Francisco Sosa was born in Campeche, April 2, 1848. When he was still a child his parents removed to Merida, where the boy received his education. His first poetical effort appeared in a local paper, when the writer was but fourteen years of age. At that time, he was editor—in union with Ovidio and Octavio Zorilla—of the paper, La Esperanza (Hope), in which it appeared. Four years later his Manual de BiografÍa Yucateca (Manual of Yucatecan Biography) was published, showing his early devotion to the field in which he has chiefly figured, that of biography. With RamÓn Aldana, he founded La Revista de Merida (The Merida Review), which is still published and is, unquestionably, the most influential paper in Yucatan. In 1868, when but twenty years old, he went, for the first time to the City of Mexico, where most of his life since has been spent. He had, however, already been a prisoner, for political reasons, in the famous and dreadful fortress of San Juan de UlÚa, at Vera Cruz. He became promptly associated with the literary men of Mexico and collaborated with them, upon a number of important periodical publications, literary and political. In 1873 he was associated with Gen. Riva Palacios in the editorship of El Radical (The Radical). Later as editor of the Federalista (Federalist), he gave to that paper a notable literary reputation and contributed to it, both prose and verse. He was one of the editors of El Bien Publico (The Public Good), a paper aimed to combat the administration of President Lerdo de Tejada; while thus connected, he went to Guanajuato to join the standard of Iglesias, returning, at the downfall of Lerdo de Tejada, to the City of Mexico. Since that time, he has edited various periodicals, including El Siglo XIX (The Nineteenth Century), El Nacional (The National), and La Libertad (Liberty).

SeÑor Sosa’s books have been mainly in the line of biography. Besides the volume on Yucatecans already mentioned, he has published Don Wenceslao Alpuche, BiografÍas de Mexicanos Distinguidos (Biographies of Distinguished Mexicans), El Episcopado Mexicano (The Mexican Episcopacy), EfemÉrides Historicas y Biograficas (Historical and Biographical Ephemerids), Los Contemporaneos (The Contemporaries), Las Estatuas de la Reforma (The Statues of “the Reforma”) and Conquistadores Antiguos y Modernos (Ancient and Modern Conquerors). He has also written an appreciative work upon South-American writers—Escritores y poetas Sud-Americanos. Among his works in other fields are a volume of stories—Doce Leyendas (Twelve Stories), and a book of sonnets, Recuerdos (Recollections).

In his poetry Sosa is vigorous, chaste, and strong. In prose he is direct and simple, but careful in language.

SeÑor Sosa has ever been interested in every cause tending toward the advancement of Mexico and has actively participated in the organization and conduct of literary and learned societies. It is to his efforts that the interesting series of statues, that border the Paseo de la Reforma, is due.

Our selections are taken from his Estatuas de la Reforma and BiografÍas de Mexicanos Distinguidos.

THE STATUES OF THE REFORMA.

In 1887 Sosa published an article in El Partido Liberal (The Liberal Party), which has produced a happy result. From it, we quote:

The inauguration of the magnificent monument with which the Federal Government has honored the memory of the illustrious Cuauhtemoc and that of the principal chieftains of the defense of the native land in 1521, has shown, not only that Mexico does not forget her heroes, but, also, that among her sons are artists capable of producing works creditable to any cultured nation.

This affirmation is not born from our enthusiasm for all that redounds to the glory of our native land. Foreign writers have not hesitated to say that the monument of Cuauhtemoc may be considered the finest in America, in its essentially American architecture and in being a work exclusively realized by Mexican artists.

It is well known that, in decreeing, in 1877, the erection of Guatematzin’s monument, the government also decreed that in the following glorietas should be erected others to the heroes of the Independence and of the Reform; and, no one doubts that, the government persevering in its plan of embellishing the finest paseo in our metropolis, this paseo will come to be a most beautiful spot, consequently most visited by both citizens and foreigners. We believe that, to the laudable efforts of the Federal Government, those of the Governors of the federative states should be united. We shall state, in what way.

In the great Paseo de la Reforma, there already exist pedestals, destined to support statues and other works of art, appropriate to a place of resort, where daily gather the most distinguished members of society; until the present, there has been no announcement regarding the statues and art works for which these pedestals are intended.

It is plain that, however great may be the willingness of the Federal Government, it will need to employ large sums and many years, in carrying out, unaided, the whole work of adornment, demanded by a paseo of the magnitude of that of the Reforma, since they must be in consonance with the artistic value of the monuments already erected and those in contemplation. What would be of slow and expensive realization for the Federal treasury, would be easy, prompt, and convenient, if each of the Mexican States should favor our plan.

However poor any one of the smallest fractions, into which the Republic is divided, may be, it is certain that it could, at no sacrifice at all, pay the cost of two life-size statues—such as these pedestals could support; and, however meagre may be the annals of some of these fractions, no one of them can have failed to produce two personages, worthy of being honored with a monument, which, recalling his deeds, perpetuates them.

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... the three conditions, which ought to be demanded in accepting the sculptures:

1. That the honor should be decreed only to the notable dead.

2. That all the statues should be of life-size and of marble or bronze.

3. That the plans or models should be approved by a special jury, named by a cabinet officer, in order that only true works of art, worthy of figuring in a paseo in which exist monuments of the importance of those of Columbus and Cuauhtemoc, may be accepted.

Sosa’s suggestion was well received and, up to the present, something like forty statues have been erected, forming a notable gallery in which the nation and the states may well take pride. The states have taken their turns and one, each year, presents two statues, on the anniversary of National Independence—September 16. On the whole the statues have met the three requirements and not only form a Mexican house of fame, but an artistic adornment to a beautiful driveway.

MALINTZIN.

According to the testimony of judicious investigators, this celebrated Indian woman was born in the pueblo of Painala, in the Mexican province of Coatzacoalco (Vera Cruz). Her father had been a feudatory of the crown of Mexico and lord of many pueblos. Her mother, left a widow, contracted marriage with another noble, by whom she had a son, and “it seems,” says an esteemed biographer, “that the love felt by the couple, for this fruit of their union, inspired them with the infamous plan of feigning the death of the first born, that all the inheritance might pass to the son, availing themselves of a stratagem to remove suspicion.” A daughter of one of their slaves had died at that very time, and they made mourning as if the dead were their own daughter, secretly disposing of her to some merchants of Xicalanco, a town located on the border of Tabasco. Those of Xicalanco gave, or sold, her to their neighbors, the TabasqueÑos, among whom Malintzin was, when on March 12, 1519, the Spanish armada, under orders of HerÑan Cortes, arrived at the river of Tabasco, to which he gave the name Grijalva. It is well known that the TabasqueÑos, at first, attempted to fight against the Spaniards in defense of their territory, but—before the unusual valor, before the fire-arms, before the battle horses of the Conqueror—a violent reaction took place, the combats ceased, and a peace, which could not last, was pretended.

Among the gifts with which the TabasqueÑos desired to demonstrate their submission, were twenty women, of whom one was notable for her extraordinary beauty. Malintzin, the girl who had been cruelly thrust out from the parental home, was this woman. They baptized her under the name of Marina, which the Aztecs pronounced Malintzin. “When the Conqueror received her as a gift from the lords of Tabasco, in company with the other women, he distributed to each captain his woman, giving Malintzin to the Cavalier Alonso HernÁndez Portocarrero, who was cousin of the Count of Medellin.” So says the biographer to whom we have referred.

Continuing this imperfect narrative, we may say that Malintzin was useful to the conquerors from their arrival at Vera Cruz, since she knew the Aztec language,—although we cannot explain how she could, in a few days, learn the Spanish to discharge the rÔle of interpreter so perfectly as historians declare. However that may be, this Indian woman appears as one of the most notable characters in the epic poem of the Conquest. To detail her doings in this biography, would be to reproduce the whole history of the Conquest of Mexico, and good books abound for furnishing the data, which anyone may especially desire. We limit ourselves to giving a few further notices regarding Malintzin and to saying some words in her defense.

As has been said HernÁndez Portocarrero was the fortunate Spaniard to whose lot the beautiful Indian maiden of Painala fell. In spite of this, the chroniclers of the expedition state that Cortes had a son by Marina and there is no doubt that he maintained love relations with her until 1523. In that year, he married her definitely to Juan de Jaramillo, who, in spite of his noble rank, had no embarrassment in uniting himself to the woman whom Cortes abandoned.

He, passing to Coatzacoalco, called together the lords of the province, and among them Marina’s mother and step-father, who immediately recognized her and plainly showed their fear that the young woman would avenge herself for the infamous act which had brought her into the position in which she found herself. Far from it; Marina gave them splendid gifts and treated her injurers well—not without making some parade of her bearing a son to Cortes. In this expedition, took place the infamous execution of Cuauhtemoczin and Marina figures as aiding him to a pious death.

The Conquest ended, nothing more is heard of Marina until 1550, when she still lived and complained to the viceroy, Antonio de Mendoza, that the Indians of Jilantongo did not pay the tribute nor yield the service, to which they were obligated.

The year and place of her death are not known. There is nothing more to state save that the son of Cortes by Marina was named Martin and that he figures badly in Mexican history.

The estimable writer, JosÉ Olmedo y Lama, in the biography of Marina, with which he opens the second volume of the interesting work “Hombres ilustres Mexicanos,” biography which we have had at hand in making these jottings, says these cruel words: “Malintzin almost always appears repugnant, and we believe that, only by lending to her fantastic and imaginary attributes, that is to say, by falsifying history, can she be made great.” It is strange, indeed, that one, who held such an opinion, should have cared to introduce the name of the repugnant Indian woman into a gallery of ilustres, not merely celebres, personages. SeÑor Olmedo reproaches Marina for her treason to her country, serving as interpreter to the Conquerors; he reproaches her, because, married with HernÁndez Portocarrero, she had amours, and even a son, with Cortes; he blames her, because she did not prevent the execution of Cuauhtemoc and because she boasted to her mother of having been the first Mexican woman to bear a son to the Conqueror, and because she betrayed the conspiracy, plotted by her people, for the destruction of the Spaniards. These faults, which we would not pretend to excuse today in a heroine, have, if not an excuse, at least some just defense, in transferring ourselves to the sixteenth century and in consideration of the peculiar circumstances of the woman.

What sentiments had her parents aroused in her, by repudiating her and selling her to merchants? What idea of fidelity, considering the customs of her country, could she have in finding herself in the arms of a man, to whom she had fallen by lot, like any object in a raffle, and what respect could a man inspire, who servilely lent himself to any arrangement rather than to cross his captain? Had she not seen that the TabasqueÑos, in place of dying, battling in hand-to-hand combat for their native land, had made rich gifts to the Spaniards, even presenting them with women, of whom she was one? Ought we to demand from her greater ardor and patriotism than from the warriors? As for her not having prevented the execution of Cuauhtomoc, employing, for that end, her ascendency over Cortes, it must be remembered that Malintzin, as a shrewd woman, could not conceal from herself, that in her wild lover, other passions than love dominated, and, therefore, every plea would be vain.

But, above all, SeÑor Olmedo, in hurling the darts of his censure upon the Indian woman, should remember that all those faults, which we today count as such, committed by her, are explained by saying, supported by the testimony of historians, that Malintzin loved Cortes blindly, from her first meeting him. SeÑor Olmedo is intelligent enough to know that love is the most enthralling of human passions. Malintzin loved the great Conqueror. What wonder, then, that for him she should forget her other duties? But, however that may be, the beautiful interpreter of the Spaniards holds a most prominent place in the history of Mexico.

FRANCISCO EDUARDO TRES GUERRAS.

The illustrious architect Tres Guerras has left us, in the Carmen of Celaya, a work which is the monument of his fame and the proof that he was the most skilled architect that Mexico has yet produced.

Francisco Eduardo Tres Guerras was born in Celaya, May 13, 1745, and at fifteen years united great proficiency in drawing, to his early studies; soon after, he devoted himself to the fascinating art of painting, having received lessons, in Mexico, from the most accredited artists; but, he found no stimulus, since those paintings in which he gave full play to his natural tendencies and which were most conformed to the demands of art, were the least admired, while those trifles which he dashed off in order to secure resources for his daily needs were highly admired. Disgusted with these bitter disappointments, he desired to take the habit of a monk and had even made some steps in that direction, but the love of art rekindled itself in his heart with redoubled force, and he desisted from his intention. He then began to turn the pages of Vignola and dedicated himself to the study of architecture under intelligent masters.

The Carmelites entrusted to him the work of the church of Celaya and the good taste and elegance of proportion, united with solidity, caused its fame to be spread through the Republic and the monks were well pleased. During the construction of this temple, some ill-disposed persons tried to instigate the monks to deprive him of the direction of the work; among these were the architects ZÁpari, GarcÍa, Ortiz, and Paz; but, to the constancy and persistency of these friars, we owe the conclusion of a work, which does honor to the Republic.

Tres Guerras has left many notable works in many cities of the interior of the Republic, such as the Theatre at San Luis PotosÍ, the Bridge at Celaya, and others, and in them all are noticed a perfect taste and observance of the rules of art.

He was Sindico, Regidor, and Alcalde of Celaya and was nominated a member of the provincial deputation of Guanajuato, when the Spanish Constitution was re-established in 1820. He died of cholera the third of August, 1833. Tres Guerras was not only an artist and a painter, but also a poet. His aptitude was great for all and he revealed genius in whatever he undertook. His love of national liberty was such that his demonstrations of delight on the consummation of independence were deemed delirious.... In closing, we will narrate an anecdote relative to the death of Tres Guerras:

The terrible epidemic of cholera was making frightful ravages in our land. In the presence of the peril, the celebrated architect arranged all his affairs and, on August 2, sallied precipitately from his house to seek a confessor. A friend met him in the street and said:

“Where are you going in such haste, my friend?”

“Well asked”—calmly answered Tres Guerras—“Death pursues poor mortals with dreadful fury! As for me, but little time remains for me in this world.”

“But!” replied the friend, “you are still robust, healthy, and well. Tell me—where did you get such an idea?”

“My friend, I have no time to talk with you. Adieu.”

Tres Guerras departed, leaving the inquirer with the question on his lips. The following day, the octogenarian artist died. Fortunately his works survive and they perpetuate his memory.

COLONEL GREGORIO MÉNDEZ.

Born in Comalcalco and left an orphan at sixteen years of age, he succeeded, by activity and honorable dealing, in gaining a capital, if not large, at all events sufficient to render him comfortable. In 1859 he founded, at his own expense, a night school and, in the following year, another of music. Thus, doing good and devoted to his business, he lived beloved in his village, without dreams of political ambition or military fame, when General ArÉvalo took possession of San Juan Bautista and unfurled the banner of the Intervention. The Governor, Victorio DueÑas, offered no resistance and on the thirtieth of June, 1863, was routed. The first step of the Conqueror, ArÉvalo, was to condemn to exile those citizens who were reputed liberals, among them Gregorio MÉndez; but he, in place of bowing to the orders of the usurper, organized a revolutionary movement, which broke out at Comalcalco, on October 8th. In Jalpa, MÉndez seized some muskets; at the same time another patriot, Andres SÁnchez Magallanes, rose in arms in CÁrdenas. The republican revolution thus initiated, the commandant, VidaÑa, was designated to act as Chief of Brigade, and Colonel Pedro MÉndez as Governor; but, as the latter was captured at the capital and VidaÑa was wounded, the military leadership fell upon the subject of our study, with no arrangement made for the civil government.

Thus the war of the Restoration began in Tabasco. In a few days the forces of MÉndez joined those of SÁnchez Magallanes, and the two leaders undertook the campaign with ardor, seconded by a population, unsurpassed in patriotic spirit; most brilliant deeds of war followed one another from then on until the final triumph of the Republic; examples of valor and abnegation were multiplied; patriotism inspired the noblest actions, forever placing the name of the State of Tabasco in the foremost line.

To follow Colonel MÉndez in each and all of the events which took place in that memorable epoch; to relate his personal deeds and those of his brave companions, would be to transfer here the extended and detailed report rendered by him to the Minister of War, the seventeenth of October, 1867—report which is a veritable history of the republican Restoration in Tabasco, which had a happy issue, the twenty-seventh of February, 1864, with the capture of San Juan Bautista....

This was not, indeed, the full extent of the fatigues of those patriots, since they maintained themselves in arms and fortified their towns to prevent fresh assaults, since in all parts—Vera Cruz, Campeche, Yucatan, Chiapas—combats were still taking place, and Colonel MÉndez did not limit himself to securing the re-establishment of the republican regime in Tabasco, but placed the resources under his control at the service of the neighboring States and, in general, at that of the cause defended by him with such admirable vigor.

And, it must not be thought that the work of Colonel MÉndez, in those difficult circumstances, was confined to fulfilling his duties as military chief. Far from it; all the branches of civil administration were carefully arranged, thanks to the fact that he was ever warmly seconded in his noble efforts by all classes of the community, who never refused their adhesion or their resources—because he was not only respected for his patriotism, but admired for the stainless honor, which characterized him. If he numbered among his soldiery, those capable of using arms, and among them many who afterward figured in loftier posts than he himself, he also numbered in his civil helpers the most intelligent TabasqueÑos, among them Manuel SÁnchez MÁrmol, who contributed (equally with any) to the Restoration, by his intelligence and wisdom, discharging the secretaryship of the government of MÉndez and other arduous duties, with the ardor natural to youth and with the heartfelt affection which he felt for the valiant leader, in whom he saw his democratic ideals embodied. From the lips of Colonel MÉndez himself we have repeatedly heard, that to SeÑor SÁnchez MÁrmol he owed, in that trying epoch, services he could never forget and which influenced, in a decisive way, in the triumph of the Republican cause, and in the public administration. ‘If, of these services,’ Colonel MÉndez has said to us, ‘full mention is not made in my report to the Minister of War in 1867, it is because this report was edited by SeÑor SÁnchez MÁrmol, and he did not care to make his own panegyric, although the document was not to bear his name.’

On the sixth of June, 1867, when, as he himself says in the before-mentioned report, order and public repose were solidly re-established he had the satisfaction of resigning the government into the hands of Felipe J. Serra, named as his successor by the General Headquarters of the Army of the East.