Jacques Chastenet, Godoy: Master of Spain 1792-1808 (Kennicat Press: Port Washington NY and London, 1972), pp. 69-73.

An ode on his victories in Portugal (Obras I, 5-9): «Y ¿qué, después de tan feliz conquista, / Será negado a ti? Por todas partes / Tu nombre sonará; benigno el cielo / De las divinas artes / vuelve a la España el plácido consuelo. /... Y ¿quién mejor que a ti la musa hispana / Deberá celebrar, pues generoso / Proteges de las artes las tareas; / Pues tu influxo piadoso / En su prosperidad benigno empleas?» This poem celebrates the «Guerra de las naranjas», 1801. Gálvez' ode on poetry (1,21-6) is dedicated to «a lover of the arts of imitation», who is described as «protector del genio hispano» who raises her humble talent from obscurity to the «supremo asiento», doubtless the presence of the monarchs. This unnamed benefactor might also to be Godoy: «Así mis versos por tu sabio amparo / La envidia vencen, y el temor desprecian». (I, 25-6)

See Daniel Whitaker, «A New Voice: The Rise of the Enlightened Woman in Eighteenth-Century Spain», Continental Latin- American and Francophone Women Writers, II (University Press of America: Lanham, 1990), 31-40. For a detailed analysis of the efforts of Gálvez and two of her contemporaries to participate in the intellectual tasks of the late eighteenth century, see Lewis, Feminine Discourse.

Memorias del Príncipe de la Paz, Biblioteca de Autores Españoles, vol. 88, p. 218: «...sin dejar en olvido las dos compositoras que florecieron en aquel tiempo: doña María de los Mártires García Quintana y doña María del Carmen Hurtado. Esta última, sevillana, cuando empezó a componer tenía apenas doce años».

BAE 88, 222, note 217: Magdalena Fernández, La muerte de Abel; Ana Muñoz, Conversaciones de Emilia; the marquesa de Tolosa, a French treatise on education of the nobility; Inés de Joyes y Blake, El príncipe de Abisinia (English novel). BAE 88, 229, n. 229: María del Río y Arnedo, Cartas (by Montier) and BAE 88, 414, Sara (English novel).

BAE 88, 222, note 217.

BAE 88, 220. Gálvez' ode on charity, Obras I, 9-13, is dedicated to her friend, relative, and principal heiress, María Josefa Gálvez, condesa de Castroterreño, whom she addresses by the anagram Amira. The countess devoted herself to homes for orphans and foundlings, inspired by «faithful Nature» with a special tenderness for children. In «La noche», in memory of the condesa del Carpió (Obras I, 41-46), she also praises the charity work of the countess, who had been a friend and patron of the arts.

«Descripción filosófica del Real Sitio de San Ildefonso», Obras I, 26-29. Gálvez' poem is a veiled description of a stay at La Granja, where she finds the gardens oppressive because nature -like virtue- is forced to obey human caprice; favor-seekers stroll around the fountains, and noisy groups looking for amusement disturb the quiet of the park; even the sumptuous church is a display of vanity. She begs Quintana, who knows how she despises adulation and pretentiousness, to visit her and cheer her. Gálvez says that Quintana is familiar with her opinions about «ambición henchida, / De vil adulación acompañada, / Y de negro interés prostituida» (i.e., the venality of officials surrounding the monarchs at La Granja) and that his presence would strengthen her resolve to speak out against vice. She refers to the pleasant hours of conversation with her «sensitive and wise» friend. In her ode «A Don Manuel Quintana en elogio de su "Oda la océano"» (Obras I, 46-48), she says that Apollo has told her to «seek a model to guide your genius: listen to Quintana». She should study to improve her verse and then «praise the genius of Quintana, the honor and glory of the Hispanic muse». One can see that Quintana is in a delicate position when he sets out to review a work that contains two such poems in his honor (discussed below).

Albert Dérozier, Manuel Josef Quintana et la naissance du libéralisme en Espagne (Belles Lettres: Paris, 1970), II, 560.

For the most complete list, see Francisco Aguilar Piñal, Bibliografía de autores españoles del siglo XVIII (CSIC: Madrid, 1981), s.v. Gálvez Cabrera. Serrano lists a MS of La ópera cómica in the Biblioteca Nacional (Serrano's no. 1026) which does not appear in Aguilar Piñal. Also Aguilar Piñal, índice de las poesías publicadas en los periódicos españoles del siglo XVIII (CSIC: Madrid, 1981). Cuadernos bibliográficos 43, nos. 3167 and 3754.