Juan Eusebio Molestina

Juan Eusebio Molestina Matheus (Guayaquil, 1850 – ?) was an Ecuadorian poet and playwright known for his poetic dramas. His dramatic career crossed the year 1895, which marked the end of romanticism and the beginning of modernism in Ecuador. Molestina’s play Espinas y abrojos (Thistles and Thorns), performed in Guayaquil in 1898, exemplifies the theater known as criollista and is considered a precursor of realist and social theater. While the exact date of his death remains unknown, records indicate that he continued working at the Customs House in Guayaquil until at least 1922.

Early Life and Education

Juan Eusebio Molestina Matheus was born in Guayaquil, Ecuador, in 1850, to José María Molestina y Roca, head of the Freemasons in Ecuador, and Amelia Matheus y Miró. His early education took place under Don Tomás Martínez, where his talent for poetry was already evident. He continued his studies at the San Vicente del Guayas school, earning a degree as a Bachelor and Accountant. Following his graduation, Molestina worked for several commercial houses in Guayaquil and later for the Banco Comercial y Agrícola, where he remained until 1895.

Personal Life

Molestina married Amalia Caamaño y Villegas, with whom he had at least one daughter, Rosario, who possibly died young, as there are no further mentions of her in his works. He maintained strong liberal convictions throughout his life, often expressing them in his poetry and plays. His political engagement led him to publicly protest events such as the Civil War in 1885 and the executions during political unrest in Ecuador. His personal relationships influenced much of his work, often drawing inspiration from his social circle and family events.

Literary Career

Molestina began his literary career in 1876, focusing on poetry and drama. His first major work, Eufemia la costurera, a four-act poetic drama written in 1878, was staged at Teatro Olmedo in Guayaquil. His style was heavily influenced by the Romantic tradition, which persisted in his works even as modernist currents began to emerge in Ecuador.

He is best known for his poetic dramas, such as Las penas del trobador (1883), El poeta y la coqueta (1885), and Espinas y abrojos (1898). His plays often featured dramatic themes and moralistic undertones, drawing upon both urban and rural Ecuadorian life. His theatrical works, particularly Espinas y abrojos, are considered precursors to realist and social theater in Ecuador.

Throughout his career, Molestina participated in numerous literary contests, including those commemorating historical events and figures. His poem Rocafuerte en la epidemia del año 42 was notable for its use of décimas, a traditional poetic form in Ecuador’s coastal region. He was also a prolific writer of satirical and humorous works, often utilizing exaggerated language and absurd dialogues to entertain his audiences.

Despite the growing influence of modernism in Ecuador, Molestina remained a committed Romantic, untouched by the newer literary trends. His works, characterized by emotional depth, drama, and occasional humor, were well-received by the public, even if they sometimes appeared outdated by contemporary standards.

Legacy

Molestina’s contribution to Ecuadorian theater and poetry left a lasting impression, particularly through his poetic dramas, which were among the earliest examples of criollista (nationalistic) theater. His work bridged the gap between Romanticism and the early stirrings of realism and modernism in Ecuadorian literature.

Although his dramatic style was later criticized for being overly sentimental and melodramatic, Molestina was admired for his ability to capture the emotions of the era. His influence persisted in Ecuadorian folklore and popular culture, particularly through his distinctive, often exaggerated style, which became known as “molestiniano.”

Public Reception and Cultural Impact

Molestina was a beloved figure in Guayaquil’s literary scene, widely admired for his contributions to both poetry and theater. His works were regularly performed at the prestigious Teatro Olmedo, which served as a cultural hub in the city, showcasing his poetic dramas to enthusiastic audiences. These performances, particularly of works like Espinas y abrojos and Las penas del trobador, helped solidify his reputation as a key voice in Ecuadorian theater, blending traditional romanticism with emerging nationalistic themes.

In addition to his success in the theater, Molestina’s poetry found a receptive audience through publication in local newspapers and literary magazines, which were crucial outlets for the dissemination of literary work during his time. His ability to connect with readers on both an emotional and intellectual level contributed to his popularity, making him a recognizable figure in Guayaquil’s vibrant literary community.

Molestina’s influence extended beyond his lifetime. In 1932, well after his active years, the renowned Ecuadorian musician Nicasio Safadi set Molestina’s poem Virgen Pura to music. This adaptation not only introduced his work to new audiences but also added to his legacy by embedding his literary contributions into Ecuadorian musical culture.

Works

• Acordes de mi lira (1912; poetry)
• Manojo de siemprevivas (1916; poetry)
• Eufemia la costurera (1878; play)
• Las penas del trobador (poetic drama; 1883), read the 1911 edition for free here.
• El poeta y la coqueta (poetic drama; 1885)
• La duquesa y la aldeana (musical comedy; 1910), read it for free here.
• Espinas y abrojos (1910; poetic drama)
• El Conde y el Marques (play)
• El hijo de la Duquesa (play)
• Espinas y abrojos (play)
• Cantos primaverales (poetry; 1909), read it for free here.