadía (1804-1862), from a noble family, single with limited economic resources, she was baptized at a few hours after her birth in the Chapel of the Royal Hospital by the priest José Vicente Varela y Montero, under the names María Rosalía Rita and listed as the daughter of unknown parents. The Galician writer's biographers have frequently concealed her father's ecclesiastical status, as well as trying to ignore the fact that she was registered as the daughter of unknown parents and that she was spared from entering the Inclusive when her godmother took care of her. María Francisca Martínez, faithful servant of the mother of the newborn.

In twenty-four February, eight hundred and thirty-six, Mary Francisca Martínez, the neighbor of San Juan del Campo, was the godmother of a girl who solemnly baptized and laid the holy oils, calling her Mary Rosalía Rita, the daughter of unknown fathers, whose girl took the godmother, and goes without number for not having gone to the Inlusa; and so I sign it.

Act of the baptism signed by the priest José Vicente Varela and Montero.

Casa de Rosalía in Padrón, headquarters of the Fundación Rosalía de Castro.

When Rosalía was born, her mother was thirty-two years old and although she secretly carried her pregnancy, it seems that she publicly assumed her maternity. "The relationship between mother and daughter in childhood was very close; Teresa de Castro was far from the image of a woman who was frightened and worried about appearances; Her independence as head of her family gave her freedom of judgment and movement for the education of her daughter and the close family network that surrounded her was an outstanding support & # 34; points out the researcher María Xesús Lama.

Although it is sometimes pointed out that Rosalía grew up in the countryside with her father's family and thus learned Galician, from a comment by Murguía in a letter it is known that Rosalía spoke Galician because she belonged to a noble family " who, like all those of his time, spoke Galician". Research in the XXI century they break with the myth that she was abandoned by her mother. Rosalía was not abandoned by her mother says Catherine Davies.

In a document signed before a notary in 1843, her mother, Mrs. Teresa de Castro, recognizes Rosalía as her natural daughter and gives the date of birth as February 23, 1837. The document was located in 2021.

Her father José Martínez Viojo was thirty-nine years old when Rosalía was born. His priestly status made it impossible to recognize his daughter and he delegated care to her sisters. Mrs. Teresa and Mrs. María Josefa, assumed guardianship of her while she lived in Ortoño until her mother took care of her.

It is at this time when the writer becomes aware of the hard life of the Galician peasant, as well as it will be in this part of her life when she has knowledge and experience of the rural world typical of Galicia: the language, customs, the beliefs or cantigas that so influenced his work entitled Galician Songs. It is known that around the year 1850 the young woman moved to the city of Santiago de Compostela, where she lived with her mother, although she had previously lived with her in Padrón in 1842 when Rosalía was just over five years old. It is in Santiago de Compostela where Rosalía received the instruction considered at that time as the most appropriate for a young woman (basic notions of drawing and music), regularly attending cultural activities promoted by the Liceo de la Juventud together with outstanding personalities of Compostela's intellectual youth such as Manuel Murguía (it is doubtful if it was at this moment that he met Murguía or later, when he moved to Madrid), Eduardo Pondal and Aurelio Aguirre. The relationship that Rosalía had with Aurelio Aguirre is still a reason for discussion among different critics, since despite the fact that it is unknown if there was a sentimental relationship between the two, the work of the aforementioned did leave its mark on certain poems of the writer.

Maturity

In April 1856, Rosalía moved to Madrid together with the family of her relative María Josefa Carmen García-Lugín y Castro, in whose company she lived on the ground floor of house number 13 on Calle Ballesta. knows exactly what was the reason that led the writer to move, although Catherine Davis believed it possible that this fact was due to the scandal unleashed as a result of the Conxo Banquet, in which several members of the Lyceum played a relevant role, such as Aguirre or Pondal. A year after arriving in Madrid, Rosalía published a booklet of poetry written in Spanish that received the title La flor, which was warmly received by Manuel Murguía, who referred to it in Iberia.

The precise place where Rosalía met Manuel Murguía is debated. Rosalía and Manuel were married on October 10, 1858 in the parish church of San Ildefonso. a relationship that eventually ended in a wedding. Regarding the relationship that existed between the couple, Rosaliana's criticism suggests various hypotheses, ranging from idyllic conjugal pictures to more than nuanced positions, which taking as reference writings attributed to the poet, draw the psychology of a lonely woman, devoid of happiness and skeptical of love However, Murguía was the first person who encouraged Rosalía in her literary work, being he responsible for the publication of Cantares gallegos . He also spared neither social nor intellectual support at a time when the female condition was considered a handicap. Seven months after getting married, Rosalía gave birth to her first daughter, named Alejandra, in Santiago de Compostela (May 12, 1859). This of hers was followed by Aura (December 1868); the twins Gala and Ovidio (July 1871); Amara (July 1873); Adriano Honorato (March 1875), who died in November 1876 as a result of a fall; and Valentina (February 1877), who was stillborn. All of Rosalía de Castro's children were born in Galicia, either in Lestrove, La Coruña or Santiago de Compostela.

The couple changed addresses on multiple occasions, to which was added a separation from it due to Murguía's professional activities and serious economic problems derived from both the husband's job instability and the poor health of Rosalía de Castro. All these factors make up a vital panorama that helps to explain the writer's hypersensitivity and pessimism. In 1859, the couple was residing in La Coruña. Then he goes to Madrid, from where Rosalía returns to Santiago (1861) to return to the Spanish capital. Subsequently, there are references that allow us to affirm the presence of the poet in Lugo and Santiago, in addition to some trips that the couple made to Extremadura, Andalusia, Castilla-La Mancha and Levante. In the month of September 1868, the Spanish revolutionary uprising, known as La Gloriosa, took place, Murguía going from being secretary of the Santiago Board to director of the General Archive of Simancas, a position he held for two years. From this moment on, Rosalía's life unfolded between Madrid and Simancas, being in the Valladolid city where she wrote a large part of the compositions collected in Follas novas. At the end of 1869 or in 1870 saw the meeting between Rosalía de Castro and Gustavo Adolfo Bécquer. Since 1871, Rosalía de Castro did not leave Galicia. From this year on she lived in the Torres de Lestrove (where her relatives, the Hermida de Castro, resided), in Dodro (La Coruña), in Santiago de Compostela and Padrón, where she practically settled in 1875.

Last years

Monument dedicated to Rosalía de Castro in the park Alameda, Santiago de Compostela.

Sepulchre of Rosalía de Castro in the Panteón de Gallegos Ilustres

The last years of Rosalía's life were spent in the Padrón region, the place where she had spent her childhood, as well as a good part of her youth. The Casa Grande de Arretén, the popular name given to the country house where her mother was born, was no longer owned by the family, a factor that led to the writer having to reside in the Torres de Lestrove between 1879 and 1879. and 1882 while her husband was in charge of the direction in Madrid of The Galician and Asturian Illustration. Finally, she and her family moved to the house called La Matanza, located in the parish of Iria.

Rosalía never enjoyed good health, seeming predestined from her youth to an early death. As an anecdotal detail about her, it should be noted that to her main doctor, Professor Maximino Teijeiro, she dedicates a book about her, saying: "From her eternal sickness." She was also treated, probably at the request of the former, by the surgeon and also professor Timoteo Sánchez Freire. In fact, in the few letters from her that are preserved and that she sent to her husband, she frequently alludes to the continuous ailments that gripped her. Shortly before she died, the writer decided to spend some time by the sea and for this reason she moved to Santiago de Carril. Some time later she returned to the place of La Matanza, where the cancer of the uterus that she suffered from became progressively more complicated since 1883, increasingly diminishing the writer's already weak health. After three days of agony, she died at noon on Wednesday, July 15, 1885, at her home in La Matanza, as a result of cancerous degeneration of the uterus. The lifeless body was buried the following day in the Adina cemetery, located in Iria Flavia, which curiously had been sung in a composition by Rosalia de Castro. However, her corpse was exhumed on May 15, 1891 to be solemnly taken to Santiago de Compostela, where it was once again buried in the mausoleum created specifically for the writer by the sculptor Jesús Landeira, located in the Visitation Chapel of the Convent of Santo Domingo de Bonaval, in the present Pantheon of Illustrious Galicians.

The reliable lines written by González Besada about Rosalía's last moments are especially illustrative: «...she received the Holy Sacraments fervently, reciting her favorite prayers in a low voice. She commissioned her children to burn the literary works that, ordered and collected by herself, she left unpublished. She arranged for it to be buried in the Adina cemetery, and asking for a bouquet of pansies, her favorite flower, as soon as she brought it to her lips she choked, which was the beginning of her agony. Delirious, and her vision clouded, she said to her daughter Alejandra: "Open that window I want to see the sea", and closing her eyes forever, she expired.... ». However, from Padrón it is impossible to see the sea. That is why these words put into the mouth of a person for whom the sea was a perennial temptation to suicide are enigmatic.

Works

Galician songs

First edition Galician singing, exhibited in the City of Culture of Galicia.

It was on May 17, 1863 when Manuel Murguía handed over to the Vigo printer Juan Compañel the manuscript of Rosalía de Castro, Cantares gallegos, the pioneering work of the full Rexurdimento. To understand the origin of this, it is necessary to take into account factors such as the familiarity of the poet with popular music, the romantic claim of traditional cultures and the popular manifestations of it. Such was the success achieved by the work that Rosalía de Castro was invited to participate in the Barcelona Floral Games, although she declined the offer. In addition, Portuguese writers of the generation of 1865, such as Antero de Quental or Teófilo Braga, promptly expressed their admiration for the book, so that in 1868 two of its poems were translated into Catalan by Víctor Balaguer.

Structure and voices

The book is framed between poems one and thirty-six, which respectively constitute the prologue and epilogue. It also manifests a circular structure when it begins with a composition in which a young woman takes the voice who is invited to sing and ends with the same voice of the girl who apologizes for her lack of ability to sing the beauties of Galicia.

In this way, the remaining poems are framed by the two that open and close the lyrical discourse and become a recreation of the popular artist who personally sings various motifs, although at certain moments she gives voice to certain popular types or even allows the same author to speak in two poems, specifically in numbers 25 and 33. In these, a lyrical self becomes evident that can be understood as a method that Rosalía uses with the intention of appearing as another popular character, making it clear their belonging to the rural community.

Theme

In Galician Songs there are four fundamental thematic nuclei, which are costumbrismo, love, intimacy and lastly, social-patriotism.

• Costumbrist thematic: in a considerable number of compositions the description and the narrative predominates to present beliefs, romerías, devociones or characters characteristic of the Galician popular culture that Rosalía defended against colonizing stereotypes.
• Socio-patriotic Thematics: in this thematic core are those compositions in which emigration, the abandonment to which Galicia is condemned and the exploitation of Galicians in foreign lands are the reasons to be used to criticize the situation of a maltreated Galician people and claim universal values of social justice.
• Lovely Thematic: These poems show us, from a popular optic, the way to live the loving feeling different people characters in different circumstances and situations.
• Intimist Thematics: This includes "Campanas de Bastabales" and "As a Miudiño Boy". The author ' s voice expresses her feelings.

New fucks

Verses of Nova folks in Lugo.

In 1880, Rosalía de Castro published in the Spanish capital what was her second and last book of verses in the Galician language, entitled Follas novas. Many of the poems that make up the book were written during the family's stay in Simancas (1869-1870), although there are also some literary creations that date from the 1870s and that before appearing in the book had already been published in the press. The collection of poems is divided into five parts (Vaguedás, Do intimo, Varia, Da terra and As viudas dos vivos e as viudas dos mortos) of variable length and that do not respond to prior planning, but rather to an arrangement subsequent to the elaboration of the texts.

Described as Rosalía's richest and most profound work, Follas novas was and continues to be considered by a large part of the critics as the book of transition between the collective poetry of Galician Songs and the radical intimacy of On the banks of the Sar, in which there is room for popular poems as well as creations dealing with the passage of time and death. It is also characterized for being a work that has a notable social intention as its background, which is manifested in the denunciation that the author makes of the marginalization of the female sex, of orphaned children and of peasants, especially those who had seen themselves in the obligation to emigrate given the country's dismal economic prospects.

Structure and thematic cores

The book opens with a dedication by the author to the Sociedad de beneficencia dos naturales de Galicia in Havana, of which she had been named an honorary member. This is followed by the prologue by Emilio Castelar, followed by a significant preamble by the writer (titled Dúas palabras da autora), which explains the characteristic cohesion between the personal and the social, between intimate sufferings and collective misfortunes, which constitutes the central axis of the collection of poems. In this preamble, Rosalía reveals her intention not to write in Galician again (something that she reiterates in a letter written to Murguía in July 1881).

Alá van, pois, as Follas novas, who mellor would say vellas, because they are, and last, because paid xa to debt in which it seemed to me to be coa miña terra, difficult to write more verses na madre.

There are two basic thematic nuclei of Follas novas: on the one hand, there is a type of subjective poetry, which corresponds to the first two sections in which the book is structured (Vaguities and Do íntimo ), where the author develops a pessimistic and anguished existential discourse. On the other hand, there is an objective poetry, corresponding to the fourth and fifth sections (Da terra and As viúvas dos vivos e as viúvas dos mortos), which insists on the vindictive aspect of the popular and the Galician man, and where topics that already appeared in Galician Songs are dealt with, such as emigration and social injustice.

In the third section (Varia) traces of objective and subjective poetry coexist, showing the complex character that reality offers in its entirety to serve as a bridge between the subjectivity of Do intimate and the objectivity of Da terra.

The conception of life

The poetic work, in which the constant and predominant feeling is saudade, offers us a desolate vision of the world and of life. Also noteworthy is the poet's deepening of the self that leads her to the discovery of an ontological saudade, a mysterious and ineffable feeling of loneliness unrelated to anything concrete, which is linked to the radical orphanhood of the human being. This existential flaw that Rosalía analyzes from her own experience is perceived as the final discovery of a process in which misfortune marks her life through suffering and pain, the latter being inevitable, as revealed in the poem Once they had a cravo. In this situation, the only solution is flight or complete loss of consciousness.

All the desolate vision of life is intensified with the existential anguish that derives from the omnipresence of a ghost that grips his life and that is manifested in a special way in the dark, vague and polysemic symbol of the black woman shadow.

On the banks of the Sar

The Sar's passing through Padrón.

A year before her death, Rosalía de Castro published what turned out to be her last book of poems, entitled On the banks of the Sar written entirely in Spanish. There is still no consensus among literary critics regarding the date on which the poems collected in this book were created. However, the words of González Besada in his admission speech to the Royal Spanish Academy marked later criticism, since according to the newspaper El Progreso de Pontevedra, he stated that "the creations now collected On the banks of the Sar have seen the public light in 1866». For the moment, all the searches for the aforementioned newspaper have been unsuccessful, so it cannot be affirmed that the Rosalian poems were found in it.

Compendium of prose works

Manuel Murguía.

• Lieders (in Spanish, year 1858): this article published The Miño Album (Vigo) constitutes the first written prose in Castilian language published by Rosalía de Castro, possibly as a result of the favorable comments of Manuel Murguía and Benito Vicetto regarding his introduction in the poetic field.
• The daughter of the sea (in the Castilian language, 1859): his stay in Muxía inspired him the setting of this work in prose, which was also the first of Rosalía's novels. The topic of the female temperament is unfolding in the context of a narrative of a markedly vindictive character in which two women try to defend their honour in the midst of a predominantly female environment. The prologue of the novel, where the author defends the rights of women in intellectual life. She quotes prominent predecessors from both the arts and politics world, including some examples of women fighting, reforming and powerful in different spheres of public life. As defined by Professor Pilar García Negro, Rosalia was a "feminist in the shadow" who vindicated the role of women at a very complicated time.
• Flavio (in the Castilian language, 1861): in this work appears for the first time the theme of deluded love, being recurring in the poetry that he cultivated from this moment on. This is a novel of the author’s youth stage, who defines it as a “newsleep”.
• The gentleman from the blue boots (in the Castilian language, 1867): considered by the critique the most interesting of the novels of Rosalía and qualified by this as a "foreign tale", constitutes an enigmatic satirical fantasy in which the Galician writer exposes a range of stories of lyric-fantastic cut with ribbons that aims to satisfy both hypocrisy and ignorance of the Madrid society. In its composition, elements from two fields, such as the free imagination (influence of E. T. A. Hoffmann) and the realistic satire of customs.

There is in Madrid an extensive and magnificent palace, such as those that at some time raised the devil to enchant the beautiful and walking ladies. Come into it rooms that by their elegant coquetry could be called nests of love, and large living rooms as public squares whose austere beauty rows from frightening the heart and makes the hair cry. Everything there is nice and artistic, everything impresses in a strange way producing magical effects that never forget.

Fragment of chapter I of the novel The gentleman from the blue boots.

• Conto gallego (in Galician language, year 1864): appeared for the first time in a periodic publication in the year 1864, and until the discovery of this edition was only known the publication made by Manuel de Castro and López in his Almanaque gallego in Buenos Aires, in 1923. The story refers to a traditional motive of misogynistic literature in which two friends make a bet with the intention of demonstrating which of them manages to seduce the widow on the same day of her husband's burial. The characteristic outline of the story is the narrative economy: the plot focuses on the dialogue between the characters, while the narrative voice limits its interventions to the essential.
• The bunks (in Castilian language, 1866).
• The Cadiman (in Castilian language, 1866): a tale of a satirical character, in which certain characters are expressed in castrapo, a popular variant of Spanish characterized by the use of vocabulary and expressions taken from the Galician language that do not exist in Spanish.
• Ruins (in the Castilian language, 1866): it is a pattern of customs centered around three human types, three inhabitants of a small village, exemplary by their spiritual values, which are overlaid by their social decay.
• The first madman (in the Castilian language, 1881): it is a short novel, in which Rosalia ignores the realistic fashion of the moment to return to the romantic formulas of her younger stage.
• Sunday of bouquets (in Castilian language, 1881).
• Paddling and flooding (in Castilian language and published in The Gallega and Asturian Illustrationon 28 February and 8, 18 and 28 March 1881).
• Galician customs (in the Castilian language, 1881): in this article, Rosalia criticizes the custom that existed on the Galician coast to offer a woman of the family to the newly arrived sailor. It is worth noting that the writing was subjected to very harsh criticism, within the Galician territory.

Literary language

The language available to the initiators of the Romantic Renaissance, who were completely ignorant of medieval texts, was an impoverished dialectal language, heavily eroded by the official language and fragmented into regional varieties.

It cannot be said that Rosalía de Castro wrote in a certain dialect, although her elastic system of linguistic norms is geographically based on the speech of the regions bathed by the Sar and Ulla, with a clear tendency to lisp. As a consequence of the precarious situation in which the written Galician language found itself at the time, Rosalía used to use vulgarisms (probe instead of pobre, espranza instead of esperanza and dreito instead of dereito are some examples), hipergalleguismos (concencia or patencia are two examples) and Castilianisms (bliss, God, connected...). Also common in his works are lexical variations (frores, frois, froles or dor, dore , delor) and morphological, while different solutions are adopted for the formation of the plural of acute words.

Despite everything, Rosalía is more interested in the vivacity than the purity of the Galician language she uses to express herself, which she makes clear in the prologue to Galician Songs. It is there where it is said that despite lacking grammar and rules, which favors the appearance of spelling errors, the author took the greatest care in reproducing the true spirit of the Galician people.

Importance and significance of his work in Galician

Busto de Rosalía de Castro at Paseo de los Poetas, El Rosedal, Buenos Aires.

With the publication of Cantares gallegos in 1863, the culminating moment of the Rexurdimento of Galician letters was reached, as well as a turning point in history. Galician literature. With a high linguistic and literary exercise, the writer gave Galician prestige as a literary language (although this language had already been used for literary creation, as is the case with Galician-Portuguese poetry) and vindicated its use. In addition, through the themes dealt with in Cantares gallegos, Rosalía gives her work a sociopolitical character reflecting the harsh and terrible conditions under which Galician rural society found itself, at the same time that she vindicated the Galician against Castilian, and Galicia against the rest of Spain. It can be said that Rosalía tried to defend and rediscover Galician culture and identity, which had been ignored by the centralist state ideology. The success of the book was due to the extraordinary connection that existed between the writer and the people of her region, reaching the extreme that the people came to assume a large number of poems and stanzas as community verses.

With Follas novas Rosalía created a new and extremely personal universe, in which pure intimate lyricism reaches the highest artistic achievement, beyond aesthetic experiences, in a continuous and anguished question about the meaning of human existence. The poetry that is collected in this work reveals the conflict of a world in which there are no eternal values and absolute truths, and where the human being is totally alone. It is the pessimistic and anguished worldview that reveals the crisis of values of capitalist society in the face of the security of patriarchal society, which appears to be decomposing due to its action.

Criticism and later influences

The appreciation of Rosaliana's work and the mythification of the writer occurred after her death, since throughout her life she was permanently belittled and marginalized, being left out of such relevant writings as La Literature in 1881 by Leopoldo Alas and Armando Palacio Valdés. It was necessary to wait until the modernists and the generation of '98 for them to recognize in Rosalía a creator similar to her spirit.

The greatest promoters of Rosalía de Castro were the writers of 1998, who made her known through her writings throughout Spain and in Spanish-speaking America, making use of her great social recognition and the reissue of many of the pages that were written by them and that dealt with the writer. Mainly, Azorín and Miguel de Unamuno were the staunchest supporters of Rosalía, who dedicated a total of six articles to her between 1911 and 1912 that dealt with the Galician writer. The rest of the 1990s writers did not speak out in favor of Rosalía de Castro, and if they did, it was in a very tenuous way, as Antonio Machado did with a laconic and belated observation about the poet. Ramón María del Valle-Inclán also stood out, but in this case because of the harsh criticism and negative judgments he dedicated to Rosaliana's work, despite being a friend of her husband, Manuel Murguía, who had been in charge of writing the prologue of the work titled Femeninas, by Valle Inclán himself.

The independent Juan Ramón Jiménez also echoed Rosaliana's work, dedicating all kinds of praise to her and considering her as the predecessor of the poetic revolution started by Rubén Darío. Considering her a coastal poet, just like he did with Bécquer, Jiménez calls her innovative and precursor of Spanish modernism.

On March 8, 2017, the writer María Reimóndez Meilán received the I Xohana Torres Award for essays and audiovisual creation with her essay Rosalía de Castro, feminist translator, in dialogue with Erín Moure. In This essay highlights Rosalía de Castro's work as a translator from a feminist perspective for her time.

Day of Galician Literature

On March 20, 1963, three full members of the Royal Galician Academy, specifically Francisco Fernández del Riego, Manuel Gómez Román and Xesús Ferro Couselo, sent a letter to the president of the institution at that time, Sebastián Martínez Risco, in which the proposal to celebrate the centenary of the publication of the work Cantares gallegos, by Rosalía de Castro, was submitted for consideration by the General Meeting. On April 28, as a result of the proposal submitted to the president, an ordinary meeting takes place in the municipal halls whose result was the declaration of Día das Letras Galegas on May 17 of each year, reflecting such decision in the minutes of the meeting.

We all know that or book rosalián edited in 1863, have been a primeira masterpiece with which he told Literature Contemporary Galega. To sua apparition veu to lle give universal prestixio to nosa fala as an instrument of literary creation. It represents, pois, a decisive phyto na historia da renacencia cultural de Galicia.

We all know that the pink book published in 1863 has been the first masterpiece with which the Contemporary Gallega Literature was told. His appearance provided universal prestige to our speech as an instrument of literary creation. It represents, therefore, a decisive fact in the history of the cultural rebirth of Galicia.

First point of the letter.

Ninguén is unaware that a book has a symbolic forza estraordinaria. Being amosa more revealing of cultural level two pobos, non é de estranar o afán de esparexelo e de lle open camiños pra ensanchar o ampido dos seus leitores. No case of Galicia, ningunha data masis axeitada pra enaltecer e diffusion o book eiquí produced, que a que commemorat a pubricación da obra coa que se encetóu o prestixio contemporánea das Letras galegas.

No one is unaware that the book has an extraordinary symbolic force. Being the most revealing sign of the cultural level of peoples, it is no wonder the desire to spread it and to open paths to widen the scope of its readers. In the case of Galicia, no date is more adjusted to exalt and spread the book here produced, than that which commemorates the publication of the work with which the contemporary prestige of the Letras Gallegas was formed.

Fifth point of the letter.

Two days after an agreement was reached within the institution, the president of the Royal Galician Academy proceeded to communicate it to the Ministry of Information and Tourism requesting its permission to carry out the initiative. On May 14, the provincial delegate of the Ministry who had been contacted responded positively to the proposal. Thus, that year of 1963, the figure of Rosalía was honored through various acts that were promoted by the academic institution, having this as its main headquarters in the city of La Coruña. However, in other cities throughout Galicia, different tributes and acts were also promoted with the aim of honoring both the author and her work.

Acknowledgments

Currently, there are several institutions, public spaces and consumer goods designated with the name of Rosalía de Castro, highlighting the social roots of the figure of the poet. In this way, it is possible to find educational centers both in the Autonomous Community of Galicia and in the rest of the regions of Spain, in Russia, Venezuela (Rosalía de Castro Theatre) or Uruguay named after the writer, to which must be added numerous parks, squares and streets, cultural associations, prizes awarded to people closely linked to the Galician and Spanish language, libraries, folkloric groups, musical choirs and even a wine with the Rías Baixas Designation of Origin. However, it is curious that an Iberia company plane, as well as an aircraft belonging to Maritime Rescue, have been named the same as the writer. Obviously, there are also several monuments (mainly commemorative plaques and sculptures) dedicated to her figure in various countries around the world.

With the issuance of October 23, 1979, the last of the 500 pesetas bills appeared, since this would be replaced in 1987 by coins of equal value. The banknote was distinguished by presenting on the obverse the portrait of Rosalía de Castro, engraved by Pablo Sampedro Moledo, as well as for showing on the reverse the Casa-Museo de Rosalía located in Padrón and some verses with the author's calligraphy, belonging to the play Follas novas. In this way, Rosalía de Castro became, together with Isabel la Católica, the only non-allegorical female character portrayed on the obverse of a properly Spanish banknote.

On December 17, 2019, the star formerly named HD 149143 was officially named by the International Astronomical Union as Rosalíadecastro, which has an extrasolar planet orbiting it.

On April 2, 2020, the Official State Gazette published the change of name of the main airport of the Autonomous Community of Galicia to Santiago-Rosalía de Castro Airport (formerly Santiago de Compostela Airport or Lavacolla Airport), complying with a unanimous agreement of the Plenary of the Galician capital City Hall in 2017, on the 180th anniversary of his birth.

On November 26, 2022, at the initiative and drive of Lar Gallego de Navarra, the Pamplona City Council raised a monument to the writer while giving its name to a central square located between the Church of San Francisco Javier in Pamplona and the headquarters of the Galician center, on Calle San Fermín, in a landscaped space adjacent to Avenida de la Baja Navarra. The monument is signed by the Compostela artist Cándido Pazos who, according to the author, with this work "seeks to capture the image of the author, delving into her thoughts."