Delmira agustini biography of rory
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Her precociousness from an early age was a result of his influence and a background that was surrounded by the opulence of her well to do family.
When she published her third volume of work in 1913, Los cálices vacíos, Dario wrote the forward, praising her voice and her impact on the literary environment.
Alejandro Cáceres (VVAA) suggests that Delmira's parents had a clear project to devote themselves to their prodigious child.
The myth of Delmira Agustini's duplicity was born in this atmosphere. In 1993, the most complete and rigorous compilation to date of Agustini's poetry appeared, edited and introduced by Magdalena García Pinto.
Another distorting direction that literary criticism took in response to Agustini was to erase or mask the sexual content of her writings
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After publishing her second and third books, critics started addressing her in terms similar to those later used by Emir Rodríguez Monegal: "pithiness in heat," "sexually obsessed", and "fevered Leda." Needless to say, this approach was never used when critics addressed male writers. After only a few weeks of marriage, Delmira asked for divorce.
In 1913, Delmira Agustini married Enrique Job Reyes, a man detached from the literary arena. Three years later, Agustini published Cantos de la mañana, which concluded with a selection of reviews on her first book. In 1914, Reyes took out a gun and shot her, then turned the weapon on himself. In these reviews critics continued to refer to Agustini using metaphors related to virginity and inspiration, an image that Agustini herself assumed and cultivated in accordance with the modernista rhetoric and the restricted roles imposed on the women of the age.
The myth of Delmira Agustini's duplicity was born in this atmosphere.
Another distorting direction that literary criticism took in response to Agustini was to erase or mask the sexual content of her writings. Tina Escaja analyzes Agustini's poems basing her approach on the author's subversion of patriarchal myths and the inscription of female imagery. On one hand, "la Nena" (the Baby), as she was called in the private sphere, responded to the restrictive societal constructs of the era that denied sexuality to their upper-class women.
With her star quickly rising, Agustini married Enrique Job Reyes in the same year. In 1907, Delmira Agustini published her first book of poems, El libro blanco (Frágil), which was very well received by the writers and critics of the time. In many of her works Eros is the central character and it may well be that her early death has leant a certain amount of mystery to her verses.
On the other hand, the writer began to formulate verses that intensified a powerful, sexual imagery. It is not just that she flew so close to the literary sun before falling so dramatically but also the complexity and strength of her imagery that was unusual for her sex and the time they were written in.
It is known that Agustini was an admirer of the Latin American poet Rubén Darío who influenced many later poets.
On the other hand, the writer began to formulate verses that intensified a powerful, sexual imagery. Critics have often speculated on the dominant and protective personality of Agustini's mother while the poet's puritan father transcribed her erotic verses (Machado de Benvenuto, Silva).