[1] She was educated at the Monastery of Las Salesas de Calatayud and, following her father's professional fortunes, she also resided in Pamplona (1844–1846), Madrid (1846–1851) and Jaca (1851).

[3] In 1856, she married professional soldier Joaquín María Miranda in Madrid,[1] and she accompanied him to Valencia, Granada, and Saragossa.

The title refers to the evocative power of violets, whose scent transported her back to her childhood; that is why her poems are dedicated to her mother, her father, her sisters, and friends.

Ruins also appear as a symbol of the end of life, and she invokes common Romantic images such as the storm, gale, and specters.

[1] Some of the compositions (e.g. "Las golondrinas" (The Swallows), "Ausencia" (Absence), "A una bella" (To a Beautiful)) were influenced by the work of Gustavo Adolfo Bécquer.

Literature, Science and Art Weekly), under the direction of Ventura Ruiz Aguilera, Cabrera y Heredia came into contact with a group of Romantic poets known as Hermandad Lírica (The Lyrical Sisterhood).

All were born around 1820, belonged to the bourgeoisie, were self-taught, and shared a friendship of mutual encouragement and support through letters written to each other.

[12] Dolores Cabrera y Heredia enjoyed the favor of the public and critics, and was awarded several literary honors.

[5][8] In the last years of her life she was blind, which led Jerónimo Borao [es] to dedicate a sonnet to her on 8 December 1874, entitled: "A Doña Dolores Cabrera de Miranda.