María del Pilar Oñate affirms that most women translating and writing in the Spanish eighteenth century are ardent defenders of women's rights: «[...] la mayor parte de las escritoras y traductoras que florecen al final del siglo XVIII son, por lo general, decididas feministas, inaugurando así la participación femenina en la lucha feminista [...]» (159).

The principal biographical sources of María Rosa Gálvez are Serrano y Sanz, Guillén Robles, and the will of Gálvez.

Gálvez dedicates two odes to Quintana in her Obras poéticas (1804) and receives at least one favorable review of her works by the poet (see Serrano y Sanz 445). Leandro Fernando de Moratín is a contemporary of Gálvez and both were favored by Godoy, a mutual friend of both dramatists. Jovellanos mentions «la Gálvez» various times in his diary of 1790 (see Jovellanos 19-20), and although little further detail is given by the author of El delincuente honrado, María Rosa Gálvez probably was in Madrid during this time. Godoy also assisted Gálvez in the publication of Obras poéticas (Serrano y Sanz 445).

María Rosa Gálvez's dramatic works are:

- Los figurones literarios
- El egoísta
- La familia a la moda
- La delirante
- Amnón
- Blanca de Rossi
- Zinda
- Ali-Bek
- Florinda
- Saúl
- Safo
- Un loco hace ciento
- El califa de Bagdad
- Catalina, o la bella labradora
- Bion
- Las esclavas amazonas

Gálvez tends to give foreign settings to much of her serious drama, especially those works which deal with issues of interest to women. One reason for this international aspect of Gálvez's theater might have been to escape the criticism of the government censors. In the twentieth century, according to Patricia W. O'Connor, Antonio Buero Vallejo utilized this ploy in order to overcome the objections of the Franco regime to his work La doble historia del doctor Varga, a title the dramatist changed to La doble historia del doctor Valmy (286).

In her will, Gálvez allotted a lifetime pension to two female employees who had served her loyally.

Kristeva's second phase of the women's movement begins after 1868 and rejects the limitations of linear (historical) time; women in this new period «seek to give a language to the intrasubjective and corporeal experiences left mute by culture in the past» (37). In the past few years, Kristeva has noted a combination of both phases, particularly in France and Italy.

Showalter divides the experiences of women writers into three categories: feminine (female authors imitate the prevailing dominate patriarchal aesthetic trends and internalize the values of this culture); feminist (the stage of Gálvez and other women who rebel against these prevailing masculine values and call for a recognition of women's rights); and female (a final phase of «self discovery», in which the concern for minority rights is overshadowed by a «search for identity») (A Literature of Their Own [13]).

Although a rare occurrence, a tragedy in which the tragic hero lives and even prospers at the conclusion of the drama is visualized by Luzán in La Poética (433).

«Angel of the House» was a term popularized by Virginia Woolf (Kirkpatrick 7).