A Frenchman has even spoken of the romanticism of the classics, which is by no means merely a sample of Gallic paradox. The Brazilian critic considers France the only one of the neo-Latin literatures that may be said to possess a genu- inely classic period. As I have tried to suggest here and elsewhere, we have need of a change in literary terminology; classic and romantic are hazy terms that should, in time, be supplanted by something more in consonance with the observations of modern psychology. It does not employ the outworn octave, but sonor- ous blank verse.
The "In- dianism" of the poem, in which Basilio da Gama fore- casts the later Indianism of the Romantics, is not to be confused with that later type; for it must be recalled that Basilio da Gama did not look upon his Indians with that sentimental veneration characteristic of the nine- teenth century Brazilians. As they were secondary to his purpose, so were they in his conception.
The first Indianism, initiated by Basilio da Gama, con- tinued by Durao and almost limited to the two epics, is hardly more than a poetic artifice; the Indian enters as a necessity of the subject, a simple esthetic or rhetorical means. He is not sung, but is rather an element of the song. In the second Indianism, that of the Roman- tics, — the loftiest representative of which is Gongalves Dias, — the Indian advances from the position of an acces- sory to that of an essential element; he is the subject and the object of the poem. In this first phase of Indian- aspects to the psychology of the writer and his intuitive approach.
The distinctions have long since lost their significance and should there- fore be replaced by a more adequate nomenclature. The contrary case obtains In the second phase; the sympathy of the poet is his entirely. So that, In the main, It Is the attitude of the poet that distinguished the two Indianisms: Indifferent in the first, sympathetic in the second. Yet sociological error of the Roman- tic Indlanlsts proved more than poetic truth, for It was fecund "not only for literature, but even for the develop- ment of the national sentiment.
The better verses of the earlier epic are a balm to the ear and a stimulus to the Imagination; those of the later lack com- municative essence. Santa Rita Durao, proclaiming in his preface the parity of Brazil with India as the subject of an epic, thus places himself as a rival of Camoes; In- stead, he Is an indifferent versifier and an unconscionable Imitator; his patriotism, as his purpose, is avowed. His particular Pocahontas was the maiden Paraguassu, whom he is supposed to have taken with him to France; here she was baptized — as the disproved story goes — and at the marriage of the pair none less than Henry II and Catherine de Medicis stood sponsor to them.
Paragussu's chief rival is Moema, and the one undis- puted passage of the poem is the section in which, to- gether with a group of other lovelorn maidens, she swims after the vessel that is bearing him and his chosen bride off to France. In her dying voice she upbraids him and then sinks beneath the waves. Perde o lume dos olhos, pasma e treme.
The word has been variously interpreted as signifying "dragon risen out of the sea" Rocha Pitta and "son of the thunder" Durao's own version , referring in the first instance to the man's rescue from the wreck and in the second to his arquebuse. Verissimo rejects any such poetic interpretation and makes the topic food for fruitful observation. He considers the Brazilian savage, as any other, of rudimentary and scant imagination, incapable of lofty metaphorical flights. They named him Caramuru, the name of a fish on their coast, because they caught him in the sea or coming out of it.
And to this name they added nothing marvellous, as our active imagination has pictured. E sem mais vista ser, sorveu-se n'agua. It is that in which Is des- cribed the end of Cacambo's sweetheart LIndoya, after she has drunk the fatal potion that reveals to her the des- truction of Lisbon and the expulsion of the Jesuits by Pombal, and then commits suicide by letting a serpent bite her. Tanto ere bella no seu rostro a morte! So beautiful lay death upon her face! It is worth while re- calling, too, that the Indian of the first is from a Spanish- speaking tribe, and that the Indian of the second Is a native Brazilian type.
And Verisslmo points out that If the Indian occupies more space In the second, his role is really less signifi- cant than In O Uniguay. Ill The four lyrists of the Mineira group are Claudlo Manoel da Costa ; Thomas Antonio Gon- zaga 1 the most famous of the quartet; 6 The light of her eyes is extinguished, she swoons and trembles; her face grows pale, her look is deathly; her hands, now strengthless, let go the rudder and she descends to the bottom of the briny waves. But re- turning from the depths to the waves of the sea, which quivers in fury, "Oh, cruel Diogo!
And unseen ever after, she was engulfed by the waters. Ex- amination of their work shows the inaccuracy of terming them a ",school," as some Brazilian critics have loosely- done. These men did not of set purpose advance an es- thetic theory and seek to exemplify it in their writings; they are children of their day rather than brothers-in- arms. Like the epic poets, so they, in their verses, fore- shadow the coming of the Romanticists some fifty years later; the spirits of the old world and the new contend in their lines as in their lives.
They are, in a sense, transi- tion figures, chief representatives of the "Arcadian" spirit of the day. Romero, in his positive way, has catalogued him with the race of Lamartine and even called him a predecessor of the Brazilian Byronlans. A certain sub- jectivity does appear despite the man's classical leanings, but there Is nothing of him of the Childe Harold or the Don Juan.
Indeed, as often as not he is a cold stylist and his influence, today, is looked upon as having been chiefly technical; he was a writer rather than a thinker or a feeler, and one of his sonnets alone has suggested the combined Influence of Camoes, Petrarch and Dante: Que feliz fora o mundo, se perdida A lembranga de Amor, de Amor e gloria, Igualmente dos gostos a memoria Ficasse para sempre consumida!
Amantes, os que ardeis nesse cuidado, Fugi de Amor ao venenozo intento, Que la para o depois vos tem guardado. Nao vos engane a infiel contentamento ; Que esse presente bem, quando passado, Sobrara para idea de tormento. He is of the classic pastoralists, "the chief representative," as Carvalho calls him, of Arcadism in Brazil. Of more enduring, more appealing stuff is the famous lover Thomas Antonio Gonzaga, termed by Wolf a "modern Petrarch" for all these Arcadians must have each his Laura and enshrined in the hearts of his coun- trymen as the writer of their Song of Songs.
For that, in a sense, is what Gonzaga's poems tO; Marilia suggest. No other book of love poems has so appealed to the Portuguese reader; the number of editions through which the Marilia de Dirceii has gone is second only to the print- ings of Os Lusiadas, and has, since the original issue in , reached to thirty-four. Gonzaga's Marilia in real life D. But worst and saddest grief of all is to find that at no time is this fantastic victory of love transitory, for always it is repeated in remembrance.
Lovers, you who burn in this fire, flee Love's venomous assault that it holds for you there in later days. His heart, as he told her in one of his most popular stanzas, was vaster than the world and it was her abode. Gonzaga, like Claudlo, was one of the Inconfidencia; he fell In love with his lady at the age of forty, when she was eighteen, and sentimental Brazilians have never forgiven her for having lived on to a very ripe old age after her DIrceu, as he was known In Arcadian circles, died in exile. Yet she may have felt the loss deeply, for a story which Verlsslmo believes authentic tells of D.
Maria, once asked how old she was, replying: As Antonio Jose, despite his Brazilian birth, is virtually Portuguese in culture and style, so Gonzaga, despite his Portuguese birth, Is Brazilian by virtue of his poetic sources and his peculiar lyrlsm, — a blend of the classic form with a passion which, though admirably re- strained, tends to overleap its barriers. If, as time goes on, he surrenders his sway to the more sensuous lyrics of later poets, he is none the less a fixed star in the poetic constellation.
He sings a type of constant love that pleases even amid today's half maddened and half mad- dening erotic deliquescence. Some poets' gods bring them belief In women ; his lady brings him a belief In God: Noto, gentil Marilia, os teus cabellos; E noto as faces de jasmins e rosas: Noto OS teus olhos bellos; Os brancos denies e as feigoes mimosas: As might be expected; the first is primaveral, aglow with beauty, love, joy. Too, it lacks the depth of the more sincere second, which is more close to the personal life of the suffering artist. He began in glad hope; he ends in dark doubt.
It is the most noble and perfect idealization of love that we pos- sess. It is per- haps the book of human passion, such as the many we have now in our literatures that are troubled and tor- mented by grief, by doubt or despair. He who created so perfect and entrancing a work, my fairest Marilia, likewise could make the sky and more, if more there be. Rodrigo Jose de Menezes in honour of his son Thomaz; it Is recalled mainly for Its "nativism," which, as is the case with the epic-writers, Is not Inconsistent with loyalty to the crown. There is a certain Brazilianism, too, as Wolf noted.
In his Ide to Maria. In him, more than In any other of the lyrists, may be noted the stirrings of the later romanticism. He strove after, and at times achieved a cor americana "American color" , and although he must Introduce mythological figures upon the native scene, he had the seeing eye. Carvalho considers him the link between the Arcadians and the Romantics, "the transitional figure between the seventeenth-century of Claudio and the subjectivism of Goncalves Dias.
IV The question of the authorship of the Cartas Chilenas, salient among satirical writings of the eighteenth cen- tury, has long troubled historical critics. If the query as to authorship Is a matter more for history than for literature, so too, one may believe, Is the poem itself, which. But he has a deeper knowledge of things and there is more humanity tO'. In his lines, the suggestion of reality, but It is a reality that the foreigner, and perhaps the Brazilian himself, must reconstruct with the aid of history, and this dimin- ishes the appeal of the verses. One need not have known Marllla to appreciate her lover's rhymes; the Cartas Chilenas, on the other hand, require a knowledge of Luiz de Menezes' epoch.
The lesser poets of the era may be passed over with scant mention. Best of them all is Domlngos Caldas Barbosa i known to his New Arcadia as Lereno and author of an uneven collection marred by fre- quent Improvisation. On January 23, , the regent Dom Joao fled from Napoleon to Brazil, thus making the colony the temporary seat of the Portuguese realm.
The psychological effect of this upon the growing spirit of independence was tre- mendous; so great, indeed, was Dom Joao's influence upon the colony that he has been called the founder of the Brazilian nationality. The ports of the land, hith- erto restricted to vessels of the Portuguese monarchy, were thrown open to the world; the first newspapers ap- peared; Brazil, having tasted the power that was be- stowed by the mere temporary presence of the monarch upon its soil, could not well relinquish this supremacy after he departed in The era, moreover, was one of colonial revolt; between 18 10 and the Spanish dependencies of America rose against the motherland and achieved their own freedom; marks the establish- ment of the independent Brazilian monarchy.
Now begins a literature that may be properly called national, though even yet it wavered between the mori- bund classicism and the nascent romanticism, even as the form of government remained monarchial on its slow and dubious way to republicanism. Arcadian imagery still held sway in poetry and there was a decline from the originality of the Mineira group.
Souza Caldas 14 and Sao Carlos represent, together with Jose Eloy Ottoni , the religious strains of the Brazilian lyre. Sao Carlos's mystic poem A Assiimpcao da Santissima Virgem possesses, to- day, merely the importance of its nativistic naivete; for the third Canto, describing Paradise, he makes exten- sive use of the Brazilian flora. There is, too, a long de- scription of Rio de Janeiro which describes very little. Jose Eloy Ottoni, more estimable for his piety and his patriotism than for his poetry, translated the Book of Job as Souza Caldas did the Psalms, and with great suc- cess.
Though these religious poets are of secondary im- portance to letters, they provided one of the necessary In- gredients of the impending Romantic triumph; their Christian outlook, added tO; nationalism, tended to pro- duce, as Wolf has indicated, a genuinely Brazilian roman- ticism. Head and shoulders above these figures stands the patriarchal form of Jose Bonifacio de Andrade e Silva, one of the most versatile and able men of his day.
His scientific accomplishments have found ample chronicling in the proper places; quickly he won a repu- tation throughout Europe. They are, like himself, a thing of violent passions. In Aos Bahianos he exclaims: Amei a liberdade e a independencia Da doce cara patria, a quern o Luso Opprimia sem do, com risa e mofa: Eis o meu crime todo! Two years before the publication of his poems he who so much loved to command fell from power with the dissolution of the Constituinte and he reacted in characteristic violence. Brazilians no longer loved liberty: Mas de tudo acabou da patria gloria! Da liberdade o brado, que troava Pelo inteiro Brasil, hoje enmudece, Entre grilhoes e mortes.
Sobre sus ruinas gemem, choram, Longe da patria os filhos foragidos: Accusa-os de traigao, porque o amavam, Servil infame bando. This is my sole crime! The cry of liberty that once thundered through Brazil now is mute amidst chains and corpses. Over its ruins, far from their fatherland, weep its wandering sons. Because they loved it, they are accused of treason, by an infa- mous, truckling band. We have neither the space nor the patience for them here. It is during the early part of the period epitomized in this chapter that Brazilian literature, born of the Portu- guese, began to be drawn upon by the mother country.
They call to mind the situation of Rome, when the literary talents of the Gauls, of Spain and of Northern Africa, enrich Latin literature with new creations. Yet, with few exceptions, it is of interest rather in retro- spection, viewed from our knowledge of the romantic movement up to which it was leading. THOUGH usually associated with French lltera- ature, the Romanticism of the first half of the nineteenth century, like that later neo-romantlc- Ism which nurtured the Symbolist and the Decadent schools of the second half, came originally from Ger- many, and was in essence a philosophy of self-liberation.
Full text of "Brazilian literature"
But national creative production thrives on cross-fertilization and self-made literatures are 1 "True Romanticism," says Wolf, "is nothing other than the expres- sion of a nation's genius unrestrained by the trammels of convention. Such liberation as Wolf points out, was the work of German criticism. There is marked differ- ence between mere imitation and subjection to valid in- fluence, and few literary phenomena in the history of the new-world literature, north or south of Panama, attest the truth of this better than Brazil's period of Romanti- cism; this is the richest — it not the most refined — of its intellectual epochs.
Brazilian culture is thrown open to the currents of European thought, as its ports with the advent of Joao VI had been thrown open to European commerce, and receives from ro-manticism, in the words of Wolf, the 'Hdeal consecration" of its nativism. And herein, of course, lies the great distinction between the mere nativism which is so easily taken for a national note, and that nationalism which adds to the exaltation of the milieu the spiritual consciousness of unity and inde- pendence. A national literature, in the fuller sense, is now possible because it is the expression not solely of an aspiration but of partial accomplishment, with a his- toric background in fact.
Poetry becomes more varied; the novel takes more definite form; genuine beginnings tury later, as we have suggested, bringing a new breath to the later pseudo-classicism of the Parnassians. The real contribution of the so- called Romantic movement, then, was one of release from academically organized repression, — repression in form, in thought, in expression, which are but so many aspects of the genetic impulse, and not detach- able entities that may be re-arranged at will. The measure of literary repression may be taken as one of the measures of classicism; the meas- ure of release from that repression may be taken as one of the meas- ures of romanticism.
To argue in favour of one or the other or to at- tempt to draw too definite a line between them is a futile implication of the possibility of uniformity and, moreover, is to shift the criteria of art from an esthetic to a moralistic basis. There are really as many "isms" as there are creative individuals; classic and romantic are as- pects of all creative endeavour rather than definite and opposing quali- ties. The observation which I translate herewith from Wolf relates Ro- manticism to its originally individualistic importance as applied to na- tions. Carvalho, selecting the four representative poets of the period, has characterized each by the trait most prominent in his work.
This group is but a solo quartet in a veritable chorus of singers that provides a variegated setting. The individual songs resound now more clearly, like so many strains in the polyphonic hymn of national liberation. The salient four are by no means restricted to the style of verse indicated by their classification, but such a group- ing helps to emphasize the main currents of the new poetry. II In , when Magalhaes published his first collec- tion, Poesias, he was a conventional worshipper of the ticism as a result of its decadence," writes the German critic, "serve only to confuse the etymological and historical truth of this definition.
It is for the same reasons that the art of the Middle Ages, proper to modern peoples and opposed to antiquity, has been named Romantic, or rather, Roman. In order to re-establish the continuity of their spontaneous de- velopment and to paralyze the modern influence of the humanists, the reformists, classicism and rationalism, these same peoples had to turn back and drink from the ever abundant springs of the Middle Ages, — a brilliant epoch of development which was more in conformity with their genius. This is another reason why the two terms Middle Ages and Romanticism have been confused.
A visit to Europe in con- verted him thoroughly to French Romanticism and when, three years later, he issued the Suspiros poeticos e Sau- dades Poetic Sighs and Longings , the very title pro- claimed the advent of a new orientation. His Invoca- tion to the angel of poesy Is in Itself a miniature declar- ation of poetic independence: Ja nova Musa meu canto inspira ; nao mais empunho profana lyra. Minha alma, imita a natureza; quern veneer pode sua belleza?
Farewell Homer; the poet will dream now of his native land and sigh, amid the cypress, a song made of his own griefs and long- given to romanticism. Taking the accessory for the central nucleus, modern romanticism has caricatured all this and discredited true roman- ticism, so that the name in the realms of art has been applied to every- thing that is subjective, arbitrary, nebulous, capricious and without fixed form.
No more do I grasp the pagan lyre. My soul, imitate nature. Who can surpass her beauty? By day, by night, sing praises to the Lord; chant the wonders of the Creator. Nature, fatherland and God guiding humanity are the trinity of his emblem. They are his constant thought at home and abroad. Os Mysterios, a funereal can- ticle in memory of his children, published in Paris in , Is In eight cantos that sing the triumph of faith. That which is absurd cannot be true.
God exists and the human spirit Is Immortal In that knowledge. Urania, Vienna , chants love through the symbol of his wife. The epic attempt, A Confederaccio dos Tamoyos, in ten cantos, Is note- worthy not so much for lofty flights as for Its evidence of the author's blending of the patriotic and the religious motives.
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The attitude toward the Jesuit missionaries is the opposite to the stand taken by Baslllo da Gama in the Uruguay; they alone among the Portuguese are worthy; the Indians yield at last to civilization, but they are idealized Into defenders of justice against the Portu- guese exploiters. This noted painter was also affected by the free metrical structure of the Suspiros of Magalhaes, as he revealed In A voz da Natureza of The boresome epic Colombo, seeking Inspiration In the great discoverer, is com- mendable for Imagination rather than truly creative poetry.
Goncalves Dias Is more lyrical In spirit than Magal- haes, who was rather the meditative worshipper. The poet of nature was the first to reveal to Brazilians In Its full significance the pride of nationality, to such an extent, indeed, that his "Americanism" became a blind hostility toward Europe as being only a source of evil to the new continent. To this blend Carvalho, not without justice, attributes the Inner turmoil of the poet's soul.
He is religious in his patriotism, just as Magalhaes is patriotic in his religion, but if his aver- sion to Europe is unreasoning, his patriotism Is not a blind flag-waving: As we have already seen, Verissimo indicates an important difference between this "second" type and the first that appeared in the epics of the Mineira poets.
The native was exalted not so much for his own sake as by Intense re- action against the former oppressors of the nation. As early as the date of Brazil's declaration of Independence September 7, , numerous families had foresworn their Portuguese patronymics and adopted Indigenous names; idealization In actual life could not go much farther. In literature such IndianIsm, as In the case of Goncalves DIas, could serve the purpose of providing a highly colourful background for the poetic exploitation of the native scene. And before the national criticism had awarded Goncalves DIas that place of honour, the people had granted it.
- 365 Quotes and Other Things I Live By.
- Mein Halsband (German Edition);
- Haunted Valley!
Minha terra tern palmeiras, Onde canta o sabia; As aves que aqui gorgeam, Nao gorgeiao como la. With it he reached and conquered the people and our women, who are — in all respects — the chief element in the fame and success of poets. And not only the people, but Brazilian literature and poetry. Since that time the poet is rare who does not sing his land. Nor does he hide this, call- ing part of his verses, Cancoes do Exilio. In all you will find that song, expressed as conscious or disguised imitation. The birds that warble here i. Into the fidel- ity of those pictures and how far they served the cause of a Brazilian literature.
He counts It the distinguishing trait of the poet that his love poems move the reader with the very breath of authenticity. Into another form, perhaps another manner, but with the same lofty generality with which It was sung by the truly great, the human poets. In him love Is not the sensual, carnal, morbid desire of Alvares de Azevedo; the wish for caresses, the yearning for pleasure character- istic of Caslmiro de Abreu, or the amorous, impotent fury of Junqueira Freire.
It It the great powerful feeling purified by Idealization, — the love that all men feel, — not the individual passion, the personal, limited case. Indeed, this is just what Goncalves Dias himself has written: O amor que eu tanto amava de imo peito Que nunca pude achar. The love that so much I loved in my innermost heart, And that never I could find. The poet who wrote the lines that follow, with their refrain, Isso e amor e desse amor se morre This is love, the love of which one dies must have been something more than the man gifted with divination that Verissimo would make of him.
I would hazard the guess that Verissimo's deduc- tions are based on a certain personal passionlessness of the critic himself, whose writings reveal just such an idealizer of love as he would find in Goncalves Dias. Amor e vida; e ter constantemente Alma, sentidos, coracao — abertos Ao grande, ao bello; e ser capaz de extremos, D'altas virtudes, ate capaz de crimes; Comprehender o infinito, a immensidade, E a natureza e Deus, gostar des campos; D'aves, flores, murmurios solitarios; Buscar tristeza, a soledade, o ermo, E ter o coragao em riso e festa; E a branda festa, ao riso da nossa alma Fontes de pranto intercalar sem custo; Conhecer o prazer e a desventura No mesmo tempo e ser no mesmo ponto O ditoso, o miserrimo dos entes: Amar, e nao saber, nao ter coragem Para dizer o amor que em nos sentimos; Temer que olhos profanos nos devassem O templo, onde a melhor porgao da vida Se concentra; onde avaros recatamos Essa fonte de amor, esses thesouros Inesgotaveis, de illusoes floridas; Sentir, sem que se veja, a quem se adora, Comprehender, sem Ihe ouvir, seus pensamentos, Seguil-a, sem poder fitar seus olhos, '' Amal-a, sem ousar dizer que amamos, E, temendo rocar os seus vestidos, i Arder por afogal-a em mil abragos: Isso e amor e desse amor se morre!
The reason for the difference is to be sought rather in personal constitution than in poetic creed. This is love, the love of which one dies. To love, and not know, not possess the courage to speak the love we feel within us; to fear lest profane eyes cast their defiling glance into the temple where is concentrated the l est portion of our lives; where like misers we conceal this fountain of love, these inexhaustible treasures of flourishing illusions; to feel the presence of the adored one, though she be not seen, to understand, with- out hearing her speak, her thoughts; to follow her, without being able to gaze into her eyes; to love her without being able to say that we love.
And, fearing to brush her garments, to burn to stifle her in a thousand embraces. This is love, the love of which one dies! The passage just quoted, with all deference to Verissimo, is not great poetry, and precisely because it is too general. It is statement, not the unfolding of passion in a form spontaneously created. Alvares de Azevedo is the standard-bearer of the Brazilian Byronists, but he should not be classed off- hand as a mere echoer of the Englishman's strophes.
His Lira dos Veinte Annos is exactly what the title an- nounces; the lyre of a twenty-year-old, which, though its strings give forth romantic strains of bitterness and melancholy and imagination that have become associated with Byron, Musset and Leopardi, sounds an individual note as well.
The poet died in his twenty-first year; it was a death that he foresaw and that naturally coloured his verses. His brief, hectic career had no time for meticulous polishing of lines; if the statue did not come out as at first he desired, he broke it rather than recast the metal.
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Not a little of his proclamative rhyming is the swagger of his youth, which is capable, at times, of giving to a poem so banal a quadruplicative title as " 'Tis she! In the 12 de Setembro his birthday he ex- claims: Fora bello talvez sentir no craneo A alma de Goethe, e reunir na fibra Byron, Homero e Dante; Sonhar-se n'um delirio momentaneo A alma da creagao, e som que vibra A terra palpitante.
No inferno estao suavissimas bellezas, Cleopatras, Helenas, Eleonoras; La se namora em boa companhia, Nac pode haver inferno com Senhoras! He is Brazil's sick child par excellence, ill, like so many after him, with the malady of the century. But one must guard against attributing this to the morbid pose that comes so easy at twenty. Pose there was, and flaunting satanism, but too many of these poets in Brazil, and in the various republics of Spanish-America died young for one to doubt their sincerity altogether.
To dream in the delirium of a moment that one is the soul of creation and the sound sent forth by the palpitant earth. There can't be a hell with ladies around! That Alvares de Azevedo, for all his millennial doubts and despairs was a child, is attested by the following pe- destrian quatrain from the poem of the quadruplicative title: Mas se Werther morreu por ver Carlotta Dando pao com manteiga as crlancinhas, Se achou-a assim mais bella, — eu mais te adoro Sonhando-te a lavar as camisinhas!
Alvares de Azevedo's love, if Verissimo was right, was "um amor de cabeca," — of the head rather than the heart, a poet's love, the "love of love," without objective reality. What does it matter, however, if he give us poems such as Anima mea, Vida, Esperancas, and all, almost all, that he left us? Among his followers are Laurindo Rabello — , Junqueira Freire i and Casimiro de Abreu , — not a long lived generation.
Rabello was a vagrant soul whose verses are saved by evident sincerity. My verses, inspired by grief alone, are not verses, but rather the cries of woe exhaled at times involuntarily by my soul. He tried to improvise life as well as verses, for he drifted from the cloister to the army, from the army to medicine, with a seeming congenital inability to concentrate. Misfortune tracked his steps, and, as he has told us, wrung his songs from him. Verissimo calls him one of the last troubadours, wandering from city to city singing his sad verses and forcing the laugh that must entertain his varying audi- ences.
The popular mind so confused him with the Portuguese Bocage that, according to the same critic, some of Bocage's verses have been attributed to the Brazilian. A thousand times you must have seen me, happy amidst the happy, chatting, telling funny stories, laughing and caus- ing laughter.
Life's a drama, eh? Porque julgar-se do semblante, — Do semblante, essa mascara de carne Que o homem recebeu pr'a entrar no mundo, O que por dentro vai? E quasi sempre, Si ha estio no rosto, inverno na alma. Confesso-me ante vos; ouvi, contentes! Eu me finjo ante vos, que o fingimento E no lar do prazer prudenfa ao triste. He, too, sought — with as little fundamental sincerity as Laurlndo Rabello — solace In the monastery, which he entered at the unmonastic age of twenty as the result of being crossed In love.
Of course he thought first of suicide, but "the cell of a monk Is also a grave," — and a grave, moreover, whence the volatile soul of youth may rise In carnal resurrection. Junqueira Freire was the most bookish of children. He read his way through the Scriptures, Horace, Lucretius, Ovid an unblblical trio! His prose critiques are really remarkable In so young a person, and one sentence upon philosophy Is wiser by far than many a tome penned by the erudite.
Philosophy he found to be a "vain poetry, not of description but of raclotlnatlon, nothing true, everything beautiful; rather art than science; rather a cupola than a foundation. Al- most always if it is summer on one's face, it is winter in the soul. I confess before you ; hear, contented ones! My laughter is feigned ; yes, a thousand times I stifle with it the echoes of a groan that of a sudden rises to my lips; a thousand times upon the tempered strings I play, in accompaniment to my song fall tears, I pretend before you, for in the house of mirth pretence is the sad man's prudence.
It Is brilliant for a mere youth of Romanticist Brazil — an intuitive forecast, as it were, of Croce's philosophy of the intuition. Soon weary of the cloister walls, our poet sang his dis- illusionment in lines that turn blasphemous, even as the mother In Men filho no claiistro curses the God that "tore from my arms my favorite son. He is more the poet In his prose than In his poems, and I am Inclined to think that his real personality resides there.
Meu Deus, eu sinto e tu bem ves que eu morro Respirando este ar; Faz que eu viva, Senhor! Quero dormir a sombra dos coqueiros, As folhas por docel: E ver se apanho a borboleta branca Que voa no vergel! Quero sentar-me a beira do rlacho Das tardes ao cahir, 11 The same poet, In Verissimo's words, is the singer of "love and saudade. These two feelings are the soul of his poetry.
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Throughout its early years, literature from Brazil followed the literary trends of Portugal, whereas gradually shifting to a different and authentic writing style in the course of the 19th and 20th centuries, in the search for truly Brazilian themes and use of the Portuguese language. Portuguese is a Romance dialect and the sole official language of Brazil. Lyrically, the poet Olavo Bilac, named it " Luiza Gould 20 April Brazilian male film actors Revolvy Brain revolvybrain.
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