This paper aims to carry out an analysis of the novel Efectos del amor propio (c. 1810) using a broader theoretical framework than the one that has been used so far to study it. Thus, we consider that it can be typified as “autofiction”, a type of novel in which the identity of the main character and that of the author are mixed up, and which is conditioned by a new way of understanding artistic creation that emerged in the early nineteenth century: the “expressive theory of art”, applicable to works whose main purpose was the intimate venting of the author.

This paper aims to carry out an analysis of the novel Efectos del amor propio (c. 1810) using a broader theoretical framework than the one that has been used so far to study it. Thus, we consider that it can be typified as “autofiction”, a type of novel in which the identity of the main character and that of the author are mixed up, and which is conditioned by a new way of understanding artistic creation that emerged in the early nineteenth century: the “expressive theory of art”, applicable to works whose main purpose was the intimate venting of the author.

At the end of El rey de Sierra Morena (1874), Fernández y González declares that their main source was that was told by a member of the “Tempranillo” gang, “el Veneno”. The objective of this work is to verify how much fiction there is and how much reality in this testimony, as well as to elucidate which image of “el Tempranillo” had been able to be transferred from oral tradition to the serial novel. For this, a comparison has been made between the novel and the biography of the historical “Veneno”, and we have verified that it had been executed without being able to survive to tell our author anything about the “Tempranillo”, whose image offered is more positive than the from previous works with which we have compared

Al final de El rey de Sierra Morena (1874), Fernández y González declara que su principal fuente fue lo contado por un miembro de la cuadrilla del “Tempranillo”, “el Veneno”. El objetivo de este trabajo es comprobar cuánto hay de ficción y cuánto de realidad en dicho testimonio, así como dilucidar qué imagen del “Tempranillo” había podido trasladarse de la tradición oral al folletín. Para ello se ha realizado un cotejo entre la novela y la biografía del “Veneno” histórico, y hemos comprobado que este había sido ejecutado sin poder sobrevivir para contarle a nuestro autor nada sobre el “Tempranillo”, cuya imagen ofrecida resulta más positiva que la habida en obras anteriores con las que la hemos cotejado.

At the end of El rey de Sierra Morena (1874), Fernández y González declares that their main source was that was told by a member of the “Tempranillo” gang, “el Veneno”. The objective of this work is to verify how much fiction there is and how much reality in this testimony, as well as to elucidate which image of “el Tempranillo” had been able to be transferred from oral tradition to the serial novel. For this, a comparison has been made between the novel and the biography of the historical “Veneno”, and we have verified that it had been executed without being able to survive to tell our author anything about the “Tempranillo”, whose image offered is more positive than the from previous works with which we have compared

This paper aims to carry out an analysis of the novel Efectos del amor propio (c. 1810) using a broader theoretical framework than the one that has been used so far to study it. Thus, we consider that it can be typified as “autofiction”, a type of novel in which the identity of the main character and that of the author are mixed up, and which is conditioned by a new way of understanding artistic creation that emerged in the early nineteenth century: the “expressive theory of art”, applicable to works whose main purpose was the intimate venting of the author.