[1] The trajectory of his poetry is similar to the one of his theater, as he demonstrates in his dramas Jupiter (1885), Ursino (1889), Count of San Salvador or the God of the things (1901), Lucia Lasso or the Pirates (1914) and the Ivory Tower (1920), and the dramatic poem Princess Catalá (1944).

A year later, he founded the newspaper "El semanario noticioso", which was published every Thursday, as well as the Academy of Sciences and Fine Arts of San Salvador.

After the overthrow of the general Francisco Menéndez Valdivieso, Gavidia exiled of the country and continued his journalistic activity in Costa Rica, where he was director of "La Prensa Libre" between 1891 and 1892; and later in Guatemala worked like co-redactor of "El bien público" of the city of Quetzaltenango.

His vast knowledge was nurtured from classical literature, siglo de oro español the Golden Age, French culture and his language, and the reading of German, Italian and Oriental authors.

[10] In a country whose art received a strong European influence, Gavidia honored the Salvadoran identity and ethnic values, broke with that pattern and from there, other writers decided to follow that literary line.

He introduced the story with a literary identity typical of its reality, an amalgam of pre-Columbian Indian themes such as legends and myths, is also considered the precursor of Salvadoran theater.

Subsequently, Gavidia evolved in the particular modulation of his own poetic voice, until he came to the cultivation of a conceptual reflection that reaches its maximum splendor in the poem entitled "Sóteer o Tierra de preseas" (1949), a modern epic song that, to a large extent, constitutes his masterpiece and his great literary legacy.

Indeed, Gavidia himself was able to evolve from a late romanticism (or a pre-modernist glimpse) into dramas such as "Jupiter" (1885) or "Ursino" (1889), to a conceptual epic manifested in the dramatic poem entitled La princesa Citalá (1944).

[12] Some of his works are: He is also known for being the advisor of the poet Rubén Darío, a pupil who shared sorrows and joys with the Salvadoran teacher,[10] and who knew the experiment of Gavidia to adapt the Alexandrian verse to the Castilian metric,[13] which gave rise to the modernist renovation of Spanish American poetry.