More than Muses

Maria Peregrina de Sousa

Maria Peregrina de Sousa (1809-1894)

Also known as Maria Peregrina de Souza, Uma obscura Portuense, Mariposa, D.M.P., D.M.P.S., Uma Senhora da Cidade do Porto, and Maria Peregrina Maia de Sousa.

An image from a work by Maria Peregrina de Sousa
Maria Peregrina de Sousa (1861)

A mulher carrega neste mundo com todo o peso de alguns erros, que devião, me parece, ser repartidos irmãmente.

—Maria Peregrina de Sousa

Biography

Having lived a devoted family life, Maria Peregrina de Sousa was one of the most productive female writers in the nineteenth century. Remaining single allowed her to dedicate her life to writing and caring for her family members.

Maria Peregrina de Sousa, daughter of the merchant António Ventura de Azevedo e Sousa and Maria Margarida de Sousa Neves, was born on the February 13, 1809, in Porto, in the north of Portugal, at the time of the second French invasion. She had a difficult beginning to her life as her family had to escape general Soult’s troops when she was but a newborn. That is the reason for her middle name “Peregrina” (“Pilgrim”), which her uncle gave her due to this early “pilgrimage.”

As she confessed to António Feliciano de Castilho (1800-1875), a fellow writer, in the autobiographical letters she sent him, and which he later published in 1861 in Revista Contemporânea de Portugal, it was her father who taught her how to read very early in life. He would, however, later decide to impose rules regarding how much time she could devote to reading. According to him, reading and other “entertainments” should be seen as a pastime and not as her main occupation. The novels she was allowed to read were also selected by her mother who forbid the ones that she considered “immoral.”

She began writing at the age of fourteen due to her love for riddles and letters that she would emulate from the examples she found in the novels she read. Around the age of twenty she learned French, which she claims was the skill that opened the door to vaster studies. It was also at about this time that she first tried writing novels and stories (without attempting to publish them). Later, upon moving from Porto to Moreira, a rural area, writing became a more frequent activity for her, something that, in her autobiographical letters, she calls “work.”

During most of her life, she lived with her family between Moreira and Leça da Palmeira (another northern rural town in Portugal), until the date of their deaths; she never married. Moreira also happens to be the place where Castilho first met her, while she lived with her father and sister, following the deeply grieved passing of their mother.

The course of Maria Peregrina de Sousa’s life until 1861 reaches us through her own hand in the autobiographical letters that her friend António Feliciano de Castilho decided to publish. After that date, all we know is that, according to Alberto Pimentel (1905), she took shelter with relatives when her sister died (the last surviving member of her nuclear family), and that Maria Peregrina de Sousa vanished from the social world, abandoning writing. She died on November 16, 1894, in Porto, seemingly lonely and disheartened after having seen all of her family members pass away before her. Her life path leads us to the question: was the fact that she remained single one of the reasons for the unusual freedom to study and write that she enjoyed?

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Annotated Bibliography

. "Sousa, Maria Peregrina de." Escritoras: Women Writers in Portuguese before 1900, 2023.

This website page collects data from many sources, listing most of the known works published by the author and most of the bibliography written about her. (Annotation by Mónica Ganhão)

Barros, Thereza Leitão de. "Maria Peregrina de Sousa e Maria Adelaide Fernandes Prata." Escritoras de Portugal: Génio feminino revelado na Literatura Portuguesa, vol. 2, Lisbon, 1924, p. 179-181.

Short note about Maria Peregrina de Sousa mentioning her literary production. The general tone of this book, which addresses several female Portuguese authors, is critical and judgmental. The author openly criticizes the production of some of the authors stressing how underdeveloped and inferior to the work male writers it was. (Annotation by Mónica Ganhão)

Biguelini, Elen. "O travestismo na literatura escrita por mulheres em Portugal no final do século XVIII e início do século XIX." Anais do VII Seminário Internacional e XVI Seminário Nacional Mulher e Literatura: Mulheres de Letras – do Oitocentismo à Contemporaneidade: Transformações e Perspectivas, Universidade de Caxias do Sul, 2015, p. 280-91.

Although analyzing a relevant topic in literature written by women, this article tries to study Peregrina’s novel Pepa (1848) in the light of women cross-dressing as men, which occurs in the other texts taken into consideration for this study. However, in Pepa, a boy dresses as a girl, not the opposite. This implies different considerations and analysis, which Biguelini fails to explore. (Annotation by Mónica Ganhão)

Biguelini, Elen. "Maria Peregrina de Sousa e sua irmã, Maria do Patrocínio de Sousa, no periódico A Grinalda." Actas do 1º Colóquio “Saudade Perpétua”, Porto, CEPESE, 2017, p. 712-29.

In this article, Biguelini analyzes the publications of the author in the periodical A Grinalda. She also tries to apply the concept of “anxiety of authorship” (crafted by Susan Gubar and Sandra Gilbert in the volume The Madwoman in the Attic - a study mainly about female authors in the United Kingdom) to the Portuguese context. (Annotation by Mónica Ganhão)

Biguelini, Elen. "Paralelos na obra de Jane Austen (1775-1817) e Maria Peregrina de Sousa (1809-1894)." Anais do XXVI Congresso Internacional da ABRALIP: Ensino e pesquisa da literatura portuguesa no Brasil e no mundo, Curitiba, Brasil, UFPR, 2017, p. 444-56.

In this article, the researcher compares Pride and Prejudice by Jane Austen to “Roberta” by Peregrina. It suggests that Peregrina might have read Austen’s work and seems to have shown some similar concerns. However, the researcher underestimates how different both authors were and how distinct the extent and complexity of their works are. Nevertheless, this comparison benefits Peregrina because it magnifies her in the eyes of the academy by placing her side by side with one of the greatest British novelists. (Annotation by Mónica Ganhão)

Biguelini, Elen. "'He preciso ceder a nosso destino': amores impossíveis em quatro obras de autoria feminina do século XIX." Convergência Lusíada, vol. 39, 2018, p. 164-74.

In this article, Biguelini analyzes the text “Zulima ou a cruz d’oiro” by Maria Peregrina de Sousa alongside texts by other female authors. However, Beiguelini does not go deep into her analysis, mostly paraphrasing the original texts. (Annotation by Mónica Ganhão)

Bruno, José Pereira de Sampaio. "VI – Soror Dolores – D. Maria Adelaide Fernandes Prata – D. Maria Peregrina de Souza." Portuenses Ilustres, vol. 2, Porto, Livraria Magalhães & Moniz, 1907, p. 147-63.

This short entry mentions some personal facts and bibliographical information about Maria Peregrina de Sousa, while highlighting her writings about superstition and other ethnographic aspects of rural Portugal. (Annotation by Mónica Ganhão)

Castelão, S. M. Gonçalves. "Sousa, Maria Peregrina de." Dicionário do Romantismo Literário Português, Lisbon, Caminho, 1997, p. 541-42.

Short biographical entry which lists the periodicals the author published in and her works. (Annotation by Mónica Ganhão)

Castilho, António Feliciano de. "Maria Peregrina de Sousa." Revista Contemporânea de Portugal, vol. 3, no. 6, 1861, p. 273-312.

This text is written by a contemporary of Maria Peregrina de Sousa who greatly encouraged her to write. The text is biographical and based on autobiographical letters she sent her friend. It is one of the first public manifestations of interest in her work by other intellectuals of the time. (Annotation by Mónica Ganhão)

Coelho, Jacinto do Prado. "Sousa, Maria Peregrina de." Dicionário de Literatura: Literatura Portuguesa, Literatura Brasileira, Literatura Galega, Estilística Literária, vol. 4, Porto, Figueirinhas, 1979, p. 1053.

This is the shortest biographical entry about the author in a dictionary. It lists some of the periodicals she published in and some of her works. (Annotation by Mónica Ganhão)

Cunha, Ana Cristina Comandulli da. "Maria Peregrina de Sousa (1809-1894)." Convergência Lusíada, vol. 32, 2014, p. 208-11.

This article uses a lot of the biographical information listed in other sources in a way that opens doors to new perspectives and encourages interest in the author, serving as a stepping stone toward bringing her to the public’s eye again. (Annotation by Mónica Ganhão)

Cunha, Ana Cristina Comandulli da. "Maria Peregrina de Sousa escreve no Íris." Revista Araticum, vol. 11, no. 11, 2015, p. 1-8.

This article focuses specifically on the texts published by the author in the periodical Íris, creating a kind of inventory of the types of writings she published there and dwelling briefly on her use of pseudonyms. (Annotation by Mónica Ganhão)

Esteves, João. "Maria Peregrina de Sousa." Dicionário no Feminino (Séculos XIX-XX), Lisbon, Livros Horizonte, 2005, p. 739.

Short biographical entry which lists the periodicals the author published in and her works. (Annotation by Mónica Ganhão)

Machado, Álvaro Manuel. "Sousa, Maria Peregrina de." Dicionário de Literatura Portuguesa, Lisbon, Editorial Presença, 1996, p. 466.

Short biographical entry which lists the periodicals the author published in and her works. (Annotation by Mónica Ganhão)

Mariano, Juliana de Souza. A personagem feminina nos romances de Maria Peregrina de Sousa: ambiguidades e dualidades. Master's Thesis, Universidade do Estado do Rio de Janeiro, Instituto de Letras, 2015.

This is the first master’s thesis exclusively dedicated to Maria Peregrina de Sousa, making it a groundbreaking attempt at giving her visibility. The main contribution of this study is the edition of the novel Pepa, previously only available in the original periodical in which it was published. However, the foundation of the thesis is controversial, since Mariano aims to prove how Peregrina’s work is ambiguous regarding nineteenth-century morals. This ambiguity is, in fact, hard to prove, given the didactic tone of many of the author’s works, in which she endeavors to advise women on how they should behave in order to be honored and happy. (Annotation by Mónica Ganhão)

Pimentel, Alberto. "Uma escriptora portuense – Cap. IV." Figuras Humanas, Lisbon, Pareceria Antonio Maria Pereira, 1905, p. 29-35.

This chapter was written in 1894 when Maria Peregrina de Sousa died, and it was later included in this volume. The author mentions facts related to her personal life and her career as a writer, while praising her moral virtue. (Annotation by Mónica Ganhão)

Vasconcelos, J. Leite de. "IV. D. Maria Peregrina de Sousa." Ensaios Ethnographicos, vol. 1, Esposende, 1891, p. 228-40.

This chapter includes personal and bibliographical information about the author while focusing on her ethnographic writings about Portuguese culture. (Annotation by Mónica Ganhão)

Posted

18 April 2025

Last Updated

17 May 2025