Studies in Portuguese Literature

Home , Gil Vicente, Portuguese literature

LONDON A GENTS

SI MPK I M SHA LL co . LI MITED N , AR , STUDI ES IN

PO RT UGUESE LIT ERA TURE

AU BREY F G BELL . .

O XF O RD

B . B B . H LACKWELL, ROAD STREET

1 9 1 4

N E ARLY a ce ntury ago it w as s aid o f Portugue se literature that it might be co mpare d with une d e ces iles do nt les n avigate urs o nt vu les cote s m ais do nt on ” — igno re completement le s ri chesses a land of th e

e e e th e o e a e eac e . ce H sp rid s , with g ld n ppl s unr h d Sin

e c h as ee o e b e co e e th n mu h b n d n , but it must nf ss d th at English criti cs have t ake n little part in reco n

i r n Yet o e e no t i g this unch arted cou ntry . P rtugu s

e a u e e a e ea e ea an a ea a ce lit r t r r p ys study , r v ling b n th pp r n of e c t o e e an d e a o e duln ss mu h int r st d light , m ny n bl

Th e a c fruits in its occasio n ally dreary cham ecas . f s in a can ti as de ami o of th e o e of K ting g g King Diniz , pr s ing a e t h e ca a utos of ce e th e e e Du rt , lyri l Gil Vi nt , xquisit ec o e of th e uinhenti s tas e a all o l gu s q , r m in but unkn wn to English reade rs . I n Po rtugal th ere h as been a certain reacti on against th e n eglect an d indifferen ce which h ave allowe d s o

a a e e o n a a e a m ny r r diti ns a d v lu bl m nuscripts t o perish . Th e brunt of th e wo rk h as bee n born e by S e nhor Th eophilo Braga (bo rn in It is easy to be repelled by th ose of his writings which deal with

e a c c . e are o e o o o e lit r ry riti ism Th y ft n with ut f rm , h n y co e e e o a e e an d e e a mb d with r p titi ns , t st l ss irr l v nt political V PRE FACE o r o e e o o f ea e e e a e th r digr ssi ns gr t l ngth , littl p d ntri s , a a Bu e ea e co e v gu e bstractio ns . t th ir r l m rits unt r a oo are b lan ce th ese defects in co nstructi on . His b ks n ot o o f art e are a ea o e o e w rks , but th y gr t m tiv p w r , proving and s earching th e wh ole do m ain of Po rtuguese o a e e o a e o lit erature . Unf rtun t ly his m th d is l rg ly hyp e ca th e e a a e e o o th ti l , with r sult th t singl ing ni us supp si

o e e o e o e o e c a e ti n , subs qu ntly dispr v d , inv lv s wh l h pt rs e c o e a o e of ca th e cce e in d stru ti n , lik h us rds , su ssiv e diti ons of his wo rks being a n e twork of co rrecti o ns

n o B ut h e e a one o f th e c e a d contradicti ns . r m ins hi f

e of co e o a o a af e ea of figur s nt mp r ry P rtug l , t r fifty y rs e e a o o t o th e a p rsist nt l b ur still w rking fill in g ps ,

' a a e His tan a da Li ttem ta ra Por tu ueza unh ppily l rg , in his g , o e - w a o e a utlin d in thirty two volum es . It s imp ssibl th t h e should bring t o a satis facto ry con clusi o n s o gigantic a a — o f oe c c o o c o o t sk p try , riti ism , phil s phy , psy h l gy ,

o o c th e o ac a acco e hist ry , p liti s ; but w rk tu lly mplish d e o ne by him is truly marvellous in exte nt . Whil must regret th at h e h as allowed sectari an politics to cree p and e o o of e a c c an d m a intrud int w rks lit r ry riti ism , y

e o e th e o o a of e on e can d pl r p mp us in nity his styl , but a e e ea ac e e e e ea c e dmir his v ry r l hi v m nt , his untiring r s r h s and e - f n ev r ailing e nthusi asm .

‘ ' 1 J e o a D ra c ae de Va o ce o e am S nh r Mi h lis sc n ll s , l ss bitio us o e c o a an d , but w rking with tru s h l rship insight , h as acco e c of e e an d a a e mplish d mu h d ﬁnit l sting v lu , as fo r a ce h er S e e o o f th e oe of , inst n , in pl ndid diti n p ms 2 55 de a a h er e o o f Canci onei ro da A uda Mir nd , in diti n j ,

1 Born i n 1 8 1 th e d au er o f a Ber lin ro e s s or Gus tav Mich aelis 5 , ght P f , , ' s h e ﬁ rs ca me to O or o i n th r d / f I Z 5 66 t p t e yea (i c , L3 } 2 Q Tw vo ls llo o . Ha 1 0 , , 9 4 . PREFAC E vii

1 th e Gescki chte der Por ta i esi schen Li ttem tw and in g , in h a o e o a oo a c e e o et c . S e m ny th r imp rt nt b ks , rti l s , diti ns , is th e best and surest living auth ority on questions of o e M o e e e a t o be e e a e . c P rtugu s lit r tur u h , h w v r , r m ins o e and a e e of a f c e of ea d n , wid ﬁ ld , m ny di ﬁ ulti s but gr t a c a o e o e to o e wh o a e th e ece a f s in ti n , li s p n th s h v n ss ry e and e e e a ce A c ca e o of th e o tim p rs v r n . riti l diti n w rks of V ce e an e o o f th e e e of Dom oao Gil i nt , diti n l tt rs J d e C a o V ce o of a a of th e a e and str , i r y Indi , study d t s

e e a o f Bern r im R e o 8 51 de M a a int rr l ti ns o a d ib ir , ir nd ,

' and C h rist ovam Falcao (wh ose p oems are by some attributed in th eir entirety t o Bern ardim Ribeiro) 2 the se are but three out of a hundred similar tasks . Th e eclogue s o f Bern ardim Ribeiro 1 486 C h ris o am a Sé de a a t v Fa c o c. 1 1 l ( 5 2 Mir nd , Do m M an oel d e Portugal ( 1 52 0 Di ogo B ern ardes

c. 1 2 0 L de C a oe e o de A a e ( 5 uis m s , P dr ndr d 4 C a - 6 r a F a c co Ro e Lo o c. 1 80 1 2 a e minh , r n is drigu s b ( 5 5)

1 ’ Gro b l l i E Ab t er Grundm s man c en hi o o e d 2 . 2 s der ro is h . . . , P g . g Lief 2 an g. d 3. 2 E s pecially urgent i s th e p ublication o f a large number o f wor ks s i in man us cri t ll pt . 3 ~ See B ernardimRibei r o B ucoli smo Ch ri s tovam F alcao For Th eo o e ( ) . il o Bra a or to 1 8 Th e exac d a es o f o oe s are ver un cer ph g , P , 9 7 . t t b th p t y ’ i n - a . Sen or B ra a i ves B er n ar dim Rib eir o s as 1 8 2 1 2 or os s ibl t h g g 4 55 , p y i i 1 M m mda e . M c a s n See a s o oesia s do 5é de d . C e d e V as co 549 . l P ( h l

s - r li n Mi is de V as con ce o N otas . 6 1 and a o a c ae ce os ll , , pp 7 7 77 C h l ll ' in Gr ndris d 7 m hil 2 8 - 2 B er n r dim Ri i r s u s er 0 . a e o mos . P . , pp . 9 9 5 b t amous oem i s h i s E lo a ano e F ranco i n oc os llabic redondilhas f p g g ( f ) t y . There are fe w more h aun tingly beauti ful p oems i n th e Por tugues e l anguage th an h is Romance Pola r ib eira de um r i o Q ue leva as aguas a o mar ” V ae 0 r is e de A valor t t .

4 1 0 - 8 Pedr o de A n d rad e C aminh a (c. 52 1 5 9) was a friend of all th e rea oe s of h is ime and corre s on ded wi em in v ers e d 8 5. e g t p t t , p th th ( viii PREFACE

o e o o e of o a and e er e a still to littl kn wn utsid P rtug l , d s v e of th e a o a an d Speci al study . In spit tr diti n lly dull

e o f of oe e e ea a artiﬁci al charact r this kind p try, th y r v l Th e ea real love of N ature and power o f song . dr my

a o f a e o of o a an d th e e e ch rm m ny r gi ns P rtug l , p nsiv f h e a a a e th e ec o e a characte r o t inh bit nts , m d l gu s n atural growth ; and just as th e ir idyllic ch aracter

e a e th e a of ce e s o a p rv d s pl ys Gil Vi nt , his piqu nt c a ac e a o ea a o o f th e o an d ec h r t riz ti n , r l ﬂ v ur s il , dir t observati o n o f life are t o be found in many o f th e e Po rtugu ese eclogu s . Anoth e r fascin ating study is th at o f Po rtugu ese o e th e c ea c e e e e ce of D a e pr s , in l rly his ll d s nt n s King u rt ,

’ th e a and a o ea Ckr omcas th e co o e qu int v ri us rly , l ur d and picturesqu e accounts of th e conqu ests beyond th e ” ea th e a a ce e o o f 050 d e Ba o B ecadas s s , b l n d p ri ds ] rr s , th e e e e e of th e of Be a a a a f rv nt l tt rs nun j , M ri nn

' h o ei t A co o a o o r t e n or zsmo o f th e s scentis as . l f r d , g g It is f c to e e e a w e a e th e a e a a e di ﬁ ult b li v th t h v s m l ngu g , “ ” A o e a a e o a a p rtugu z m j st s lingu , in th e precise and direct style of Francisco Manuel d e ’ 2 e o Car tas F amili ar es an d Di alo os A olo a es M ll s g p g , in

“ Miranda re fers to h im affectionately as el n ues tro A nd rad e b ut i oe r for th e mos ar is in er io r to eir s See oes ias de edro h s p t y t p t f th . P P de A ndrade aminha man dadas u licar e a Academia Real d as Sciencias C , p b p l is b a rom a M S in th e os s es s ion o f th e D u ue d e ad v l d e L o [f . p q C a a and ano er i n th e onven o da Gra a i s boa 1 1 A cri ica e di ion th C t c ]. L , 79 . t l t P ie h h b en is ed r n t Hal e r b s c as e u ece a . by J . p bl h tly l 1 — 1 496 1 570 . 2 A seiscentista 1 608 - 1 666 wh o s ou to w ri e wi c ear s im lici ( ) ght t th l p ty . His i e was a s ir rin one b ut h e h ad leis ure to im rove h is s le l f t g , p ty d urin th e on ear s h e s en in r is on T o a oun re a ion wh o g l g y p t p . y g l t was oin to th e wars h e w ro e us o on ius - as ion : I de com g g t th , P l f h Nos so Sen or Lemb raivos s em re d e e e d e uem s o is F ll h . p ll q . a ay PRE FACE ix

’ 1 h of Dom o ao de C a o e e th e a c t e vigour J str s l tt rs , pl sti ,

e o o o e o f A e a - a e th e e s nsu us , gl wing pr s lm id G rr tt , dri r , 2 e e of e a e e c a o admirably clear se nt nc s Al x ndr H r ul n , h e f E a de e o at e e an d t e pros o g Qu ir z , tim s simpl

e a e at me a e an d e a a a . th e r str in d , ti s inﬂ t d xtr v g nt Of a ac e an d a c of a o e turgidity , bstr tn ss , G lli isms m ny m d rn 3 writers it is unn ecessary t o speak . It may be th at th e Portuguese genius h as but little d c . a o a an laim t o o rigin ality It willingly looks br d ,

e n E e a e d lights in n oveltie s a d change s . v n mut bl o c a c ec e for a ce w as t oo for th e G thi r hit tur , inst n , rigid a e of th e o u e e th e ee ce an d t st P rt gu s in sixt nth ntury , e n lin e e a they load d it with Ma ue additio ns . Th y ssimi a e c an d o ce th e e e om a oa l t qui kly , , n impuls giv n fr br d , u they cloth e th eir borrowings in n ative garb . Th s beneath th e alt e rnating inﬂuence of France an d Italy and a and o e ece o f e a an d Sp in , , m r r ntly , G rm ny E a o e e oe a e o a e o e ngl nd , P rtugu s p ts h v sh wn th t th y p ss ss a f f w n ge nuin e gift o so ng an d a characte r o th eir o . Yet so mething w as lost if much w as gain e d wh e n th e Po rtuguese writers of th e sixtee nth ce ntury turn ed a a to a e o e o e and th e a o of g in imit t f r ign m d ls , s v ur

ﬁ i n i N 0 a or e s . r un ai ouco . u a me os . e u o ve rd ad e . 5 p Pe g t p j g y S g s ” on s ob ed e e a s ma ores G0 wi O ur ord E ver r e me mb er b c y o y . ( th L .

Him and wh ou are ea th e r u B e n o s iff - n e A s k f w o . S . t c ed e y p k t th t k . le v n l F ll w h ions . Gamb e e s s o t e d b r ue s e o oo o e ur elde s . q t . g ; y yo ) His celeb rated Guerra de Catalurca h as recen tly b een r epublis hed by th e Real A cademi a E s aﬁ ola rom th e ﬁ rs edi i on i sbon w i i n ro p f t t (L , th t

ion and n o es b D a i n o O c avi o icon M adri 1 n d uc . c d 1 2 A d t t y J t t P . , 9 . h is i w ri en M r E d ar r e s a e i s to a e r s r e . a o L f , tt by g P t g , pp h tly . 1 i n 0 ied G 1 rn L s o 1 0 d at oa 8 . B o at b , 5 , 54 2 A exan dre Her culan o d e arva o e A r au o 1 8 1 0 - 1 8 l C lh j , 77 . 3 Th e chie f d efects of modern Por tugues e are its vague pomposity and ts inabi i t use tw words w ere ten are o s s ib e— num i l ty o o h p l c g . ber ‘ ecomes desi na o nzzmerzca b g gd . x P REFACE

Po rtuguese literature in th e ﬁftee nth an d ﬁrst qu arter of th e ee ce was e a oe sixt nth ntury n ver recaptured . C m s ,

o o th e ea e oe of o a e e with ut d ubt , is gr t st p t P rtug l ; n v r th eles s o e e oe o f th e we e ce , P rtugu s p ts t nti th ntury would do well to go back beyond C amoes t o study th e native strains of Gil Vicent e and th e rough r edondilkas

f 8 25. d o e Miranda . Th e Portuguese poets through th e centuries have of o e an d ea —of o e o o and of sung l v d th l v with ut j y , death as an obj ect of desire

Frat elli a un t empo Amo r e Mort e ” e e l Ing n ro a sort e .

Th ey might take fo r th eir mo tto a lin e of a oilancete 1 by th e C onde do Vimi o so : Mi l vezes a mor te chamo Mil vez amor te ch mo o a es a . e a e a e a a ( , , ) Th y h v m d n ti n l c of Saudade an d th e a e o f a ece o ult , l st lin s r nt P rtu gues e poem t ell us that Saudade is et ern al and will 2 h e o e a n ot survive t e worlds and stars . Th y f rg t th t in Paradise and not in Purgatory we re said th e words

Tristi fummo ’ ’ Nell aer dolce q ue dal s ol s allegra . — e of o e e e a e a ea Other charact ristics P rtugu s lit r tur dr my , o e a a c a a o a e e c to o an d ft n f nt sti im gin ti n , t nd n y pr lixity

o e e a e and e e e o bomb ast , gr t squ s tir , ndl ss digr ssi ns a e e of o e an are all asp ects of a ce rtain v gu n ss utlin ,

1 1 8 - 1 He was th e a er of Dom M an oe d e or u a . 4 5 549 . f th l P t g l 2 Maranas 1 1 1 Teixeira d e Pascoaes . ( 9 )

u as s ar a M as a Saudade E t do p . Nao pas s araj amais ! e h a d e fi car (Porque e ll a é 0 I nfi nito e a Etern idad e) l Sob revi ven te aos mundos e as es trel as . PRE FACE x i a e ce of o an d ec o c co e a bs n vig ur pr isi n , whi h finds mp ns h o a e an d c a . a o t e o ti n in n turaln ss h rm I n w rd , P rtu

ues e a m o e oe ca ee n a co c o art g h ve r p ti l f li g th n ns i us , an d p erhaps fo r this very reason P o rtugal h as produce d an astonishing numbe r of spontan eous perfect lyrics

Fez h ﬁ as lirias n o som

u m1 a a ora om Q e s c m o c c .

Th e e of o a — th e o e o Do o e o riv rs P rtug l M nd g , ur , T j cr s talli no th e doce e a brando a manso Le a y , N iv , Lim , e

l Th e c f F a c Sé d e a l h ave th eir p o ets . lyri o r n isco de 1 e e e a e e t o th e R e Le a a e M n z s , ddr ss d iv r c , is inimit bl in th e easy ﬂow an d in evitabl e grace of its verses

O rio Le a c , C omo co rre s m ans o S e eu tiver descanso Em ti s e comeca

S empre so segado s Vao teu s m o vim ent o s Nao t e alteram vento s m Ne tempos mudados .

e Le a ( Riv r c , still , h ow ﬂow ! Ah , still thy ’ C ould I re st e er kn o w Re st wouldst thou instil

C alm thy wat ers move Ever with out fail Thee n o winds assail ’ N r o tim e s ch anges prove . )

1 1 1 —1 8 Th e few o f h is oems a av e s urvi ved ul 5 5 5 4 . p th t h f ly con ﬁ rm th e rais es o f h is con em orar ies A n on io F er reira Di o p t p , t , go B ern arde s e tc See oesi as de S ci de Mi randa ed M i . . . c ae is de , P ( C h l

n ll N o - 1 V as co ce os tas . , , pp . 749 75 xii PREFACE

I n th e s am e spirit an d with equal beauty of expressi on 1 D o o Be a e ca e ca o i g rn rd s , ptiv in Afri , turns his th ughts t o th e R e L a o n o e a w as o e iv r im , wh s b nks his h m Mas nunca deixarad e s e r fo rm o sa No meu atribulado p e nsamento A o L a a rib eira d im s udo sa . Nao ca a a e m e ec e o us r mim squ im nt , ' a ue ern e d e s uece r Ind q t virtud q , e m O s u brando e suave movi ento .

(But eve r in my s adde ned th oughts th e banks f r a a be a o c o . Of Lim sh ll f ir , whi h I l ng N ever in me sh all cause fo rgetfuln e ss Th e o an d e e o o of a e s ft g ntl m ti n its w t rs , ” Th ough p owe r it h as to h elp m en to fo rget )

o e e e a e oo c ea - cut o r P rtugu s lit r tur , p r in l r striking effec ma n ot a ac a ea e to o e wh o ts , y ttr t m ny r d rs , but , th s a ea e a a e e e e o f th e study it , pp rs lik f ir , humbl sh ph rd ss serr a all th e ace o f th e ce e oo ea a , with gr s nt d w ds , pl s nt

ea an d o e e of o a str ms , ﬂ w r d hills P rtug l

A e a a a a e e o a s rr é lt , fri n v s V1 i i i e e a a e ac o a . v n r s rr n g nt l , gr s 3 To e co e e h is t or e mbracin th e e a e writ its mpl t y, g lit r tur

1 b ili I I He was ree d amon o er or u ues e ca ives . f , g th P t g pt , y Ph p 2 He ce e ra ed th e ima con in ual in O L ma and man ears l b t L t ly ( y ) , y y ear lier h e wr ote to 8 51 d e M irand a th at h i s walk s w ere e ver al ong its ban ks : A ora r io ab aixo r i o acima g , , ue v ae s uavemen e murmuran do Q t , l b m 8 6me vo u pe a ei ra d o men Li a . 3 Th e b es t genera l s k e tch o f Po r t ugues e litera ture is to b e found i n Geschi ch te der ortu i esischen Li ttera tnr v on ar olin a Mic ae is d e p g , C h l n T B un manischen t lolo ie V as concellos u d heophilo rag a (Gr dri ss der ro g ) . ’ Ed 2 Ab t 2 s o d s e ara el i n S en ora Mic aelis de V as co ncello s . . g . ( l p t y) ; h h M ar ic e in La Grande E nc clo édi e or tu al : i ttérature o r i n r . Ed ar t l y p (P g L ) , g ’ i l in h nc e a r nni ca Pres tage s ar t c e t e E y clop di B i ta . PRE FACE xiii of a c a a c e an d o e be a a occ G li i , n i nt m d rn , must t sk upying

a ea . e a o e e e e o e a e m ny y rs P rh ps , h w v r , th r is s m d ng r at th e e e da e e ea e c c a pr s nt y l st , whil l rn d riti s , in kind of e a are e ac an d lit r ry spillikins , skilfully sifting th ir f ts a e th e e e a ea e m a a e e and e e e d t s , g n r l r d r y t k l ss l ss int r st th e e a e c e ca e e e to and in lit r tur thus s i ntiﬁ lly pr s nt d him , c e e a o e an l continu e in scar eness . Th s str ggling n t s c ay n o c a t o o a e ea c ma o e e as l im rigin l r s r h , but y p ssibly s rv a st epping - sto n e till th e crying n eed for a m o re thorough a nd co mplete study of Po rtuguese lit erature in English

. e is suppli ed Th e nam e o f M r . Edgar Prestag is well

o t o ea e . o a no E a kn wn _ English r d rs Pr b bly nglishm n h as s o intimate an acquaintance with Po rtuguese litera

e c h e h as e for e ea . e e tur , whi h studi d tw nty y rs Th r is ,

e e o e oo ea o t o o e a h e th r f r , g d r s n h p th t will supply this want an d provide English stude nts with th e ﬁrst history of Po rtugu ese literature ever writte n in English . No doubt it will com e as a shock t o many that Po rtugal h as oth er subj ects of int e rest t o offer be sides

- e e o o and o a e o c . ea port win , r v luti ns , r t tiv p liti s Gr t indeed would be th e reward of these chapte rs could

e e to ea a e o e a e c a e th y h lp sp r d just r , m r symp th ti ttitud a of a o c o o towards this l nd unf iling s ng , whi h thr ugh ut its histo ry h as bred m any an H om e m de braco e saber

a a ca a e of ca i o o m ny , th t is , p bl rry ng thr ugh with sw rd and p en wh at Sir Peter Wych e in th e seve ntee nth century describe d as Pe rfo rmances of t h e Po rtu

ues e o o o fo r th e Wis dome o f th e o a ce g , n t ri us C ntriv n ” and Gallantry of th e Execution .

1 I t i s th e r as e o f 51 d e Miran da des cri in th e S anis oe th e ph 8 b g p h p t , Mar ués de n i l n q Sa t l a a .

CO NT ENT S

C R A P. PR E FAC E

LI ST O F GEN E RAL WOR K S XVII

K I N G “ AND T HE EAR LY LYR IC S

EA Y P S E I I . R L RO

I C E NT E I I I . GI L V

V DE MI ND I . s A RA A

C AM Es V . o

E I A - ETT V I . ALM D GARR

I T H EE P ET S o r T HE I ET E ENT H C E T U Y V I . R O N N N R

I I I T WO M DE ELI S T S V . O RN NOV

IX PORT UG UE S E POET S O F T O - DAY

I N DEX T O Q UOT AT I ON S

I NDEX

x v iii GEN E RAL WO RKS

I n n ocenczo d a l v i i n r i b i li r a ' h u uez Si a : D cc o a o b og p ico por t g . Li b s oa 1 88 etc . , 3,

' ’ Lebes u t l a L u a i r ai u i Pa r i s e é s : e o r tté r e d au o r d h u . g ( ) P t g l l j , 1 904 .

L i A s oi i r a r o s ea u Hi t r e d e la é u e or u ais e . i 1 8 . . a r s 8 6 ( ) l tt t p t g P ,

Mich a el i s d c Va sconcellos (Ca r oli na) Ges chichte d er p or tugi e

s is ch en Litter atur Gr un d i s s d er r oman is c e n i o o ie ( h Ph l l g . d 2 . b . E . A tg Po e s ias d e sa d e Miran d a N o es Ha ll e 1 88 ( t ) . , 5.

’ A rtic e o n or u ues e Liter a tur e in La G a n d E nc lo d z l P t g r e y c pe e.

’ d Si lva M La i r a r - erei r a a . tté tu e or tu ais e Ri o d P (j . ) l p g . e

a nezr o 1 886. y , Pr estage (Edga r) Por tugue s e Lit eratur e to th e en d of th e 1 8th

C en ur Lon d on 1 0 . t y . , 9 9 Por tugues e Liter atur e of th e 1 9th C en tur y (in Th e La ter Ni neteen th en tur Geor e Sain ts ur a ter C y by g b y , Ch p Lond on 1 0 , 9 7 . A r ticl e on P or t ugue s e Lit eratur e in E ncy clo/i eed i a B r i ta n

n z i ca (las t ed tion) .

Remed i os (Mend es d os) H is tor ia d a litteratur a p or t ugues a d es d e

‘ i n a a i zni b as é a ua id ad e 2 ed o . o r a 1 2 or e es a C 0 . t c . a g t l e , 9

zm D i u li a r a r u ues a S ﬁes a s (yos e) C r s o el e men t ar d e tter tu p o t g . a i ed ao . Lis boa 1 8 2 . 7 e , 9

’

m n d L D la i r ur d mid i d e l Eur O e . o i . . S . d e e té a e u s (ff C . ) l t t p 8 2 To m . . a ri s 1 . 4 P , 9 Store/c V id a e r as d e Luis d e amoe s Ge n e r a I n r o ( W. ) O b C ( l t

d u ion L s b a 1 8 ct . i o ) , 97

Stud i en zur Ges chicht e d e r s p an is c h e n un d p or t u i i N n B r h n 1 8 . es s ch en a io a i eratur . e g t ll t , 59

d 8 - l tu 2 o m Ma d r i 1 6. i s d e l a i t . or t t . s . cas te . H ll y p g . , 95 9

See a s o Ti ck nor G is tor of S an is h Li er atur e a nd F112 l ( . ) H y p t

ma ur i ce- K elly (7) Lit tératur e Es p agnol e (Fr e n ch t ra ns la

tion s eco nd ed i ion 1 1 ) , t , 9 3. CH APTE R I

K I NG D I NI Z AND THE EAR LY LYRI CS

D URI NG th e second half o f th e e leventh an d ﬁrst half o f th e twelfth ce ntury G alicia underw ent m any changes f 1 06 e o h o frontier . I n 5 it xtende d southward t t e rive r 1 0 Mondego . In 93its boundary advance d momentarily t o th e n A f Leo an a a d o o V I . o d T gus , lf ns , King n C a e a e a c a and a e a a o still , gr nt d G li i his d ught r U rr c t

Ra o s on of th e C o of B . But h e ym nd , unt urgundy furthe r e ntruste d th e government of th e regio n betwee n th e e M o and a to th e co of Ra o riv rs inh T gus usin ym nd , C o e a e a e a h e e a unt H nry , giving him his d ught r T r j (T r s )

a a e . e o oo eca e e e e in m rri g This r gi n s n b m ind p nd nt , and th e on of e Affo o w as oc a e s H nry , ns , pr l im d ﬁrst

of o a 1 1 0 . w as o e e o e King P rtug l in 4 It , h w v r, nly v ry slowly that this artiﬁcial divisio n between th e tw o f Th countri es became a real dif e re nce . e language h e spoke n in both remained th e same . T e id as of th e new Portugue se C ourt we re cosmopolitan rather than ff e e n ati o nal . I n 1 1 47 King A onso H nriqu s marrie d a a a a a a e of A a eo o o f M f ld (M thild ) , d ught r m d , C unt 2 STU D I ES ' I N PORTUGUESE LITE RATU RE

a o an d e o B a a a o e a oe S v y , S nh r r g thinks th t Pr v nc l p try

ca e to o a o a an d a thus m P rtug l ﬁrst thr ugh It ly , th t it w as possibly in t h e train o f C o untess Mafalda that a e Mareabrus th e o e a oe t o rriv d , ﬁrst Pr v nc l p t visit 1 o a . o e e o a e a an e e ea e P rtug l It is , h w v r , pr b bl th t v n rli r connectio n with Proven ce h ad been establishe d through

w a a G alicia and S anti ago de C omp os t ella . S antiago s

- B ee m eeting pl ace of pilgrims fro m all Europ e . etw n G alicia an d France e sp ecially th e co nnecti on was a c o e one ac a e th e fact a th e o - e e l s , f ilit t d by th t n rth w st rn region o f t h e Pe ninsula was o ne o f th e few parts freed from th e domini on of th e Moors . N othing could be e a a a a e e o m or n tur l th n th t th s pilgrims , singing s ngs on th e oa o a e o ce o e of th e o r d , sh uld h v intr du d s m f rms

of o e a oe o a c a and e ce to o a . Pr v nc l p try int G li i , th n P rtug l 2 I n 1 093 C ount H enriqu e we nt o n a pilgrimage to

a a o and o e an d o e a a th e C ancionei r o da S nti g , v r v r g in in Vati cana w e ﬁnd echoes o f similar pilgrim ages

’ Po r fazer ro maria puz e n meu coraeom A S anti ago urn d 1a p or faze r o raeom ’ E p or veer meu am i go l ogu

1 le i - u ort P r T eo i B . o 1 8 Trovadores a c o ortu ezes. o o ra a 1 . g p g h ph l g P , 7 2 So an old ro man ce te ll s o f C on de Flo res :

ue vin a d a r o maria Q h , R o mar ia d e San ia o t g , S an tiago d e Gali za and th e ancien t Li nhagem dos B arganed os (pri n ted in Portugalia M onu menta s torica s ea s f th e marria e f D M end o Alai o d e B ar an a ) p k o g o . g c wi th e d au er o f th e K in of A r menia wh o w as oin u on th ght g , g g p a il rima e to an ia p g g S t go . 3 da Vat T e lli f r u ue v a rie . N 6 h e s n o o s e s s . o 2 o i n C , . 5. p g P t g

ﬁ n itel at d i feren erio ds o r even i n th e s ame eriod an d to - da y f t p , p , y KI NG DIN IZ AN D TH E EARLY LYRICS 3

A Santiagu em rro maria vem

Re a e a - me de cora om El y , m dr , pr z e ’ Per a co a s s e e me e o du s us s , D us p rd n , Em q ue te nho q ue me fez Deus gram bem C a ve rey el rey q ue nunca vi ” 1 Et meu amigo q ue vem co m el hy .

Th e t o a a o e e ( King S nti g pr s ntly , o e m a e come an d M th r , in pilgri g will , I a at ea s o ea e a o me Am gl d h rt , H v n p rd n , For th e tw o favours H eave n give s me th e reby ’ Th e o e e s aw a s ee an d o e e King , wh m I n r , sh ll I , t g th r

With th e King my love is co ming hith e r . )

Portugal underwe nt foreign inﬂue nce in yet anoth er w a for co a w as a e C a e on e y , its st p ss d by rus d rs th ir w a to th e o La an d e e e e e e y H ly nd , th y w r fr qu ntly driv n

e of ea e t o a e e e e e . 1 1 by str ss w th r t k r fug th r Thus , in 47, a o ce of ee o a a e o F a e f r thirt n th us nd Crus d rs fr m l nd rs , L a e A a e and E a wh o h ad e a orr in , q uit in ngl nd , mb rked two e at Da o a e in hundr d ships rtm uth , ssist d King A fo o t o eca e L o an d o e of e f ns r ptur isb n , s m th m settled in th e country . more an ever h mno hino i no mn ' cousa or cozsa n th y , , (hy ) (thi g) that in th e quotation s n o uni for mity o f s pelli ng h as b een attempted um hum hun huma hua uma i7 a for th e indeﬁ ni c e ar ic e . ( f . , , , , , , , , t t l ) Wherever tw o vow el s h av e r un i nto one th e acute accen t h as been

— - us ed as S et (for S aa) de Mir an d a an d th e circumflex where two s ab es ave b een con rac ed dor dolor ni or mai or but or os yll l h t t ( ) , ( ) , fl (fl ) . — Ano the r apparen t in co ns i s te n cy th e s pelli ng of Luis de C amoes and — Th omaz Rib eiro is d ue to th e ac a w ile th e a er w ro e h i s f t th t , h l tt t n ame wi a 2 uis n o t ui z a e ars on th e i e - a e of th e fi rs th , L , L , pp t tl p g t e di ion o f th e us i ads 1 2 and in co n e m ora r d ocumen s I t ma t L ( 57 ) t p y t . y b e s aid h er e tha t th e ver s e tr an s la tio n s th r oughout are but mis erab le e c o es of th ori in als are h a s b een a en to ma e h e g . C t k k the m a s li teral as o s s ib le b ut if an r ead er n ot n owin or u ues e ud e or u p , y , k g P t g , j g P t ue s e o e r r o m e s e ran s la ion s h e w i l e rr s adl in h is ud men g p t y f th t t l y j g t . 1 da Vat N c . N o . . o . 8 s . 2 C , 45 ( f 4 9 , 455, 4 STU D I ES I N PORTU GU ESE LITE RATU RE

It is cert a in th at G alicia and Portugal ado pted th e o e a oe ea e a a e a o h ad Pr v nc l p try rli r th n C still , lth ugh it 1 h i ﬁrst e ntere d t e Pe ninsula in C atal o n a an d Aragon . h n Po rtugal w as as yet scarcely a n ation . Sh e ad o n h great histo rical poems a d traditi o ns . Spain h ad er

w n e o c oe t o a th e o e a e ce o h r i p ms withst nd Pr v nc l inﬂu n , an d wh en singing in s ofte r mood th e Spanish poets sang in G ali cian o r Portuguese . Th e Canci oneir o of King Diniz cont ains m any P o rtugue se poems written

S an I ards an d o o th e ea e 1 2 2 0 by p , Alf ns L rn d ( in

o e s o ea a a e o f C a a e his pr s gr t m st r stili n , wrot his C anti as de Sa nta M ari a a c a or o e e for g in G li i n ( P rtugu s , w e fe e ce e ee th th ere as still but littl dif r n b tw n e tw o) . Th e Marq ues de S a ntillana ( 1 39 8 in an often

o e a a e of e e t o Dom e o C o a e qu t d p ss g his l tt r P dr , nst bl o f o u a a a a c a and o a a P rt g l , s ys th t G li i P rtug l ﬁrst dopted h oe of th e ar te ma or an d ar te comun s o t e p try y , much s o a n ot o b e o e e all oe of C a e th t l ng f r his tim p ts still , A a c a o r E e a a o e all e o nd lu i str m dur , wr t th ir w rks in 2 G alici an or P o rtugu ese . But th e fact th at it w as th e

G alician - Portuguese imitatio ns of Provencal poetry that thus prevaile d for a time in Sp ain in itself implies

1 Sanc o s econd K in o f or u a married a dau er of th e oun h , g P t g l , ght C t of r ven and K in o f Ar a on P o ce g g . 2 l ci n d o s as cas llana n eri es al s i lo T t a r m i . a Co ec e e i e s t o X V. o M dr id o p g . A ntonio de S ancha 1 : E de s ues a aron es a ar e ue ma or se , 779 p f ll t t q y ‘ ama e el ar e comun cre o en l os Re nos de Ga icia e or u a ll t , , y l P t g l ; d on de n on es d e d ubdar q ue el e xercicio d e s tas s ci encias mas q ue en n ingunas o tr as region es u p r o vin cias s e acos tumbro ; en taut grado q ue n on h a much o tiemp o q uales q uier d ecid o re s é trovadores de s tas ar es a ora ues en a s e lla n os A n daluce s od e la Es remad ura odas p t , g f C t , t t s us ob r as co m o nian e n le n ua Galle a o o r u ues a E a un d es tos p g g P t g . es cier o res ceb imo s lo s n omb res del A r e as i como Maes ri a Ma or é t t , t y ” men or en mans ob re cad enad os lex a ren e . , , p KIN G DIN I Z A ND THE EARLY LYRICS 5 th at th e se Provencal lays we re m ore in h arm o ny with th e ge nius o f th e Po rtuguese p eo ple th an with th at of

a an d e e th e o e far e a a th e Sp nish , w r with f rm r l ss p ssing fashi o n th an with th e l atte r . Their inﬂu ence in Portugal laste d o n into th e Six

e n h ce s o a C h ris tovam F a cao a of t e t ntury , th t l (first h lf sixteenth ce ntury) h as b ee n calle d t h e last ech o of th e 1 t o h ow far th e ea o e e Provencal lute . As rly P rtugu s lyrics were e ntirely artifi cial an d due to Prove nca l e ce an d t o a e e e e e th e o co m e of influ n , wh t xt nt th y w r ut

e a o a o r o a oe e e h as ee o me a r ally n ti n l p pul r p try , th r b n s

o a ea to a o f n o diffe rence o f o pini o n . It w uld pp r dmit doubt that at th e intro ducti o n of Pro ve ncal poetry an ea e a e o e e e in o a an d a rli r n tiv p try xist d P rtug l , th t this n ative popular p oetry m aintain ed itself wh e n th e e ce of o e a o w as at e an d con inﬂu n Pr v nc l s ng its h ight , tinued (as refe re n ces to it in Gil Vicente prove) afte r h th at inﬂu e n ce ad wane d . o ac th e e ace t o e o of t h e C an M n i , in pr f his diti n ci oneir o of D o r da Va ticana e King iniz ( ) , distinguish s

e ee th e o e a oe c e e eca e b tw n Pr v nc l p try , whi h n v r b m a o a o a a n d a oe e e e o n ti n l in P rtug l , p try ntir ly indig n us ” an d o a c th e oe of th e o a truly rigin l , whi h p ts Di nysi n cycle learnt fro m th e lips o f th e p eo ple an d bo rrowe d

o th e eo e t o th e o c of fr m p pl , giving it ﬁnishing t u h ” 2 art Lang ho lds th at t h e real debt of Po rtugal t o

1 O ultimo ecco de ala ude pr ov en cal Ep ip h an io d a Sil va i n h is e di ion o f h ris al T B r rooador es alecia- or tu uez C . T E a a . es m t f . g g p g : or u a as con di coe s vitaes d a n acionalida de n ao er am tao r o un das P t g l p f , e a poes ia d o s tr ovador e s co ns e r v o u- s e quas i até 0 t emp o d o C an cion ei ro de Re s end e

2 “ ’ I p or togh es i acca n t o alla p o es ia a r ti s ti ca d imita zione s traniera ’ una al ra n e bb e ro d e l u o i ndi e n a e v erame n e o r i in al e I t t tt g t g . 6 STU DI ES I N PORTUGU ESE LITERATU RE

Provencal poetry w as that through it th e n ative p oetry 1 was e co a e to a e a ce n ur g d t k pla in lit erature . M A . e eanro on th e o e a o e e lfr d J y , th r h nd , w uld r fus to derive even th e cantigas de a migo directly from ’ a o a e p pul r source . Si ell s so nt p opulaires c est ar le e la c é du e n on ar la p rythm , simpli it styl , p p ensée . On retrouve en eux a ch aque p as les imitateurs de ” la oé e o e e Th e p si p r v ncal et francaise . e them s “ ’ ’ paraisse nt p lutot étre l éch o d un e poésie p opulaire

ue ce e - An h q tt poési e populaire ell e mem e . d e sums up as follows : Il n ous p arait n on p as ce rtain m ais probable q ue la plupart des them es populaires q ue n ous o ffre le ch anso nnier du V atican on t p assé d e Fran ce ’ en Po rtugal et q ue la p oési e p ortugaise n a fait q ue mo diﬁ er q uelq u es details sur la faco n dont ils on t été ’ traités ; o n peut etre plus afﬁ rmatif et dire q ue l imita ” o a He a ow e e a e es t é e e . ti n fr nc is y vid nt dmits , h v r ,

’ that in Portugal this poetry h as traits plus areh aiq ues ’ q u en aucun autre p ays roman and pe rsonn ages

ro va ori d el Cic o dio nis iaco 1a con ob ero d al a occa d el o o o d al t t l b l b p p l , ’ o o o I i e a r e A s to th e a racco s ero ri occando a coi ma is er d . p p l l , t l g t ll t ‘ Provencal - Por tugue se p oe tr y : Sor t a p er impul s o di un a mo da pi ti ue d el en i o uel a litteratura n on iun s e ad aver e una or za or anica q g , q l g f g ll r e d na zi ne Per s ua r o ria n é un o c om enetro s s i co a vi a ea a o . p p , p t p t l il ch e non a en a n uov e cor ren i S an is an d I alian reva s ero , pp t p h t ] p l ’ alla corren te occitan ica ch e l avev a des t at a es s a re pen ti n amen te d e cadde ’ i n n é p ote guar i s op r av i ver e all ultimo d e i s uoi pr ote tto r i [K g Din iz]. 1 ' Das i ederbuch des K oni s D eni s von or tu al zum ers ten mal voll L g P g , s tii ndi h eraus e eben and von Ei nleitun A nmer kun en und Glossar verse/zen g g g g , g von Henr R a n Halle a S 1 8 D a s wir lic e V e rdie ns y . L g. . . , 94 k h t d as s ich d ie Prove n zal en um Por t ug a l er w orben be s t eht d arin d as s s ie d urch ih r Beis piel dies er V olks lyrik die B ahn in die Litteratur brach en n i z e n und s i e a s L cht og .

8 STU D IES I N PORTU GU ESE LITE RATU RE

a e a o a a me leixou M dr , n m r d ’ M adre n amorada m b a lei xada ” 1 M a o a a me leIxou adre n m r d ,

’ with which one may comp are th e refrain by Pedr Anes S olaz ’ 2 Lelia d o utra ’ E doy lelia d outra

Le e ar e le - l li , l li p d us y ’ ” 3 L e a o a li d utr ,

e e an a c e e acea e e a to a e vid ntly n i nt dirg , tr bl , p rh ps , tim 4 B h f h e wh en asque w as t e language o t e whol Peninsula . As proo f of th e exist ence of a p opular poetry in Po rtugal h as bee n adduced th e m ention in th e

M uer o le d ex o a la oril a d el ri o t l , l x l i M uer to e d e o a a o r lla del vado . A uana cuer o arrido y J , p g l e A uana cuer o a an o tc . y J , p g

T eo i o B ra a arnaso or tu uez M oderno recedido de um estudo h ph l g , P P g , p a 1 I da oesia moderna or tu uez . Lisboa 8 . ar I I : O s l ricos p p g , 77 (P t . y

1 da Vat N o . 1 C . 4 7 . ’ 2 M on ei s edi i on h as exce in one in s an ce doura a . t , pt t , 3 da Vat N 1 C th e lei las and th e Bas ue leloaren o . cantua C . . 4 5 f . q . o i i s I t l us Cf . als S l u a ic Mis i t dives Galleccia p ub em Bar ar a nunc atr iis nlnlantem carmina lin uis b p g .

1‘ Leila and leli leli may perh aps b e connected with th e Bas que i t - d b ut c Don uixote Lelili es al us o d e mo ro s uand o e n r dea ( f . Q : q t an en las batallas O f th e ear ly Por tugues e indigen ous poe tr y generally as os ed to th e imi a ions of rove n a D r il e m S orc s a ( Opp t t P c l) . W h l t k ys “ th at i t i s with out mode l s and with out parallels i n th e litera ture s of s is er coun rie s and er a s a dis an an d i s o a ed ec o of e ib erian t t , p h p t t l t h C lt s on s a s ounde d o n a o i n th e renea n i ls i e o amoes g th t l g g Py h l (L f f C , Mic a i s V n 61 . or u ues e ran s a ion . e d e asco e s . c p P t g t l t by C h l ll o . Lisbon , KING DIN IZ AND TH E EARLY LY RICS 9

“ ’ ” “ Cascioneir o da ati cana o f a ea a o Di z V p s nt s s ng , ” hica canti a de vilad a to . ean ro o ec g , but this M J y bj ts “ ’ that il es t a re m arquer q u un e ch anson p opulaire ’ ” 1 n est j amais q ualiﬁée ainsi q ue p ar des lettrés . It is more signiﬁcant that Gil Vice nt e continued in th e sixteenth ce ntury t o place can tigas de amig o on th e

lips of p easants and of humble worke rs in th e towns . But th e best proof is th e simple structure of th ese oe c was not th e o of C o oe p ms , whi h w rk urt p ts ,

however much they may have e mbroidered upo n it . Th e o an d e e e e o f th e o e co oe w rds th m s , v n m r urtly p ms , e e e e a a o of th e o as a Oft n pr s rv d ﬂ v ur s il , in th t by King

D e e th e ami a oe o a e iniz, wh r g g s t w sh lin n

’ Levanta s a velida ’ Le vanta s alva E vay lavar camisas 2 Em o alto ;

or th at by Joh am Soares C oelho which cont ains th e pop ular proverb

C a diz o ve rvo : ca non sem eou Ml lll O que m passari nho s receo u .

O n th e oth er hand th e Senhor sometimes uses French o ene a li er a w rds , y , et c .

1 Th ti a de ila e can v da was s a ed to ave een oss ed . da Vat g t t h b gl (C . ,

No . by Joh am d e Gaia on th e s ubj ec t of a tailor ( th e vilad o) wh o h ad b een crea ed a caval e ro n Di i Th e us e f th e r as e t y by K i g n z . o ph canti a de vilada cer ainl s eems ere to im l th e s i n in if n ot th e g t y h p y g g , ’ com os ion of canti as b th e umb ler o us as th e Li s on ai or s p it , g y h f lk , j t b t l wi e in Gil Vice n e s in s a canti a d ami f t g g e go. 2 . da Vat N o 1 2 C . 7 . 3 I bid “ . No . 2 8 Th , 4 . e prover b says : He s ows n o maize wh o is ” ever i n ear o f th e bi f rd s . 1 0 STU DIES IN PORTUGU ESE LITERATU RE

’ ’ ue o eu a o a o a raz om Q trist j nd , f z gr m , ’ F o o meu a o e o meu co ra o m y s mig c , ’ Do a er boa e n s , p f l Ala es t h u el é ; s h e l ooks in a glass

’ ’ 2 Mas q uant oj eu n o meu espelh o vi ’ ’ ’ Grades e a deus muyt e grad es co lh al ’ 3 Q ue m el fremo s a fez ;

’ Sh e sp eaks of h er amig o as in th e King s h ouse o r with th e King

’ ’ 4 Meu a o é em eas d el re mig y , ’ ’ ’ 5 Foi s s o meu a o a cas d el re mig y , 6 V a meu a o co el re o a y mig rn y m r r , ” 7 meu a ue é com el re O migo q y .

These are clearly C ourt imit ati o ns o f th e can tig a de ami o o e of o e D a oac g , but s m th s by King iniz ppr h C er much m ore clo sely to th e simpl e p o pul ar fo rm . t ain ly th e m o st fascinating an d o rigin al of all th e ea o e are e e c nti as de ami o rly P rtugu se lyrics th s a g g , writte n for th e Senhor ( = senhor a) t o speak o r rath er 8 Sing :

1 da Vat No 2 8 B oh am Lo es de U lh oa C . . . . 9 . y J p . 2 “ po lid o Es e o d e a o on d e cr is a ormoso p lh g t l f . m es Lu viii a s . (C o , . ,

3 b r G mes B r s B e o o ar o o . I id No . . , 335. y P 4 bi d N o 1 B e ro d a on e . I . . , . 4 9 y P P t 5 I bid No 6 B oh am A ras of an ia o . 34 . y J y S t g . 6 me I bid N o 6 2 B th e s a . . 3 . y 7 B er G mes Barr os o I bid No o o . . 334 . y P 8 Th e popul ar s on gs fr om which th e y w ere d erived w ould b e nd s un th e women e ms elve s La in w ri er s h ad compos ed a g b y th . t t of Galicia al ready no ted th e s ongs a n d imp r ovi s atio n s of th e women . KING DIN IZ AN D THE EARLY LYRICS 1 1

e a la fremosa s eu o o ce o S di fus t r nd ,

Sa voz man s elmh a fremo s o d l z endo / ’ ” i 1 Cant gas d am go .

Th e a one s at h er o o ce ea ( f ir spinning , s ft v i b utifully canti as de ami o singing g g . )

’ Tres m ocas cantavam d amor 1 fremos inh as a o e Mui p st r s , Mui coyt ad as d os am o res ’ E diss unha mb a senh or ’ D e a a co m o iz d , mig s , ig m O cantar do eu amigo .

ee a e e e S of o e e (Thr m id ns w r inging l v , v ry

e e e e ea ou e o e an d sh ph rd ss s , gr tly tr bl d with l v ; o f e a a : F e me th m , my l dy , s id ri nds , sing with s ong of my friend . )

’ Fex h unh a cantiga d amor O ra meu amigo p o r mi Q ue nunca melho r feyt a vi ’ M ays co mo x e muy trobador Fez h ﬁ as lirias n o s om

r m Q ue mi sacam o co aco .

(A song o f love my fri e nd for me ’ Has m ad e : n e e r faire r so ng I s aw B ut h e e e oe , w ll skill d in p try , Ve rses h as m ade o f su ch b eauty And a a e music th t my h e rt th y draw . )

Th ere was great dem and fo r these cantig as among th e C o a e s o c s o a o e e o e urt l di s , mu h th t d ubts w r s m

1 F remosmhas M on aci ( ) . 2 t N o 86 B Louren o r ar da Va . o C . , . 7 . y c , j g . 3 i N O . B u n I b d . ao u i Bols e r a o . , . 779 y J y [J l ] y 1 2 STU DI ES I N PO RTU GU ESE LITERATU RE

e w e e a canti a w as new o r tim s expressed as t o h th r g , an old one m ade to se rve for th e occasion

No cant ar q ue diz q ue fez ” 1 Po r m1 se o or mi fez . , p

th e o h e for me for me h e a e . (In s ng e mad , if m d it )

Fez meu a o a a s eu ca a mig , mig s , nt r Per boa fé

E h fi a o a o uerria or s eu d n q p , ’ M ays s ey eu bem po rqu e s o cantar fez ” 2 h z E 0 cantar ja valrria unh a ve .

Th e ﬁrst two line s of th e cantigas de amigo are in a o ke e i a o a th e eco two min r y , nding with ss n nts ; s nd end with th e broade r a

Di ades filh a a filh a e a g , minh v lid , Po rq ue tardast es n a fontana fria P Os amores ey l Di ad es filh a a filh a lou ana g , minh c , o e a a e na a o a a P P rqu t rd st s , fri f nt n Os am ores e y a e a a e na o a a a T rd i , minh m dr , f nt n fri , C e a a rvo s do mo nte a gu volvi am . Os am o res ey a e a a e n a a o a a T rd i , minh m dr , fri f nt n ,

C ervos do m onte volviam a agu a . Os amores ey e a ﬁlh a e o r a o M ntis , minh , m ntis p mig , Nun a i e e r e v c rvo q ue volvess io . Os amores ey ! Me a ﬁlh a e or a a o ntis , minh , m ntis p m d , ’ 3 Nun ca vi ce rvo q ue volves s o alt o . ’“1 O S am ores ey l

1 da Vat N 2 N 1 B h am d e Guilh 8 I bid o . 6 . o ade . o 1 . C. , . 9 3 y J .

3 ‘ Or os s ibl d 1 a N o B e M e va d Vat . r o o o . o p y . C . , . 797 y P g . KING DINI Z AN D THE EARLY LYRICS 1 3

e me au e a e fa T ll , d ght r, my d ught r ir , Why from t h e cool spring s o long were you coming a am o e Al s , I in l v e me a e o e a e T ll , d ught r, my l v ly d ught r, Fro m th e coo l spring why s o lo ng were you co ming A a am o e 1 l s , I in l v o e th e coo a e M th r , by l spring I t rri d , Dee h h r from t e mountain t e wate r we re troubling . a am o e 1 Al s , I in l v a e o e th e coo S I t rri d , m th r , by l pring, Dee h r from t e mountain were troubling th e water . a am o e ! Al s , I in l v ’ a e a e o e one ou e e Tis f ls , Oh my d ught r ; with l v d y ling r d , ’ F r o n e e r s aw I deer that would trouble th e stream . A a am o e ! l s , I in l v ’ a e oh a e o o e ou a e Tis f ls , my d ught r with y ur l v y d lli d , ’ F r o ne e r s aw I dee r that wo uld trouble th e wate r . A a am o e 1 l s , I in l v )

De ue morredes ﬁlh a a do co o e o ? q , rp v lid ’ a e mo ro d amores ue deu meu a o M dr , y q mi mig , A 1 lva e vay liero . De ue morredes ﬁlh a a do co o lou ano q , rp c ’ a e mo ro d amore ue deu meu a a o M dr , y s q mi m d A i ” 2 lva e vay l e ro .

3 Dizia la fremos inh a Ay deus val l ’ C o m o e stou d amor ferida ! Ay deus val

1 — A ube and ris e th e alvoradas aub es so u or a . C . ad , p f , , dawn s o n s of w ic a de i ul exam e i s a b Nuno F ernand ez g , h h l ghtf pl th t y Torneol

’ Levad ami o ue d or mides as manh anas rias g , q f ' Tod a - las mund o d am r di zi am av es d o o .

’ ’ ” ed a m and eu L .

2 da Vat o 1 B K in ni 3 F emosmha Mon ci N 0 Di z . r a . C. . , . 7 . y g ( ) 1 4 STU DI ES I N PORTUGU ESE LITERATU RE

Dizi a la bem talhada Ay deus val ’ C o mo e stou d amor coytada ! Ay deus val ’ E com o e sto u d amor fe rida Ay deus val No m vej o o bem q ue qu eri a ; Ay deus val ’ E co m o e sto u d amor coytada Ay deus val Nom o ue o vej o q muit am ava . ” 1 Ay deus val l — (Th e fair o ne w as saying Be with me H eave n — How am I wounde d with love l Be with m e H eave n — — Th e lovely one w as saying Be with me H eave n — How am I troubled with l ove l Be with me H eaven ! — — And wounded with love Be with me H eave n — I cann ot s ee th e goo d that I desire d ; Be with me — — H eave n l Trouble d with lo ve Be with me H eave n ! — — I cannot s ee that whi ch I greatly loved Be with me H eave n Thus th e same words are rep eated in th e ﬁrst and eco co e t o fo a of a o r a s nd upl ts , rm kind w il lit ny , rising and a h i n a h e a f lling in t e a d sounds , t e form r alw ys 2 o ﬁ r c ming s t .

1 da at N B A . V . 68 . ff s o anc es o . on . C , 3 y S h 2 ’ Th us in th e cantiga de amigo i n Spanis h i n Gil Vicente s Triumpho do I nverno th e followmg s hould b e th e ord er “ D el ros a ven o mi madre l g , , V en d e r a go l o s l . A r iber as d e aque l rio V iera es ar rosa ﬂorido t l , V en el l go d rosa . A rib eras de a que l vad o Vi era e s ar ros a ranado t l g , V en o d el ros a g l .

1 6 STU DIES IN PO RTU GU ES E LITERATU RE

In o ne th e mothe r says

Filha s ey eu q ue o nom faz

Da e o a h e o e ou n ot ( ught r , I kn w th t l v s y ) and th e daughte r answers

’ ” 1 M - a e c ee vos e d al . dr , r r y

M ' o e a e e will I e e e ou . ( th r, in ught ls b li v y )

Two charming cantigas by King Diniz show th e mother already w on over or being coaxed into con sent : ’ V - vos a e co meu ami a y , m dr , rn g qui ’ Oje falar e ouv eu gram prazer . ’ ’ C a p oys q ue 5 el ledo partiu d aquem

Nom pode see r senom p or meu bem . El p os os seus olhos nos m eus enton a o e ue vos es ediu Qu nd vist s q xi p , ’ E tornou contra vos led e riiu ; ’ n E p or end ey prazer no coraco .

s aw ou o e e e to - da ea (I y , m th r , h r y sp king with my

o e and ea was e . Fo r S ce h e e l v , gr t my d light in w nt f An h en ce j oy ully it cannot but be for my good . d the n b e e e e on e e h e oo ea e of u ﬁx d his y s min , wh n t k l v yo , and e t o ou a and a e and e e o e turn d y g ily l ugh d , th r f r I have pleasure in my h eart . )

s 4 Mb a madre velyda ’ Vou m a la baylia D o amor .

1 B h r Vat 2 . m oa es oe o da No . 8 o a S C. . , 9 y J C lh . 2 i 8 3 = ha b d N . 1 . Min I . , o 9 . 4 ' M onaci Sen or Bra a in h is edi ion rin s madr l : m mo er . h g t p t y th i s ai r f . KIN G DIN IZ AND THE EARLY LYRICS 1 7

Mb a m adre loada ’ Vou m a la baylada

Do amo r . ’ Vou m a la baylia Q ue faze m em vila Do a o m r , Q ue fazem em casa ’ Do q ue eu muit am ava D ” o amor .

M m h e f e o e a ot e a o to t a ce o o . ( th r , f ir m h r , I g ing d n l v

o e o e m o e am o t o th e a ce of o e . M th r , n bl th r , I g ing d n l v

am o t o h e a ce th e o o h e a ce th e I g ing t d n in t wn , t t d n in o f h use o my love . )

Th ere is a similar cantiga by Stevam Fernandes ’ d Elvas :

' ’ ’

a e c e o meu ami o a . M dr , h g u g j qui m o a s om ﬁlh a co m ue me n o a . N v s , , q pr z mb r f z Por e a a e a o o e a . d us , m dr , gr m t rt p m No faz mb a ﬁ lh a ca erdedes h . , , p y

a erdere a e s e el e e . M ys p y , m dr , p rd r

Bern lh e s abedes mh a ﬁlh a e e . , , qu r r

- — Mo e t o da o e ca e e . e ( th r, y my l v m hith r N ws this , ’ a e a e me n o ea e — o e o e my d ught r, th t giv s pl sur M th r, f r ea e ou do me ea o l—No a e H v n , y gr t wr ng , my d ught r , for fo r o o s — G ea e o be e this is y ur l s r t r l ss will min , — D ou o h ow o e o e o e . a e to m th r, if I l s my l v ught r , y kn w e lov him well . )

And another by P edro d e Veer

e o - vos ﬁlh a t am de cora om V j , , c Cho rar t am m uyt o q ue ey eu p esar

1 8 N . 6 a at . O C . d V , 4 1 8 STU DI ES I N PORTUGU ESE L ITERATU RE

E ve nho - vos p or esto preguntar ’ ue di ade s s e e vo s e o Q mi g , d us p rd n , ’ Po rqu e m andades t am triste cho rando ’ ’ m m r No o eu a e s e a a ca a o . p ss , m dr , p nd r nt nd ’ Nom vo s ve eu ﬁlh a e e ca a j , , s mpr nt r ’ 1 M ays C h o ra r muyt e com q ue p o r en A uered m lgum amigo q es gram be .

E e o - vo s o r e o e a v nh p st pr gunt r , ’ ue me di ades s e e vo s e o Q g , d us p rd n , ’ Po rqu e m an dades t am triste chorando ? ’ ’ ” 2 Nom eu a e s em r a a ca a o o . p ss , m dr , p nd r nt nd

Da e s ee ou ee s o o e a am ( ught r , I y w ping s r ly th t I e e an d co e to as k ou t o e me s o ea e gri v d , m y t ll , H v n

a o ou are ou e e a ee p rd n y , why y thus v r s dly w ping o e ca o a a be —Da e s ee M th r, I nn t lw ys singing ught r, I ou n ot a a ea ee and y lw ys singing , but h vily w ping, it u must be th at so m eo n e th e re is wh o m yo greatly love . And e e o e co e t o as k o u t o e me s o ea e th r f r I m y t ll , H v n a o ou are ou e e a ee ? p rd n y , why y thus v r s dly w ping

Mo e ca o a a be . th r , I nn t lw ys singing )

Mo re rarely th e cantiga is addressed t o a sister

I rmaa meu a o , O mig

Q ue m1 que r bem de coracom. O r t o friends

A a ue e vos a a mig s , q d us v lh , Qu ando veh er meu a migo ’ F alade s emp r unhas co rn o utras ’ a el a a co o q u nt f l r mig , C a muyt as co usas dire m o s

Q ue ante vos n o m diremos .

“ '

E Th Bra a M onaci h as co en . d . . g . q p a t 2 d Va N o . C . . , 7 5. il G . N . 6 B V aas co I bid o 2 6. . , y

id B oh am d e Guilh ade . I b No . 2 . , 35 . y J KI NG DIN IZ AN D TH E EARLY LYRI CS 1 9

F e ea e be ou e o e a ( ri nds, H v n with y , wh n my l v sh ll co e e e ee ea ne t o a e e h e ea m , v r k p sp king o noth r whil sp ks me fo r a a w e a c e o e with , m ny things Sh ll s y whi h b f r ou e y w sh all n ot s ay . )

Or it is a dialogue between th e lover and his love

Amigo po is mi diz edes C a mi q ueredes gram bem ’ ’ Quand o ra vos fordes d aq ue m Dized e - me q ue faredes S e nh o r fremos a eu vol - o direy ’ ’ - r r To rnar m ey ced ou mor e ey .

’ S e nostro senho r vos perdo n Poys aqui s odes coytado Quando fo rdes alo ngado Por deus q ue farey e ntom S enho r fremos a eu vol - o direy ’ ’ o a - m e e m rrere T rn r y c d ou o y .

C o e e me o e ce now ou s a ( m t ll , l v , sin y y a ou o e o e me e Th t y m st sur ly l v w ll , a ou d o e e Wh t will y th n , truly t ll , Whe n fro m me you are go n e away Fa a e o u ir l dy, I will t ll y , I oo e r i Must s n r turn o else will d e. )

e e th e o e e e ea a o h e o Oth rwis l v r n v r sp ks , lth ugh t f llow ing is a close imitatio n of a cantiga cle amigo

E n lixboa sobre 10 mar B a n e arc s novas ma d y lavrar . Ay mb a senhor velida ! 2 En lixboa sobre lo lez

1 M m ri e Ten r Vat No 1 B e Rod u s o o . da . 8 C. , . 3 . y g y 2 B r th Ar bi More ro a r m th e y s ome deri ved f om e a c . p b bly f o ’ La in latus s o de tee a lez = fr0m side to side a nd th e le and les in t ( ,

- Th e ancion rinh o re d s ler F renc and En is ace names . C ei a h gl h pl ) . 2 0 STU DI ES IN PORTU GUESE LITE RATU RE

m nde Bareas novas a y faze r . ” 1 Ay mb a senh or veli da l

(At Lisbo n on th e s ea I orde red new ships to be h o e A a . A L n e built . las f ir lady min e t isbon o t sh r I

e a e n . A a a e bid th m m k ew ships l s f ir lady min . )

e e oe e fo r h er h er o e th e In th s p ms , writt n by l v r , en r h S ho of e e as a o e etc . t e oe sings h rs lf f ir, l v ly , I n p ms m o re directly copied from th e Pro vencal and sung by

th e o e th e e c o are n ot c e e a e . l v r , d s ripti ns mu h mor d t il d

’ h elid ci m ilh S e v a lou a bem talhada . oh a d e Gu ade is , c , J 2 f h a sp eaks o er fair shape (bem talhad ) an d green eye s . ’ 3 Sh e is th e lume d es tes olhos meus (light o f my eyes) ; in a poe m by King Diniz s h e sp eaks well and l aughs better than any other :

E falar mui bem e riir melho r ” m lh r Q ue outra o e .

An e h canti a a e co d g nerally t e g s s y little . Th y nsist in re peating a sigh of grief or l ove o r h ope in slightly diffe re nt wo rds ; their them es are th e convention al love and death :

’ E mo r eu e - m d e y praz mi uyto m orrer .

1 da Vat N B h a or r o . o o m C . , 754 . y J Z . 2 id No I b . C , 344 . f .

O s olh os verdes q ue e u vi ” M e a z m or andar s i f e a a . 3 I bid No . 6 8 4 . 4 I bid N o 680 B ro rmea a o Gomes at i n . . e Da o i s y P . P y Ch h more s incere

’ M uytos di ze m com gr am coyta d amor Q ue q uerria m morr e r e q ue a s s y erderiam co tas ma s e n d e mi P y , y ’ Q uero di zer ver dad a wh a s enhor KING DI N IZ AN D TH E EARLY LYRICS 2 1

’ E t al confort ei

c Q ue aquel dia mo rre re i ’ E e e e co a d am r p rd r i yt s o .

A va ue a e and saudade g s dn ss wistful runs through th em . Eve n th e ser ranilkas h ave n ot th e clear joy of th e a serr ani la Th Sp nish l s . e Portugu ese p astorellas and ser ranilkas s o far as e e n o f h e , in th y w re ot a growth t o e e due t o F e s il , w r r nch rathe r th an t o C astilian

e ce . o e of e are a c a as inﬂu n S m th m highly rtiﬁ i l ,

’ Oy oj eu hii a pasto r cantar ” l E a a a d ﬂ re f zi guirl nda e o s .

Unh a pasto r s e qu eixava ’ Muit estando n outro dia E sigo m e de s falava E cho rava e dizia C om a m or q ue a fo rcava ’ Par D eus vi t em grave dia Ai am o r !

’ Ela s es tava queixando C o m e m o lh e r co m gra m co ita E q ue a p esar d es quando N acéra n om o a o a f r d it , P o re m dizia ch orando 2 Tu nom es s e n om mb a coita Ai am or

’ Q uerr ia - melh eu mui gram b em querer M ays n om queria p or ela morr er ’ C o m ou ros morr erom e ue r o te m t q p l . a N . d Vat . o (C , .

I bid No B A ras Nunes c eri o . , . 454 . y y , l g . V a da coit (Mour a) . 2 2 STU DI ES I N PORTUGU ESE LITERATU RE

C o itas lh e davam amores ’ Q ue nom lh eram s e n om mort e ; ’ ’ E deitou - s ant uas ﬂores E disse com co it a fo rte Mal ti ve nh a p er u f6re s C a n om es s e n om mb a morte ” 1 Ai amo r l

( A sh eph e rdess upo n a day m ade moan and spo ke e e and e and a e e o e with h rs lf w pt s id , distr ss d with l v A a ! e was th e da on c s aw ee o e l s vil y whi h I th , l v And s h e made moan as on e in great gri ef and in sorest o e S ce s h e was o e e o e s h e a : o art tr ubl in b rn , th r f r s id Th u e to me 0 o e ! And o e a e h er e and but gri f , l v l v g v gri f was ea t o h er an s h e e e e o e o e but d th , d thr w h rs lf d wn b f r s om e ﬂowe rs and said in great distress : S o rrow be thin e at all e for to me o art ea o e ! tim s , th u but d th , O l v )

But there are s o m e lighte r delightful rusti c dance o bailadas as th e two o o a serranilha s ngs ( ) , f ll wing , h lf , half cantig a de amigo

Ba lemos nos a o a o a a a a y j t d s , t d s , y mig s , So aq ues tas avellan eyras - ﬂo ridas ; E e fo r e a co o n os velidas qu m v lid m , S e a o a a mig m r , S o aq uest as avellaneyras ﬂoridas ’

V a a . erra. b y r 2 Ba lemos n és a o a o a a a a y j t d s , t d s , y irm n s , ’ S o aq ues te ram o d estas avellan as foi l u ana co o n OS lou anas E que m o c m c , S e a o a a mig m r , ’ S o aq ues te ra m o d estas avell anas

Ve rra b aylar .

1 V t No 1 02 N 2 . da a . . Ed . an O . . L g , 3 C 2 Ed Th Bra a M onaci h as ts w ic ma oss i s and for tres. . . g . , h h y p bly t “ e ree w th .

2 4 STU DI ES IN PORTUGUESE LITERATU RE

’ And s h e who s fair as fair are we e s h e e e be I f in lov lik wis , Th e re b eneath th e h azel - trees h Will j oin us in t e d an ce .

While w e h ave leisure let us dance Be ea o e e a c o e e n th this ﬂ w r d br n h t g th r , And s h e w h o as w e is fair to view o e co e e e t oo I f in l v will m th r , An d th ere b eneath this h aze l - bough

Will j o in us in th e dance . )

Poys n ossas m adres vam a Sam Simom De Val d e a o can deas ue mar Pr d s q y , ’ NOS as men in h as p unh amos d andar ’ C o m o a a e S e a e o n ss s m dr s , ll s nt m ue men can deas o r n os e or s Q y p p y , i m E n os men nh as baylare os hy .

N osso s a migos to do s la hira m Por n os ee e a a e o n os v r , nd r m s ’ ’ 1 Ba a an t e e fremos as Sos yl nd l s , o a a e o s ue ala ar E n ss s m dr s , p y q v n , ue men can deas or n OS e or s Q y p p y ,

E n os men inh as baylaremos h y .

2 N ossos amigo s hiram p o r cous ir C o m o baylamo s e p odem veer B a a o a de bom a ece yl r m c s p r r , E o a a e o s la e e n ss s m dr s , p y qu r m hir, ue men candeas or n os e or s Q y p p y, ” 3 E n és me nin h as baylaremos h y .

(Sin ce t o St . Sim o n our m others now go Val d e a o a e t I n Pr d s , c ndl s o burn ,

1 ona h h a l ud n el o a M ci as y a a t es frm s s cos . 2 Th . Bra a t i s e in t ns Ed . I m o wri e co tr as a ur er g . t pt g t ( f th a bbrevia ion of consirar th e ear or u ue se word fo r cons ider t , ly P t g 3 da Vat N o r me s o . B e o Go s Barro C. , . 334 . y P . KING DIN IZ AN D TH E EARLY LYRICS 2 5

Let us the ir daughters s et out in our turn An ur o e o e e a s o d go with o m th rs t g th r , th t While candle s for us an d for th e m th ey are burning

All w e their daughters in dan ce shall be turning .

Th e n will our love rs come th ere together o e t o s ee e a o e an d w e I n rd r us th ir f ir n s , a ce e e a o e I n e co a Will d n th r l n th ir mp ny , An d our o e ce n ow e o e still m th rs , sin th y g thith r , C andle s fo r us an d th emselve s sh all be burning

While in th e dance w e th eir daughters are turning .

Our love rs togethe r will com e t o bestow O n an d our a c a a a ce us d n ing m ny gl n , e c e a c th e a m a e a ce Th y will om t o w t h f ir id ns d n , s our o e ce e e e o o And till m th rs , sin th r th y w uld g , C andles fo r us and th emse lve s sh all be burning While in th e dance w e the ir daughters are turning

Monaci speaks of Prove ncal imitations in Po rtugal not e a o ec o D and surviving th ir l st pr t t r , King iniz ,

S enh o r Braga regards King Diniz ( 1 2 79- 1 32 5) as behind t e o e f h a a his im in his l v o Prove ncal poetry . T e ide th t h e was th e ﬁrst Portugu ese lyri c poet w as de rive d from a passage in th e C a talogo Real de E sp a na by Ro drigo

e e de a o e a c e co e M nd z Silv , qu t d by S n h z in mm nting ’ upo n th e M arqués de San t illan a s refere n ce to King “ Diniz : Est e rey co mpuso los prime ros versos ” 1 en a L e lingu portuguesa . Thus op e d Vega in E l Guante de D oita B l ca an act . ce e 1 e 66 , ii , s n , lin

ue e s B a ca n o lo a e Q , l n , si s b s , El rel D 10 n l s el p rI mero Q ue en Espana en l engua p rop l a

1 “ I n Bar osa B i bli otheca Lusitana h e i s o rimeir o ue b , p q em ” an a a imita ao d os oe as roven ae s metriﬁ cou em rimas p h c p t p c . 2 6 STU DIES I N PORTU GU ESE LITERATU RE

o e o c a Co a Hiz v rs s , uy pi 1 Mostrarte esta n oche qu ero .

Th o e e c o c e o e e a e a a e P rtugu s hr ni l s h w v r , h v qu li fying quas i : King Diniz w as grade t rouador qu asi O primeiro q ue na lingoa Po rtugue s e s abe mo s s creuer e o ue e e O S da uelle e o come arao a e v rs s , O q ll q t p c f z r aa imitacao dos Aruernos 81 p rouen caes segundo vimos er hii ca c o e o s eu em Ro a s e ac o em e o p n i n ir q m h u , t mp

r i D m a 1 1 - 1 o r u d el e o J o o I I I . [ 52 557] p outro q e ta n a o e do o o de louuores d a V e o a s t rr t mb , irg m n ss ” 2 s e nh o ra . Th e C anci onei r o da Ajuda co ntains poems by no l ess

- than thirtee n p re Dio nysi an poets . S enhor Braga dates so me twenty of th e p oets of th e Canci oneiro da Vati cana b efo re 1 350 as being m e ntione d in th e N obili ari o of th e

C o e Dom e o and co e a th e a e of th e nd P dr , nsid rs th t d t earlie st trovador m entio ne d in Portugu ese geneal ogie s

h a f h H goes back t o t e ﬁrst h lf o t e twelfth ce ntury . e re fe rs th e following p oe m in th e C anci oneir o da Ajuda t o th e capture of S antare m in 1 1 47

A mais fremos a de quantas vej o Em S antare m e q ue m ays desej o E en q ue s empre cuid ando sigo Non C h a direi m ais direi co migo Ay s entirigo ! ay s entirigo Al e Alf nx i a e al s es er go .

E a e o a a o as ll utr , mig , vi S e e me a a non a o d1as d us v lh d us ,

1 uo ed F Diez and an Q t by . by L g . 2 h C ronicas dos Reis de ortu al . Em i sboa I m resso ar edro P g L . p p P Cras beeck . A n no MD C ronica d el R ei D om D e nis d os re is d e or . (Ch P tu al 0 s ex o Re or mad el i i n . a o cenc a D u r e u e z ia g t f p l d o a t N do L m. ) KI NG DI N I Z AND THE EARLY LYRICS 2 7

Non ch a dire i eu C a 0 dirias

- E p erder l ias p or en co migo . H A n t i ri n iri e a s e . y s go . y t go Al e Alf n x l ri a e a s es e go .

’ C uidand ella ja ey p erdudo O s en a o e a o o , mig , nd mud , E n on s ey ome t an int en dudo ’ ’ Q ue m oj e nt e nda o porque digo Ay s entirigo ay s ent irigo l ” Al Alf n ri e a x e al s es e go .

S e nho r Braga thinks th at th e refrain may be an Old

a e - cr and a th e e an a e wh o b ttl y, th t sing r is g d knight oo a th e e e of 1 1 an d a e a o e t k p rt in si g 47, l m nts th t n n of his cont e mpo rari es are n ow left to underst and him . But th e o e of th e oe e ce th e e a o wh l p m , x pt r fr in , p ints to a a e a e an d th e e l t r d t , lin s

E n on s ey o me t an int endudo ’ ’ Q ue m oj e nte nda may more probably be take n as in themselve s a con fes s io n that th e singer belo ngs t o a lat e r age than th e

ld M. A e ean ro a e e w a no o refrain . lfr d J y holds th t th r s o e e oe e o e th e ee ce and P rtugu s p try b f r thirt nth ntury, th at th e earli est is a p oe m of th e year 1 2 It is ce rtain th at th e ﬂourishing period of Prove ncal - Po rtugu ese

h 1 6- 1 poetry began with t e return of Affonso I I I . ( 2 4 2 79) fro m a long soj ourn at th e C ourt of France to usurp ’ 2 o e o e o a and co e his br th r s thr n in P rtug l , ntinu d during n f h his reign a d that of King Diniz . King Af onso ad 3 thr ee ofﬁci al (salari ed) tr ovadores at his C ourt . His

1 Les Ori ines d la oesie l ri ue en F rance an mo en- d e g e P y q y g . 2 S anc o I II 1 2 2 - 1 2 8 h . , 3 4 . 3 E l Re aia trez o rares em s a casa e nom mais Portu alice M onu y j g . ( g enta Historica Th e our was at Lisb on and San arem m . ) C t t . 2 8 STU DIES I N PORTUGU ESE LITERATU RE

1 e a oe s on Diniz w as given a master of Prov nc l p try , ’ A meric d Ebrard o f C a o a e wa B o of y , h rs , ft r rds ish p For th e a o ee ea of e C o imbra . l st f urt n y rs his r ign wa e e azi a en huma cama nom se Affonso I I I . s b dridd n (j ,

i a l vantar and D ea h ad to a e a a p od e ) , iniz rly t k p rt in c h e w as e t o affairs of State . While still a hild s nt

e e to e o a e a a e A o o S vill n g ti t with his gr ndf th r, King lf ns th e Lea e e th e o e e of th e A a e rn d , co n c rning s v r ignty lg rv , B a a recently conqu ere d fro m th e Moors . S enhor r g q u otes a ro mance

O infante Dom Diniz A S evilh a havia chegado De edade era p equ en o ” 2 Mal quinze an nos tern contado .

D a e a e a e of e o . King iniz m rri d Is b l , d ught r King P dr I I I of A a o and ece f h e C o of o e ce th e r g n , ni o t unt Pr v n , E Th e c o c e S aint lizabeth of th e legend of roses . hr ni l “ says of him that am ong all th e kings then in C hristen d om th e King Dom De nis w as known as th e most

a e an d e a e e a a an d ma hum n b nign nt , b ing v ry v li nt g 3 n animous and for ce an d e a . ; his truth , justi lib r lity He e e o e a a h n t e o nor n v r pr mis d ught th t e did o p rf rm ,

o e e e nor e tw o co a c o ec ee . br k his pl dg , issu d ntr di t ry d r s A a a e ac o h e e e c e e e s o a on e g inst m l f t rs x r is d s v rity , th t

a e ec e e c e o e w as n ot might tr v l s ur ly in his tim , whi h b f r

1 Born at is on in 12 61 L b . 2 u da Roman n r th e ar mi n Se ve ces A ve s 1 1 C . c accoun p l , . . 55 . f h g t of this epis od e i n th e Chronica del Rei Dom Deni s : E ra o I n fan te en tam de vi anuos mui entilh o me anis ad o era a ue la idade , g p q l d izen al ii as is orias an i as d e as e la ue 0 I n an e D om D enis g h t t g C t l q f t , como uem a nat lla e nra id ade come aua s er u i a s e n r ei no q j j t c t l , ’ c orou n o m s mo n h e co s e lho . 3 T ere was a s in Li e m h m om D enis a ra co o u D . h y g, b l KI NG DIN IZ AN D THE EARLY LYRICS 2 9

h e oa e e e o e eca e t e o e . p ssibl , b us r ds w r inf st d by r bb rs He broke up and cultivate d much land an d greatly

a o e th e ea a lauradores o h a e h e f v ur d p s nts ( ) , wh m e c ll d t 1 f e e e n erves o th e co mm o nw alth . Wh r fore in his time e e e e e e oo and e th e h th r w r f w r p r, b ing King w o gave o h e w as a o th e wh o e o th e m st , ls King l ft m st in —H o and c n ea . e a e o e e a d tr sury built t wns stl s , f rtr ss s co e o th e e and ea of o a nv nts thr ugh l ngth br dth P rtug l , 2 n —An an d h e m ade m any just a d advantageous laws . d in o rde r th at letters might n ot ﬂ ourish less th an arms o at a e e e e e at s o low in his kingd m , tim wh n th y w r

’ an ebb a andaud o tam a a adas h e e in Sp in ( p g ) , institut d anew th e U niversity of C o imbra an d brought to it l l earn ed foreign ers to t each a l m anner of learning .

Be e e e ea e t h e Dom De h ad sid s th s gr t virtu s , King nis a o e for c h e w as ea o e ec n th r, whi h gr tly l v d by his subj ts , in th at h e w as very humane an d accessible (conuersauel) a He with out l osing nything of th e m aj esty Of a king .

a e e - oo and e e a reor a pl nt d pin w ds , built ships , g n r lly g niz h ed t e life of th e Po rtugu ese n ati o n . An old inscription ( 1 31 4) records proudly that

Esta fez el rei Diniz ue aca u Q bou tudo o q e quiz . — He found tim e t o writ e many p oems 1 38 out of ea c are a e B rly lyri s ttributed t o him . S nh or raga cites th e fo llowing lin e s fro m one of his p oems as

' proof th at h e n eve r fo rgét s th at h e is a king

1 He w as ims el now n as O Lavrador h f k . 2 Amon o er s T a i n n e e ers a taverneira b ak ers a adei ra g th , h t k p ( ) , ( p ) , and butch er s s hould be believed on th eir oath concern in g wh at i s “ ! o wing t o them of thos e wh o play with fals e or loaded dice o f thos e wh o ﬁ nd birds an d d o n o t r es t or e th e m [to t heir owners ] ” of ose wh o d en God and His s ai n s th y t . 30 STU DIES I N PO RTU GUESE LITERATU RE

Uma verdade vos direi S e m 1 valh a no sso senh o r ” E r ades boa para rey .

But it is probable that this an d som e oth er p oems a e h ttribut d t o t e King were n ot writt en by him . Like other P ortugues e Kings h e m ade a collection of lyrics 1 c was o as th e oo of tr ovas of D whi h kn wn b k King iniz , and th e te ndency would be t o attribute to him any of ce a a D h un rt in uthorship . King iniz openly writes in t e Provencal styl e

’ Qu e r eu en maneyra de pro vencal ’ ” F a e a o a ca a d amor z r g r um nt r , although h e claims t o put n ew and deeper feeling int o th e co nve ntion al fo rms Prove ncaes soe m mui bem trobar E e e e ue é com a o diz r ll s q m r, M ays os q ue t robam no te mpo da fro l E n om em o o s e eu bem ue n om utr , y q Am t am gram coyta n o s eu coraco m ’ u Q al m e u p or mb a se nh or vej o levar .

But however skilfully an d musically King Diniz may 2 th e o e a a e h e a o c a e sing in Pr v nc l m nn r , ls ultiv t d with

1 Among th e b ooks pos s es s ed by K ing D uar te were 0 Livro das ' ’ Trovas d El Rei D om Diniz O i vro das Trovas d E l Rei Dom A anso , L ﬁ , ’ and O Li vro das Trovas d El Rei Duar e [ t ]. 2 Th e following e xamples may b e given

Hun tal ome s e eu o b em a ad a h y , t lh , Q ue p or vos tern a s a mor te chegad a ; ’ V eedes uem é s eed e m nemb rada : q , E u mb on , a d a . Hun tal h ome s ei en q ue per t o s ente D e s i a mor te chegada cer ta men te

’ E i o r 0 sente Bra er consente d . an M onac co a . : 8 . : L g . q p p g p M oura reto : p .

32 STU DIES I N PORTUGUESE LITE RATU RE o e th e canti as de a mi o c th e e t e f rth b gin g g , whi h v ry 1 s ectable Dom De o f o a a e . p nis , King P rtug l , m d ) With th e death of King Diniz in 1 32 5 th e

Portuguese - Pro vencal poetry came somewhat abruptly to an end o a e a ce and e a , surviving in is l t d inst n s , p rh ps rather in th e inﬂue nce of th e satirical Provencal sir ventes c e e e e t o th e o e e , whi h w r w ll suit d P rtugu s Th e anci onei r o da aticana co a love of satire . C V nt ins ’ ” canti as de escarnh e de mal di zer c as a g , su h th t “ written by Martim S oares with th e n ote : This othe r satirical song h e made o n a knight wh o tho ught that h e

o e e an d co o e e ce e c and w as wr t very w ll mp s d x ll nt lyri s , it

b ut I . cannot cons rain m ear ere o F or m ear con s rai ned t y h t th t . y h t t m mind and wit and aced me i n o ur ower and for th e rie I see y , pl y p g f ’ ou ave ore H aven ad d o I r ea l r ieve and would ut off y h , f e , l y , g t y g , p m v u m r h l s F or l ad it o e b t ea as e me ow er e s s o to d o . y l , y h t ft p l , y, cons rained me in s uch wis e a now I ave n ei er orce n or wit and t th t h th f , for th e grief this gi ves to you I co uld not b e more gr eatly grie ved and

I wou d ceas e to ove ou but m ear is s ron er an I . l l y , y h t t g th ) 1 Besides th e exam es alread iven th e o lowin ma b e uo ed pl y g , f l g y q t

’ Nom c e ou madr o meu ami o h g , , g ’ E O es t o razo s aido j p , ’ Ai madre , moiro d amor !

' Nom c e ou madr o meu amado h g , , ’ E o e s t o razo as s ado j p p , ’ Ai mad re moiro d amot ! ,

’ E oj e s t o prazo s aid o Po r ue mentio o d es men ido q t , ’ Ai madre moiro d amot I ,

’ E oj es t o prazo pas s ado Por ue men tio o er urado q p j , ' Ai m r i mo ad e , mo ro d a t

Por que mentio o des mentido

es a - mi ois er s i é alido P p p f , ’ m m ir m t A i ad re , o o d a o KING DI N IZ AN D TH E EARLY LYRICS 33

” 1 not s o . G arci a de Re sende in t h e preface t o his 2 C anci oneir o geral [1 51 6] Says that th e ar te de tr ovar h as

Po r que men tio o perj urad o

e s a - mi ois men tio er s en rad P p p g o . ’ Ai ma d re moi ro d a mor ,

da t N o M - . Va . 1 6 . ove h as n o t come an d to d a is th e as (C , 9 y l , y l t da M o er I am d in H e l . o f l ove ied to me and it ri ev es me y th , y g , g

a h e i s als e M o h r am d in o f l v . e I o e th t f t , y g

’ A mad é meu amigo V a lha D eus

V e de - l a fr o l d o pin h o ’ E uis ad e d an ar g d .

’ A mad é meu a mad o V a lh a D eus !

V ed e - la fro l d o r amo ’ E uis ad e d a n g dar .

V ede - la fro l d o pi n h o V alha D eus ’ S e lad o b a y o s in h o ’ E ui s ad e d an d ar g .

V e de - la fro l d o r amo V a lha D eus ' Sel ad 0 b e] caval o i ’ E gu s ade d andar .

’ S eiad o b ayos inh o V alha Deus Tr eide v o s ai ami o , g , ’ E uis a e d nd ar g d a .

1 ’ da Va o 6 E s t ou ro can ar fez de mal i zer t N . d a b un C. 9 5. t t cavaleyro q ue cuydava q ue trob ava muy b en e q ue faz ia muy bons

s ons e n o n era as s . , y 2 An edi ion w as ub is ed b E . von K aus ler in vol xv xvii t p l h y . K . . x v f th e B i bli th e des li t ari sc e V r i f u and x i . o o k er h n e e ns o S ar A new t ttg t . i b ein ub li s ed at oimb ra in v ol s oi as li t r e di ion s . te arias t g p h C 4 (j ) . Th e 1 51 6e dition of th e Lis b on B iblioth eca N acional gives n o d ate on

B r a a : ba oni nho Mon aci : ka o rinho in 1 8 in cor rec i on g y ; y ( 75, t o f ninh o in anti antichi orto h esi A oe o ro os ed ba osinho C p g , . C lh p p y . 34 STUD I ES I N PORTUGU ESE LITERATU RE

a a ee e ea e ee an d ea of us e lw ys b n h ld in gr t st m , sp ks its e and ca c e e e th e o fuln ss in hymns nti l s , in pr s rving hist ry

of e o and o u oc e o e- a Emp r rs Kings , in C rt s i ty , l v m king ,

o a e an d a and a o fo r th e e t urn m nts , m sks , ls punishm nt 1 o f o e wh th s o dese rve it .

’ S elad 0 b e] ca v a l o V alh a D eus !

Tr eide - v o s ai ami o , g , ’ ” E g uis ade d an d ar .

da Vat v d i m riend—B e wi H v N o 1 . o e s me ea en ! (C . . 73 L y f th , e th w er f th n r e o ve i ve Se e ﬂ o o e pi e and mak e ad y to g . Lo d s my l o —B e wi me Hea ven —See th e ran ch in ow e r a nd ma e r ead to th , b ﬂ k y

o ee th e o er th i — B me Heaven l— ad e th e . S w of e n e e w i S d g ﬂ p th , l i le b a an d ma e r ead to o See th e r anc i n ﬂower—Be l tt y k y g . b h wi me He aven l— addle th e air or s e and ma e r e ad to o th , S f h k y g . Saddle th e i e b a —B e wi me H ea ven l—Has en O m riend l ttl y th , t , y f , an d ma e r e d to o a d e th e a ir ors e —B e w i me H a . S d eav en ! k y g l f h th , —Has e n O m riend an d ma e r ead to o t , y f , k y g . )

th e i le - a e b ut h as th e o l o win co o on : Acab ous s e de em t t p g , f l g l ph reem r o can c on e r o eerall C o m r e uile io d o mu to a o p y y y g . p g y lt mu to oderos o R e d o m M an uell n os s o s en o r ue nen h a y p y h . Q fi pes s oa O p os s a e mp remir n é troua q ue n e ll e vaa s ob p ena d e dozen tos cr uz ads e mai s erd er todoll os v o umes ue fi zer Ne m menos o p l q . p oderam trazer d e for a d o r ey n o a v en d er ah y n da (1 la fos s e fe ito s o a me s ma e n a a r a s e s cr i a Fo o rd enad o r e men dado or Gar ci a p t t . y p d e R e es e n de fida lguo d a cas a d e l Re y nos s o s en h or e s crivam d a

faze nd a d o p rincipe . C omeco us e e malme yrym acab o u ena muy to n ob re s e m re leall id ad e de is b o a Per Herma d e Ca os le m p c L . p a ft b b arde r o d e l re no s s o s en or e m rem d or Aos x xviii dias d e o y y h p j . s etéb r e d a er a d e n os s o s enh or J es ucr i s to d e mil q uyn h e m Xvi ”

anos . 1 Q ue e m todo tép o fo y muy es timada [a a rte de trouar] e com e la n o s s o s enhor l ouuado como nos h yn o s ca n tico s q ue n a s anta re s e can am s se veraa E a s s mu to s em eradore s Re s yg ja t . y y p y es s o a s d e memoria o os rr man es rouas s ab e mos s uas es tori p . P l y c t as nas cor es d os ran des rinci e s h e mu neces s aria n a e n tile za t g p p y j , amores us a s mo mos tamb em ara 08 ue maos ra o s v e nuen , j t , p q t j es a ze m Per ro uas s am cas i a d o s Th e w o le r e ac in h O . . e t e c f t t g h p f , ’ S a ni s ran s l a i o n b uan V alera i s ri n ed i n Me nende z ela o s p h t t y J , p t y P y

a l ll n m cli - c ii A ntolo i a de oet s i ricos cas te a os to . . i g p , 7 , pp l . KI NG DIN IZ AN D TH E EARLY LYRICS 35

e oh am o r ar morador em L eam A Spanish minstr l , J j g , ,

a th e a e of an d h e a a th e s ng pr is s King Diniz , s ys th t tr obador es o a eo a e an d A a o e e in P rtug l , L n , C still , r g n n v r

a a a a e ea and a th e o r aes re s ng g in ft r his d th , th t j g mained unp aid

’ O S namo ra do s q ue t robam d amor To do s deviam gram d o o faze r Et n o n to m a r e m si n e nhu m praze r Po rqu e p erd ero m t am bo o senh o r ’ C o m é el rey d o m de nis d e po rtugal . De q ue n om po de d ez ir n e nhum mal 1 r f r H om e m p e ro sej a p o acado . O S t robadores q ue p oys ﬁ carom Em o s eu reyn o et n o d e Leom ’ No de a e a n o d Ara o m C st ll , g Nunca p oys de s a mo rte t robarom E do s jograres vos quero dize r Nun ea cob rarom p an os nem aver Et o s eu bem muyt o des ejarom t am boo se nh o r De q ue eu p osso e n b e m dize r s em pavo r ’ Q ue n om ﬁ co u d al n os C h ris taos foy rey a fa me prestado r ’ Et saboroso e d a mor tro bado r . ’ T od O s eu bem dize r n om p o derey .

And King Diniz later was unive rsally praise d in 3 e o glowing tributes . I f h e w as a belated prot ct r

1 Hom o seia os azador M onaci é p p f . . 2 da Vat 0 . No 8 C . , . 7 . 3 i n E i s t Pedro A n dr ad e de C a min ha s peaks of Din s gra d e ( p . I n 8 51 d e Mira n da h e i s e m guerr a e em p a z l Hon ra d as ar mas on r a dos cos umes E e . , h t ( g

n o s s o alto e excellen te D om D e ni s rei t am lo uv ado , m D eu m men E s t Ta us o a s ta e e i . j t , t t ( p 36 STU DIES IN PORTUGU ESE LITERATU RE o f o e a oe h e w as a o a ee a e o f Pr v nc l p try , ls k n dmir r th e e o canti a de a mi o o n e of th e o e indig n us g g , m st fr sh and cha rming fo rms o f lyri c t o b e fo und in any litera ture . It is th o ught th at th e li vr o de cantigas b equeath e d by th e e ma e s o n o f D e o on e de ill giti t King iniz, P dr , C d h Ba ce o t o th e of a e A o o XI . w o r ll s , King C still , lf ns ( ,

o e e e fi ve ea e o e 1 0 ma h w v r , di d y rs b f r him) in 35 y po ssibly so m ehow h ave co me into th e p ossession of h h Do fi a M encia d e Cisn e ro s . T e p assage in t e ’ a é d e S antillan a s e e o e a o e co e M rqu s l tt r , qu t d b v , ntinu s “ e e e e a ce as a a bo to I r m mb r , v ry m gnifi nt sir , sm ll y ,

a e ee a o o e o o th e o e o of h v s n , m ng th r b ks in p ss ssi n my

a o e Doﬁ a e c a de e o a a e gr ndm th r, M n i Cisn r s , l rg

o e of o u e e an d a c a o serranas an d v lum P rt gu s G li i n s ngs , , deci r es o f c th e ea e a e e th e , whi h gr t r p rt w r by King H Do n o of o a . e w as e e e o Di nis P rtug l , sir , I b li v , y ur great - grandfath e r ; an d those wh o read his wo rks praise d the m for th e ir subtle inve ntio ns an d soft a n d ” 1 e o a e 1 2 8 - 1 8 o e e grac ful w rds . King Du rt ( 4 43 ) p ss ss d

I n h is Eclog ue B asto h e r e fe r s to K ings San ch o an d Dimz Aos bons reis Sanch o e D e nis am v Ch a ao lhes l avrad ores . 1v d e B ar ro s w r i tes of h im as O j us to Din1z tao nob r e e C le men te e m to d a la s cous as s a id o e r ude n e b p t .

- m Lu i ads ii . 6 8 C a 6es s i . f C , , 9 9 1 A cue rd o me S enor mu ma n ifico s ien do o en e da n o ro , y g , y t p vecta mas as a z mo zo e ue fi o e n o d er d e mi ab ue a D ona M encia de , p q , p l i s n eros en re o r os libr os a ver vis o un r an v ol umen d e ca n i as C t t t g t t g , s e rran as e d ecire s Por tugue zes é Galle go s : d e l o s q uales l a ma yo r ar e eran d el R e D o n D 10 ni s d e or u al : cre o Sefi or fue v ues r o p t y P t g , , t b is ab uel o : c uyas o b ra s aque llos q ue las l eian loab a n d e inven cio nes d e r i s d u ces alabras s utiles e g ac os a é l p . KING DI N IZ AN D TH E EARLY LYRICS 37

Li vr o das Tr ovas de E l R ei D om Di niz and a e a , Du rt Nunes refers t o a canci onei r o of King Diniz whi ch w as

‘ ‘ h e f a discovered at Ro m e during t e r ign o J o o I I I . ( 1 52 1 Angelo C olocei po ss essed an earlie r an d la rge r collecti o n o f Po rt uguese lyri cs than th e tw o 2 n ow o an d co e a ca a o e c h as kn wn , mpil d t l gu , whi h survived an d w as publish e d (fro m th e Vatican C o dex ’ 32 1 7) as - an app e ndix in Mo n aci s editio n o f th e C an

ci onei r o da a ticana 1 8 2 C a e a a e V . I n 3 h rl s Stu rt ( ft r 3 wards Lo rd Stu art of R oth e say) h ad publish ed frag m ents o f a Po rtuguese canci on ei r o in an e diti o n limit e d 4 - 1 8 a ea e a e o t o twenty ﬁ ve co pi es . In 47 pp r d ﬁrst diti n o f th e canci oneir o of King Diniz (Canci onei r o da

1 Some thin k th a t 8 51 d e Mir a nda may h ave s een th e cancioneiro of K in D in i z d ur in h i s s a a t Ro me a n d ma r e er to i t d ir e c l g g t y , y f t y ( r ath er th an more va guely to Proven cal p oetr y) i n th e l i n es o f 1118 l e tter to F er n an d o d e M en e z es

E u dig o o s p r ov e n cais q ue i n da s e s e nt e O s om d as b randas r imas ue e nto ar o q a .

2 I e th e anci oneiro da Vaticana and th e anci onei ro Colocci - B r ancuti . . , C C a codex fo rmerl y b elongi n g to C oun t B ran cuti an d co pied for A n gelo C ol ei d 1 in h e s i x ee n n i l ni . 8 t ce ur e e E nr co M o te o c S . ( 54 ) t th t y . (

I l anzoni ere or to h ese C ol occi - B ranca ti H alle C P g . , 3 “ I naccur a t ely n amed Lord C ar los S tuar t R o th s oy b y Sen hor “ Bra a an d b Se n ora M ich a élis de V as co n cellos or d S uar g , y h L t t ” R oth s e y . 4 “ F r agmentos de hum Canci onei ro i nedt to que se acha na li vrari a do Real olle i o dos N obres de i sboa I m r e s s o a cus a d e ar os C g L . p t C l

S uar . ar i s 1 8 2 , T is i s th e anci onei r o da A uda w ic or mer t t P , 3 h ” C j , h h f ly b el o n ed to th e es ui s a n d la er to th e o lle io d o s Nob r es w en ce g J t t C g , h i t w as ran s err e d i n 1 8 2 to th e r o al al ace o f A ud a A s e on d . c t f 5 y p j , b ut n ot v er valuab le e di i on w a s ub h s h e d b th e B ra zili n F A a . y , t p y , . V arn hagen : Trovas e Cantares de nu Codice do S eculo X I V on antes

’ mui rovavelmente o Li oro das anti as do onde de B ar cellos M adr i p C g C . d , 1 8 49 . 38 STU DI ES I N PORTUGU ESE LITERATU RE

Vaticana co e e at o e o C o e ) , dis v r d R m by W lf ( d x an d co e th e V co e da C a e a a e ace pi d by is nd rr ir , with pr f 1 th e B a a C ae a o Lo e d e o a o o e by r zili n t n p s M ur , f ll w d ’ in 1 872 by Varn h agen s C anci onei ri nho de Tr ovas antigas colligidas de um gr ande canci onei r o da B ibli otheca 8 do Va ti can o. Vi enna 1 2 . th e o o ea an d , 7 I n f ll wing y r , a a 1 8 E e o Mo ac e o e e ec o g in in 75, rn st n i publish d s m s l ti ns h 2 fro m t e Vatican codex . I n 1 875 h e also publish ed his excelle nt co mplet e editio n of th e C anci onei ro da

Vati cana co e e e e a o f th e a e , pi d with v ry d t il m ny minut diffe rences due to th e fact th at o ver a hundre d auth ors of different countri es an d p eri o ds h ad co ntributed to h 3 ” t e co ec o . e a e o e h e a ll ti n Qu st dizi n , s ys in his e ace a e e a il co ce a a er a a pr f , r ppr s nt di p gin p p gin , ”

ea er ea a e a a er a e a a . o lin p lin , bbr vi tur p bbr vi tur W rking up o n this t ext S e nh o r Braga pro du ced his criti cal editi o n 4 f three years l at er . Thus gradu ally th e p oems o King Diniz an d his contemp o ra ri es we re brought to th e light of da an d a n ew an d e o o f o e e y , d lightful w rld P rtugu s

1 n m i v z im res s s a ci oneiro de El Rei D . Diniz e a ri e ra e o o re C , p l p p b o manus cri to d a V a ica n a co m a l un as n o as ill us tr ati vas e uma p t , g t

i - r i d M oura aris r efa ao h s tor ico littera a e o D r . ae ano Lo es e : p c p l C t p . P A illaud 1 8 , 47 . 2 anti A ntichi or to hesi ra i d al codice Va ican o 80 con tra C P g t tt t 4 3, i ol d uzion i e n o e er Ern es o M on ac I m a 18 . t p t . , 73 Cantos de ledi no t ratti d al gr ande can zon ie re por to gh es e della r E n M on i all a 8 H e S 1 . Biblio eca V a icana e r es o ac . t t p t . . , 75 3 I l anzoniere orto h ese della B ibliotheca Vaticana mes s o a s am a C P g , t p onaci C o n una re azione con facs imili e con a re d a E rnes o M . t p f , lt

il u r i alle a S 1 8 . s azion H . l t . . , 75 4 anci oneiro da Vaticana Edi ao cri i ca r es i uida sob r e o ex o d e C . c t t t t t Ha le acco m anh ad a d e um los s ari o e d e uma i n tr oduc fio s ob re l , p g c n ir or tu ue zes P r T e i o Bra a o s trovado res e cancio e os p g . o h oph l g . i s boa 1 8 8 L , 7 .

C H A P T E R I I

EAR LY PRO SE

Th e ﬁrst beginnings o f Po rtugu ese pros e must be

oo e for th e o ee ce e ea o e l k d in f urt nth ntury , in g n l gi s , h a c o c e an d e of a . t e e o f o o . hr ni l s , liv s s ints I n r ign J I

( 1 385- 1 433) Po rtuguese ﬁn ally oust ed Latin in ofﬁci al 1 oc e h ad a ea e a e e ec e d um nts , but it lr dy st blish d its lf s ur ly

ea e o e acce o . o a e o ﬁfty y rs b f r his ssi n U nf rtun t ly, m st of th e early chro nicles have only survived in th e re

1 A s an example of Latin th rough w hich Por tugues e al ready pierces ma b e i ven th e o llo win as s a e r om an edic o f A ffon s o I I I y g f g p g f t . ( 1 2 46 I te m quod cal umn ie d e ips a villa d e Gaia s in t tale s e t d e termini s s uis scilice t quo d o mn is h o mo q ui s acav erit cultell um i n Gai a ex ra cas am er men em ma am ro d are cum e o alieni s ive det t p t l p , s i ve n o n d et man do quod p ec te t mai ord omo s exagin ta s olidos Si s ibi h oe mai ordomus o tuerit r ob are er on os omin es et ice d e t p p p b h , l t mu a vuln era cum e o alicui s i omo de eis non ueri mor uus mand o lt , h f t t u n n e te t m ior o mo ma is uam dicto s 6 s o id s Th e q od o p c a d g q 0 l o . following i s from a le tter of K ing Din iz ( 1 2 79 Q uod n ave s e t univers e b ar ce magne et parve q ue d e mari cum mercis s eu aliis reb us ven alib us i ntraren t er faucem D orii r i is venir ent merces s eu vena es p p , l ad ortantes div ideren tur i n er civ itatem O or o e t o u um an e p , t [ p t ] p p l t dic um I n th e rei of M anoe I 1 - 1 2 1 com ai n s t gn l . ( 49 5 5 ) pl t re mad e a th r wro eir r eci es i n La in A n en er ain we th t e d octo s te th p t . t t in accoun exis s of th e con ces s ions ran ed to th e eo le in or es g t t g t p p C t . T e as ed to b e re ieved of cer ai n axes to w ic th e an s wer was a h y k l t t , h h th t ’ th e axes w ere evied for th e eo e s ood T e b es ou th e K i n t l p pl g . h y ght g to diminis h is ar e a nd cos l re in ue b ut were o d a is w as h l g t y t , t l th t th im os s i e en owever e as e d a th e s icians s ou d p bl . Wh , h , th y k th t phy h l 40 EARLY PROSE 4 1

1 o e o f th e vis io ns o f Du arte Nun es an d oth ers . S m earliest fragm ents are print ed in Por tug ali az Monumenta Hi t Ckr oni cas s or i . ri re . F e e i ca vol . Sc t o s o ( , p ) r m th s B r eves may be qu ot ed th e dying a dvi ce of th e C ount h a Dom A n rriq ues [H e nrique s] (t o wh om Alfo nso V I . d given a part of G ali ci a an d s o mu ch o f Portugal as h ad “ — bee n won fro m th e sar r aziis par te d e g ali za com o que er a gaanhado de par tag al) to his s on

F o o a es ffor o no meu cora om o a e a ilh , t m c c , t d t rr q ue eu leixo q ue h e das to rga ataa leom e ataa coin bra n om p ercas de lla n e nhuma cousa ca eu a t om ey com muito trabalho : ﬁlh o tom a es fforco n o meu co raco m e s e s e melh au el a mim o e meu ﬁlh o y E p r n , , sempre e n t eu coracom ama justica ca 0 dia q ue a leixares d e faze r h num p alm o l ogo 0 o utro dia ella ” affas tara de t y hum a bra ca .

Son a e ea o m m e all th e a a e a e ( , t k h rt fr , l nd th t I l v ,

c o A o a t o Le6n an d to o a o e whi h is fr m st rg C imbr , l s n ot an a o f fo r w on ea o : s on y p rt it , I it with gr t t il , take heart fro m me an d b e like t o me an d m o re o er m s on e e ea o e u ce for o n th e v , y , v r in thy h rt l v j sti , day that thou ceas es t fro m it an in ch straightway it e a o n ll will d p rt fr m th ee a e . ) Or th e account o f King Diniz

M o rto el rei d om afo nso rein ou el Rey dom do nis ma e u eir res cr i i on s on l in th e v ul ar on ue em lin oa em t h e k p th p pt y g t g , g g , “ per mis s i on w as mos t graci ous ly gr an ted : A s s i q uo mo mollo pedi s

” v o o ou or amos c6 ena ao b o icario e n o us e mai s h o o fﬁ cio s e l t g p t q u a. d er h as mezi n as er r e ce a e m la im mai s a ue d ous mil reaes h p pt t , p g per a q ue h o accus ar em o utra ta n ta pena que re mos q ue en corra h o s ico er la im er li n oa em uomo di o h e h r onica do phy ap t p g g q t . C eli cissimo R e D om Emanuel da lori osa memori a D amiao d e oes f y g . g col e io m d co o s e n ono . i sbon 1 61 g p [L , 9 1 “ Almeida - Garre ttfcalls lh im th e iconoclas of our an cien c ro nic es t t h l . 42 STU DIES I N PO RTU GUESE LITERATURE

e h s u ﬁl o e an ia quando conp ecou a reinar xviii an nos . E cassou com a rainh a don a is s abel ﬁlh a del Rey dom p edro daragam Este Rey dom donis reynou em ” urtu al uo renta e cin u ann p g q q o os .

Th e language is similar t o th at of th e Li oro das

Li nha ens com e e o C o e de Ba ce o 1 2 8 g pil d by P dr , nd r ll s ( 9 on f Th c s o King Diniz . e gen ealogi e s e mbra e o e o f A a and e a e a C ms ar th s d m Al x nd r , Pri m , Julius , A h King rthur of England . With pithy brevity t e characters an d reigns of th e Portugue se Kings are f “ a e a e o A o o . ue fo b oo ch ris ta o r l t d , lf ns I I , q y muy ” n o comeco m ais na cima fo i peo r ; of King Diniz “ wh o foy muy boo rrey e d e gram justica e muy b oo ” 1 ri t aao f z r i Th e ace c s e e muito p or a santa eg e a. e pr f is a ﬁ ne pi ece o f Portugue se p rose :

Em n o m e de Deus q ue h e fonte e padre d amor e p or q ue est e am o r n o m s ofre ne nh uuma co usa de mall porém em s eruillo de coracom h e carreyra rreall e nenhum m elhor s eruico nom po de o homem fazer q ue am alo de todo s eu s em e s eu pro ximo co m o ssi mees mo p o rqu e e ste precepto h e h o q ue Deus d eu a Moys es na e a l e eu comde do m e o ﬁlh o d o v dr ey . Por m P dr muy n obre rrey d om De nis ouue de catar p or gram trabalho p or muitas terras es crip turas q ue fallauam d as lin h n E e m a e ri u ras com a e e o agee s . v e do s s c p t gr nd stud e em como fallauam doutros grande s feito s comp uge este liuro p or gaanh ar o s eu amo r e p or m ete r am or e ” amizade antre O S n obre s e ﬁdallgos d e Espanh a .

1 Of th e war with h i s s on Afons o th e Li vro das linhagens gives th e fo llowing accoun t : El r ey d om de nis s oube q ue j az ia s obre a vill a r m r a E c e ou h i 0 d e guimaraes e e ll veos s e deytar s ob e coy b . h g rimeiro dia de mar o em cor ee s ma e fez mui o es ra o e 0 arrauald e p c , t t g todo foi es tragado e derr ib arom as cas as e ﬁ lh arom muito p am e muito vinh o e muito azeI te e dan arom todo o camp o q ue era se meado d e p am ’ ' n on e r r m s s li u res mb em d aa uem como d aalem o co ta o todo o o a ta q . EARLY PROSE 43

th e a e of God wh o o a an d a e of (In n m , is f unt in f th r o e an d eca e o e fe no e an d to e e l v , b us this l v suf rs vil , s rv

o th e ea a a and man can do Him fr m h rt is kingly t sk , no bett er servi ce than t o l ove Him with all his mind an d e o as e for ece a e his n ighb ur hims lf, this pr pt g v God t e h l l o o t e o d aw . e e o e o M s s in Th r f r I , C unt Dom e o s on of th e e o e Dom De P dr , v ry n bl King nis , with great t o il sought in m any l ands for writings which

o f An o e sp ke o desce nts . d c nsid ring th ese writings

c an d h ow e o e of o e ea with mu h study, th y sp k th r gr t ee co o e o o t o a o e an d t o d ds , I mp s d this b k g in his l v s et love and friendship am ong th e n obles and knights of Spain . )

S om e three - quarters of a century afte r 0 Li vr o das Li nha ens a e o e 0 L eal onselkei r o g King Du rt wr t C ,

f h of a mast erpi ece o P o rtugu e se pro se . In t e styl e both works there is a cl earn ess an d precision which

S o a th e a of a e c a a h w th t , in h nds skill d r ftsm n , Portuguese sh ould n ot be s o imm easurably infe rior to a a a t oo o e Th e co e de a a e C stili n s it ft n is . Vis nd S nt r m 1 in his introductio n t o th e ﬁrst editio n wrot e th at it “ w as th e oldest m o nume nt of our l angu age that w e ” at h ave as a co mplete wo rk . Sin ce it was written th e request of th e very excellent Qu ee n Dona Leono r

1 Fr om th e o dex 00 dis co ver ed in th e B ibli othé ue N ationale at C 7 7 , q “ aris s ome e ar s rev io usl eal Conselkeiro o ua fez D om P y p y L , q l Ed uar te e a ra a d e D eo s R e i de or u a l e do A ar v e e Sen or d e , P l g c P t g lg h e u a a r e uerimen o d a mui o e xcellen e Rain a D ona e onor s ua C t , q t t t h L molh er s e uid o d o Liv ro da E n s i nan a d e b e m cav al ar oda s el a , g c g t l , ue fez o mes mo R ei o ua come ou e m s en d o I n an e recedido q , q l c f t , p ’ d uma introd u ao illus tr ado com v arias n o as e ublicado d eb ai xo d os c , t p n Vi s c nde d e an ar em aris aus picios do E xcellen ti s s imo Se h or o S t . P Aillaud 1 8 2 , 4 . 44 STU DIES I N PO RTU GU ESE LITERATU RE

e o h e a e an d ce his wif , wh m m rri d in sin King

D a e e 1 8 th e a o a e a e of th e o u rt di d in 43 , ppr xim t d t w rk h ll e . was a t e a e is ﬁx d It , s ys King , writt n with his own h and (de minha mad o foy todo primei r o escr ip to) . In th e preface addressed to th e Qu ee n h e m akes excuse s “ for th e style since I w as mind ed rath e r to s et forth th e m atte r of my writing clearly th an t o writ e it in a ” and a e a e Bu h e ea b eautiful c r ful m nn r . t although sp ks elsewh ere o f my poo r w ay of writing (es ta my nguada manei ra de meu h e in fact was at great pains to

e e an d o ce a o a c a a e writ w ll , pr du d w rk f s in ting lik in its a e an d e an d a ec o m e fo r o e m tt r its styl , pr i us in th s Portuguese auth ors wh o would free their writing from

n a e c G allicisms a d abstract verbi age . I n Ch pt r x viii 2 h e e ea th e ec e o f art a c a e e r v ls s r t his , h pt r writt n by

me fo r a ce ar a meu av sa mento a . xe : my guid n (p y ) , (Ch p )

Da m an e ira para bem to rn ar algﬁ a leytura em n ossa m lynguagem . Prim e iro co nh ece r b e a s ente nca d o q ue a de o a e oella en t eirament e n o m a o ac e t rn r p , mud nd , r ce n tan do n e m m n uan d o al ii a co a do ue e a , y g g us q st n m a ll r l i scripto . O segundo q ue o p o nh p a av as at dan as n em o a l n ua em mas o o e a e m n o a l n ua d utr y g g , t d s j ss y g 3 em c o a ach e ad ament e ao eeral boo eus tume g s ript , m is g g e d e n osso fallar q ue s e po de r faze r . O t rce iro q ue s e mpre s e p o nham p allavras q ue s ej am d ereita lyn gua em e o e o ao lat m n o m a o h ﬁ as er g r sp nd nd y , mud nd p

“ 1 I r e er s t He n r f E n land a s d ead d t a s o o V o . Th e l f y . g ( ver e xcellen K i n H en r o f E n a nd m co us in ue Deus a y t g y gl , y , q m. 2 C a s o h i s re mar E n o m s ere vo es o or man e ir a s collas tica f . l k , t p . R u e in a wh s a s a K i n D uar e w as amad or d e s cien i C . d o c a f y P , y th t g t , ’ d e ue ev e rande co n ecimen o e no m er dis curs o d E s collas mas q t g h t , p ’ n s li vros p er co ti n uar d e s tud ar e l eer p er b oO . 3 Souza Prooas da His toria Genea lo ica wh o co ied is c a e r ( g ) , p th h pt , h as no ckd o e eral cas ta me th e lain ene ral c us o m g ( p g t ) . EARLY PROSE 45

ou a a ue o e el e e e r lat m s co rre ar n on tr s , ssy q nd d ss r p y g o a a a a e a e m o a eme a e e e p nh f st r , ssy utr s s lh nt s , nt n e o ue a o mo a h ﬁ a co o a o a o e d nd q t nt nt m utr , p rqu grande d efere n ca faz pera s e b em ente nde r s ee re m estas

p allavras pro pi ament e s crip t as . O quarto q ue n om po nh a p allavras q ue segundo o n osso cus tume de fallar e a u n sej am avydas p e r desh o n st s . O q y t o q ue guarde aqu ell a o r de m q ue igu alme nt e deve gu ard ar em qual e r o a co a ue s e e c e e e a c ce ue s e qu utr us q s r v r d v , s ili t , q s crevam co usas d e b oa sustan ci a clarame nte pera s e be m o e e e e e fremos o o a ue e e o e e p d r nt nd r , m is q ll p d r , a e e a o for ece a o e e a e o a o e a curt m nt qu nt n ss ri , p r st pr v it h b m mu t o ara ra os e a o a e . y p g p , p nt r

( O f th e w ay well t o translate any passage int o our F e a h a a e . e t o t e e e ce to be l ngu g irst , w ll und rst nd s nt n

a a e an d t o e o e n ot c a n or a tr nsl t d giv it wh l , h nging dding

no r o a a e . eco not mitting nything th t is writt n S ndly , to e o of La or o e a a e t o e giv w rds tin th r l ngu g , but writ it all our a a e o o as c o e as ma be th e in l ngu g , f ll wing l s ly y l f u e e a oo c o o o r S eec . a a t o g n r g d ust m p h Thirdly, lw ys e o a e ec e to th e La not c giv w rds nsw ring pr is ly tin , hang “ o n e for o e a s e e th e La a to e a ing th r, wh r tin s ys s p r ” “ ate n ot t o e t o a a n d s o a ca e writ p rt , in simil r s s ,

a all o n e for a e ea fe e e thinking th t it is , it m k s gr t dif r nc for a goo d understanding o f th e sense th at th ese wo rds b S o e o e e . Fo urth l not o e o h uld pr p rly giv n y , t giv w rds whi ch in our custom o f speech are h eld t o b e dis rep ut

a e . F t o ee a e c S o e e bl ifthly , k p th t rul whi h h uld lik wis be o e e an o e — a t bs rv d in y th r writing th t is , o write

a e of a oo a ce c ea a e ma be m tt rs g d subst n , l rly , th t th y y n e oo e an d as ea as ma b e an d as u d rst d w ll , b utifully y , e as ma be e e an d fo r a a a and bri ﬂy y r quir d, this p r gr phs a good punctuation are a great help .) 46 STU DIES I N PORTU GU ESE LITERATU RE

How succe ssful h e w as in carrying out his ow n

o o o th e o o and ma be precepts is sh wn thr ugh ut b k , y Ma e ee fo r a ce a a o o f . s n , inst n , in his tr nsl ti n St tth w vi . 2 4

No m od ees s erv r a De e ao a o a o e p y us m m n , p r m eu vos digo q ue n o m s ejaae s s ollamen t e cuydos os e m o a a a or ue avees d e comer n em e a o v ss s lm s p O q , p r o o co o ue ave es d e vis tir ce a e e a a a v ss rp q , rt m nt lm m i ue e u h u a a , m ais e q e m nj ar e o co rpo s q v stid ra . Olh aae as ave s do ceeo q ue n om s emeam n em colh em n em a a e m celleiro s e o o a e celles t rial as junt m , n ss p dr o e a vos a e e o e s ooes ue e a a de g v rn ; m is m lh r s q ll s , qu l vo s o utro s assy cuydos os p ode acrece ntar em s ua ' a e a h uIi co a o e d as e a o e e e gr nd z v d , v stidur s p rqu s mpr cuidaaes C o n s iiraae os lileos do ca o co o crecem mp m , nom trabalh am n e m co lh e m ; eu vos digo q ue nem S allamo n em t oda s ua glori a h e co berto assy como h uﬁ e e . Se 0 e o do ca o ue o e h e e de d st s f n mp , q h j ’ a da n o o o h e os o De a a e e a o m nh f rn p t , us ssy st , q u nt m ais a vos fara de p ouca fe ? Nom q ueiraaes p ore m ee cont nuadament e cu dos os e o ue comere s r y y , diz nd , q mos ou ue beveremos ou de ue nos co e o o a q , q brir m s , t d s e st as cousas ge nte s de mandam . C e rtam ente n osso padre a e ue as avee e e bus caae o e e o s b q s m st r , p r m prim ir O e o d e Deo e a s ua a e e e o a e a r yn s justic s mpr , t d s st s ” cousas vos serom acrece ntadas .

King Duarte shows great care and skill in distin guis h ing Shades of m eaning by us e of th e corresponding 1 o a o a h e ca desvair o de vocablos and w rd , v iding wh t lls , it is n oticeable in this respect th at h e m o re than o n ce d ’ ill m entions th e heti cas A r is tot es . His thought is s o

e e e c ea e e ce a e e subtly xpr ss d in thin , l r s nt n s th t th s

1 Th us i n one chapter occur th e foll owing varie ties of s loth occi osidade ri u a ne ri encia enoelhcntamento leixamento lan or , p g y c , g g , , , g , min ua e ume em ackamento em acho desleixado tard nhei ro roxo s . g , p , p , p , , y , f

48 STU DIES I N PO RTUGUESE LITE RATU RE

1 o e a e o f o of a and s a English m th r , d ught r J hn G unt , y a h e w as a a e o e s o a th t n tur lly l qu nt , th t by his hum anity and el oque nce h e drew t owards him th e ” 2 ea of me n an d a h e w as e o e s o h rts , th t nd w d with m any graces th at in him th ere was n othing t o de sire a n e e but better fortune . H is sh ort a d troubl d r ign

( 1 433- 1 438) can h ave give n him few o pp ortuniti es fo r

and e o e co t o h e o e study, b f r ming t thr n e his tim w as e qu ally crowded . He gives th e following picture of his life at t h e age o f twe nty - tw o

a dos a b em ce o era e a a o e a Os m is di s d l v nt d , miss s o a era na rolla om a aa meo dia ou ace ca e uvid s , c t r i vinha co m er . E s obre m esa dava o dien c as p er boo s a o e retra ame aa ca e a e o o aas a o a os p c , y m r l g du s r s p meo dia 0 5 do co nselho e vee do res d a faze nda eram com m o e a a a co m e e a aa o a da o e yg , tur v ll s t ix r s n it ; e d es ue a rtiom com 0 5 o ﬁ ciaaes d e a ca a q p , minh s a M e ca a s a a aa o a . o o co h u ava est v t xi r s nt , c , muy p u ; e o p aaco d o dicto se nho r ves itava p oucas vezes e aquell as p or vee r o q ue el fazia e de mym lh e d ar ” co nta .

o a o e e ea an d a e ea a (M st d ys I r s v ry rly , ft r h ring M ss , w as th e co a or ea and ca e to ea in urts till midd y n rly , m br k An f my fast . d be ore rising fro m t able I gave audiences

1 h ronica e Vida del Re D om D uarte dos Re s de ortu al undecimo C y , y P g “ is b on A n d as th e ueen D ona i i a h is mo er ( L , Q Ph l pp , th , b es ides h er rea vir ues w as a w o man o f r ea in e lli ence de muita g t t , g t t g ( poli cia) an d b ro ught up h er s on s w ith le s s luxur y a nd a b e tte r ed uca i on an d o th e adie s of S ain th e i n D on D uar e i e all h i s t th l p , K g t , l k ! f h b ro er s w as w el au in le e rs and in man ner s . O ne o is th , l t ght tt ! b ro ers w as r ince Hen r th e Navi a or als o mui s udios o d as th P y g t , t e r as l t . 2 C Ru d e i n a : He w as v e r e o uen and w as orn s o fo r f . y P y l q t b , n r a He eca me n ow n God e n d o w e d h i m i n thi s with ma y g ces . b k ” as Ed ward th e E o uen l q t . EARLY P ROSE 49 f r oo e an d e e t o oo an d at tw o o a g d whil , r tir d my r m , ’ o clock after midday th e coun cillors an d th e inspect ors h e e e me and o e e of t e tr asury w r with , I w rk d with th m ’ till nin e o clock at night ; and after th ey were go ne I f was with th e ofﬁcials o my household until eleven . I went t o th e chase very little and rarely visited th e a ace of th e a e o th e a e and p l s id s nh r [ King , his f th r] then o nly to s ee what h e w as doing an d to m ake report t o him) . He explains his lite rary studies as snat ch ed por fol 1 an a c c ce e o e or e g c during hur h r m ni s , during busin ss 2 c was not of a e ec a c a ac e an e e t o whi h v ry sp i l h r t r, d r f rs

th e e a e of a e oao I . wh o o e x mpl his f th r , King J , wr t a

oo of o of a c a a a an d a and a oo o f b k h urs S n t M ri ps lms , b k ’ th e chase ; of his brothe r Don Pe dro s Book o f virtu ou s ” ” e - o an d of o of co e o and w ll d ing , h urs nf ssi n ; to that of Alfonso th e Learned : E aquel honrado Rey Dom ” A fo o es t rollo o a t a multidOes fez de e f ns g qu n s l ituras .

1 x vi ive s th e dur a ion of various s ervi Chapter c . g t ces O rdin ary high mas s one our or di nar ves ers two ours s er vi ce on ri s m , h ; y p , h ; Ch t as E v e wi ma in s os e mas s and s ermon ﬁ ve ours A s h Wed nes , th t , g p l , , , h d a our ours alm Sun d a b les s in and dis rib u ion of alms y , f h ; P y , g t t p , roces s ion mas s e tc s 1x our s T ur sda i n Hol ee our our p , , h h y y W k , f h s ;

Good Frida our our s E as er E ve Six our s . T a of E as er D a y , f h t , h h t t y de ends on th e e n o f th e r ocess i on since w en a i s over p l gth p , h th t the y ” onl s a on e r a er y y p y . 2 E p or pe ns ar q ue pod eriam di zer q ue fazen d o tal leitur a caya e m e s e eccado de occios id ade er s eer o ra era m m tam t p , p b p y pouco er teece nte res on d o n o m me a recer as s cons ii ran do a man p , p p y , eir a ue s ob r ello e n o ca es o a o rin ci a men e n os randes oﬁ c os d a q t h , t f c p p l t g y i re a ue cus tumo d ouv r a cab ando o ue e de re zar ou em al g j q y q y , gii s o ucos s a os ue me s nto ora d oucu a ooes on de ﬁlh o p p c q y f p c , es to p or folganca como outros tee m n o q ue lhe s praz e gracas a Nos s o Senhor 0 mais do tempo me s en t o as s y d es p os to q ue nom avendo cous as muyto s eci aaes ue me con s tran am como uero screver e m es p q g , q to , as s y ” ivremen e 0 a e ue os ou ros cu dad os ouco me or vam l t f c , q t y p t . 50 STU DI ES I N PO RTU GU ESE LITERATU RE

O Leal Conselkei r o co ntains s everal ch apters o n “ ” what th e King calls th e sin of sadn ess as opposed Do o o ezar a e . ea t o boa ledice . Ch pt r xxv tr ts n j , p ,

e avorrec men to e s u dade an d e c e despraz r , y y , d s rib s 1 h a e . ea t e suy dade at l ength . Ch pt r xxxii d ls with r uar anto ce He a o con sin of gree d (gulla o g g y ) . ls e n ew nov dades achar demn s see king aft r things ( y ) ,

c u c an d a a a e and speaking in h r h , s ys th t m ny sp nd th eir days em fallas sem pr ovei to an d do n ot under ” 2 - sta nd h ow th e twenty four h ours granted t o us p ass . x e n o e a e t o be C hapter cv . giv s l ss th n thirty rul s o bserve d in C hurch (na capeella) : Th e pri ests an d singers are always t o arrive early ; th ey a re n ot to hurry in singing o r praying o r in any o the r p art — 1 th e modern s audade of w ic th e b es e uiv alen s ar e wis u , h h t q t tf l nes s or th e Galician mor rina a in desi derium an d Ger man S eli n , , L t , ll me n s li u n d w r i en oidade A oem h I t ori i na a o de a w as s . suc t . g y t t tt p h ad n l i i S o é de K in Di n i z as s o d e I Gi V cen e t i s suidade. s by g y . t “ i n A s uidade n ao s e es tre ce saudade can n o b e s a en off M ra da : ( t h k ) . Gil Vicen e w ri in in S ani s in ome dia s ob r e a divi s a da cidad e t , t g p h ( C de Coimbra h as So edad e n o de ti l t g , 0 err a d on de n aci t .

in Duar e ana zes s audade w i r ea are I t is h e s a s rn f c . o o K g t ly th g t , y , b th e s ens es n o t o f reas on an d ma b e leas urab le or s ad an d h e n o es , , y p , t th at n eith er Latin n or a ny o th er lan g uage h as a corr es pondin g wo rd for it : E a s uydade h e h uﬁ s en tid o d o coracom q ue vem d a e m e r z m E r e m m s ens ualidad e no d a o . p o e p arece es te n ome de s uyd a d e t am propr io q ue o l atym n em o utra lin guage m q ue e u s aib a n m h e era tal s en id o s e me n e D e s e aver s uid l u o p t lh a t . h [a a d e] a g mas v ezes co m razer e o u r as com n o o o u ri s e z p t j t t a . S o a la ter w ri er Francis co M anoe de M ello s a s He a s aud ade uma t , l , y h mimo s a ai xao d a al ma e or i s s o tao s ub il ue i e v . p , p t q q u ocamen te s e e x erimen a d e ixan don os i ndis tin cta a d or d a s atis fa ao He h um p t , c . ” m l d e ue s e os a e h um b em ue s e ad ece a q g t q p . 2 A mong th e qualities h e wi sh es a favourite to h ave is q ue n om l s s ej a p al avr o o . EARLY PROSE 51

h ce but to do e e e e and o f t e servi , v rything with l isur quietn ess ; no laughter o r m ocke ry is t o be allow ed ; there must be silen ce ; th e singers must all h ave a h e e o f a e are o t o and t o rough knowl dg wh t th y g ing sing , are n ot t o attempt high er n otes tha n th ey can easily 1 a a o o o an d for S o . tt in , b th in s l s inging in unis n I n another chapte r King Duart e says th at th e P ort uguese are o a n o f oo ea t an d th e are l y l a d g d h r s , English

a a m n o f a m of ea an d oo o e e v li nt e r s , gr t g d rd r in th ir He e th e a a of church e s an d h ouse s . divid s inh bit nts

o a o ﬁ ve e a e : 1 o a o e P rtug l int st t s ( ) r t rs pri sts ,

o a n d e m 2 e e e of th e co o m nks , h r its ( ) d f nd rs untry , b th “ against fo reign e n e mi es an d against th e proud an d m ali ci ous en emi es w h o dwell in th e l and (3) l aboure rs

an d e e o f c a co c o e etc . ﬁsh rm n ; (4) ﬁ i ls ( un ill rs , j udg s , ) (5) tho se wh o follow ce rtain approved a rts an d p rofes

o c a eo m e c a a e tan e si ns (physi i ns , surg ns , r h nts , pl y rs ( g dores a o e o m ) , rm ur rs , g lds iths , ’ King Duarte s Art of Riding (Li vr o de E nsi nanca de bem cavalga r toda sella ) is writte n in th e same cl ear n e o f an a d idi om ati c style . It t lls riding d hunting “ and horses ; o f th e m ali ces of t h e beasts h ow good an d l oyal beasts greatly ch eer tho se w h o m ount the m if they have a rea sonable skill in riding of th e “ o an d h ow to us e e an d h ow h e f rm Of spurs th m , t

1 a er xcix D o re imento do estama o h a s th e s ame cur i ous Ch pt . ( g g ) ly modern r1n h e K i n l n l s n . T o b e ore G ad o e w arn s h i s r eader s g g , g f t , th a t the y s h o uld ma s ticat e food w e ll at me als an d d r in k o nly twice o r thr ee times at mo s t th a t eggs agr ee w ith s om e a n d n o t with o the rs a man o f cr e a m an d o er mil vi an d s s o uld eat li le or n one th t y th k h tt , of c erries eac es o s er s v i n e ar le mon s i l e or n on e ere ar e h , p h , y t , g , , l tt th to b e s even o r ei our s e ween din ner an d s u er an d to o to ght h b t pp , g b ed at a r e as on a le our an d s o to r i s e ear l is ver ood b h y y g . 52 STU DI ES I N PO RTUGU ESE LITE RATU RE

ce e e o do n ot o e e Irish , sin th y rid with ut stirrups , bs rv h He e e ce e our m anner o f using t e spur . hims lf x ll d in

an d th e c a e h e n ot a e th e e ca o riding h s , but will h v du ti n of bo oks n eglecte d

Os moco s de boa lyn h agem e cri ados em tal casa q ue s e possa faze r deve m see r en s yn ados logo d e come o a ee e a c e e e a a lat m co a o c l r s r v r f ll r y , ntinu nd oo l vro s e r lat m e l n ua em de bo o cam n h a b s y p y y g g , y m e nto p er vyda virtu o sa ca p o sto q ue digam seme l a e e a n om o co n viir a h omeé s d e t al a o h nt l itur muit st d , myn h a t eenco m h e q ue p o is to dos almas ve rdade ira e e o o o a o c ee ue avemos mu t o c m nt s m s brig d s r r q , y prin i p alme n t e nos co nve m trabalhar com a me rcee do e o or s alva om e a o ue mu t o s e faz co m s nh r p c d ll s , q y s a graca p er 0 e studo de boos lyvro s e boa co nver ” saca m .

(S o ns of goo d family bro ught up in h ouses whe re this o e o a a be a t o ea an is p ssibl , sh uld str ightw y t ught r d d

e and ea La co t o ea oo oo writ sp k tin , ntinuing r d g d b ks in La and o a ce c as are oo e t o a tin r m n , su h g d guid s virtu ous life ; fo r alth ough th ey may s ay th at su ch reading not e a e t o m en o f e a o a is v ry suit bl th ir st ti n , I think th t since w e are all truly o bliged t o beli eve th at w e have

o e o e e c a t o o th e s uls , it b h v s us v ry prin ip lly w rk with a o o f th e Lo for e a a o c f v ur rd th ir s lv ti n , whi h with His grace is greatly wrought thro ugh th e study o f good b ooks and goo d co nve rsation . )

I n m o re th an o n e p assage of his works King Du arte

n ar t de lir e o f th e ee unfo lds a ﬁft nth century . He advise s that a goo d book sh ould be read again and a a ce e e e n ew ea e an d h g in , sin it will v r giv pl sur , in t e ” e ace to th e Art o f as a pr f Riding , in simil ar longer EARLY PROSE 53

a a e 0 Lea l C onselhei r o h e ea e ea p ss g in , bids his r d rs r d

o : Leamn o d e co me o o co a o e bem sl wly c , p u , p ss

a o a o o a o al fi as e e ao ue a le erom e a p nt d , t rn nd g v z s q j p r o sabere m m elh or ; ca s e o lee re m rij o e muyto junta

e e co o o d es t o rias o o deS raz era e s e en fa m nt , m livr , l g p , a o del o r o n om o e e t ambem e e e n em d r m , p p d r m nt nd r

remembrar .

King Duart e died at th e age o f forty - seve n on

e e e of a e e at o a . ea S pt mb r 9 , f v r Th m r His d th ’ w as hastened by gri ef at his bro th er F erna ndo s cap y A ca an d e e as t o e e h e tivit in fri , his p rpl xity wh th r Should yield C euta t o th e M o o rs for his ransom

o t oo e e c a . o a e p ssibly , , by his s v n physi i ns H is bi gr ph r ,

Ru de a a a as t o th e ca e of e y Pin , s ys th t us his sudd n death th ere were m a ny o pini ons amo ng his seve n ” physici ans an d th e Infant es th ere gath e red togethe r .

o w as ca e for a t o B a a a o c e His b dy rri d buri l t lh , with t r h s an d c o e o an d e and o e o e r ss s , m nks pri sts th r n bl ” co mp any . Ruy d e Pina was himself n o m ean writ er of Portu 2 ues e o e as e ace t o th e C o c e of g pr s , his pr f hr ni l King

E a a e e t o a oe o e dw rd , ddr ss d King M n l , pr v s

E s t orea e ce e e Re h e a e a , muy x ll nt y , ssi mui lib r l ce a d e o o bem ue n un ua em s ua o a a prin s t d , q q l uv d co nve rs acao n os recolh e q ue dell a n ao partamo s s em em toda calidade de bo ndades e virtude s Sp irit uaaes e corp oraaes n os ach arm o s o utro s e se ntirm o s em nos a m em hum singul r m elh o ram ento . Ne h e s causa ; o e a o a h s torial e o a e o e p rqu d utrin y , p l gr nd pr vim nto

1 Born at Vi zeu 1 1 , 39 . 2 He uses s ome Fren c w ords as remercear hr onica del Rei D h , (C Aﬁcns o and th e following is a tr uly San ch ian prevarica tion ” Em ue ran de ar e d o s ol fo cris q g p t y . 54 STU DIES I N PO RTUGU ESE LITE RATU RE d os ve rdade iro s en xe mp los passados q ue co nsigo tee m h e assi d oce e co nfo rme a to da a hum anidade q ue at e m os maao s q ue p e r licao ou p e r ouvida co m ella p a rtecip am to rn a l ogo boOs ou co m de s ej o d e o see r e o 6 s b0 s muyto m elh ores . Cuj a virtuosa fo rca h e t am anh a q ue p er o bras o u vo nt ade d o s fracos faz es fo rcad o s e d os e scasso s libe raaes e d o s cr us pi ado sos ” 1 e d os o n F li o h ri O fri s a é C ato cos e bo s C s taa S .

HI St or o e ce e s o e a a ce ( y , m st x ll nt King , is lib r l prin ss o f all goo d that w e n eve r leave its n oble pre sen ce with o ut ﬁnding o urselve s ch ange d in all ma nn e r o f goo d e an d e a a n d co o a a n d ee n ss virtu s , spiritu l rp r l , f ling in a m e n a o e e . n ot o a o us si gul r i pr v m nt And with ut r s n , for th e t eachi n g o f hist o ry by th e great st o re of tru e example s in th e past is s o sweet an d suitable t o all m en a e e th e c e wh o o ea o r ea th t v n wi k d , thr ugh r ding h ring a e o e a are a a a e oo o r e h v s m p rt in it , str ightw y m d g d l ft with a d esire t o b e s o : an d t h e goo d a re m ade mu ch e c b tt er . Th e fo rce o f its virtu e is su h th at e ith er in e e o r e e th e ea o t h e ~ m ean d d will it r nd rs w k str ng , e a an d th e c e e c a n d o e wh o are lib r l , ru l m r iful , turns th s cold in th e fa ith t o C ath oli cs an d goo d C hristians . ) In th e year 1 490 h e w as a ppo inted C hi ef Chro nicle r o f C o c e an d of a e e an d a are hr ni l s , things p st , pr s nt , th t ” fo r t o co He a e us e of th e ea e o of th e m e . m d rli r w rk

Chr onis ta F e ao Lo e an d cce o o e rn p s , his su ss r , G m s

B a e d e A a a an d e an e nn s zur r , in turn l ft unﬁnish d C hroni cle of King M an oel whi ch w as used by Damiao

e e 1 0 1 - 1 2 o c e o ne o f th e d G o s ( 5 57 ) in his Chr ni l , best works o f Po rtuguese prose in th e sixt eenth

e c ntury .

1 D D uarte E s cr i a or R u de ina . Ch ronica do S enhor R ey . . t p y P ri a or tu ueza d os re in ado s d e D (Colleccdo de li vros i nedi tos de h i s to p g . I blicados d e ordem D D uar e D A on s o V e D . oao I . u oao I . J , . t , . ff J P er ra d a A cad e mia R eal d as Sci encias de Lis boa p or J os é Corr ea da S . i oa l . i L sb V o . ,

56 STUD I ES IN PO RTUGUESE LITERATU RE

a e are o e two - e e an d ma be o e rgum nts ft n dg d , it y n t d ’ a V ce e e e 1 o ee ea th t i nt s wif di d in 533, nly thr y rs e o e th e comedi a was ac e s o a h ad h e e b f r t d , th t , writt n ’ t h e doutor s a for e h e o ca ce a e p rt hims lf, w uld s r ly h v allowed th e moca to Speak o f his h aving a beautiful wife : Qu em tal qu er ' Nao havia de t er mulhe r E formosa como a vossa .

It is more accurat e to s ay that h e w as born about th e Th f e y ar e pl ace o his birth is also un certain .

Acco to e o B a a a e a V ce e rding S nh r r g , his f th r , M rtim i nt , w as a S e o f a ae th e art e e ed a ilv rsmith Guim r s , b ing h r it ry in his family ; and acco rding to C h ris t ovam Alao de

Mo ae o e e ac o e e e t o c o r s (wh s v r ity is , h w v r , Op n suspi i n) ,

Gil was an o nly s on . Th e n am e Gil Vi cente was a co o one th e ee ce and e mm n in ﬁft nth ntury, S nho r Braga conside rs th at th e poet w as a differe nt pe rso n

o th e a o S e of th e a e a e wh o fr m f m us ilv rsmith s m n m , ’ w as h e a co o ne o f o c e of M r i , thinks , usin , f ur hildr n a t m s 2 brothe r Luiz .

1 I n th e A uto da F esta ub is ed in a misce lan of autos o f th e , p l h l y s ix een cen ur r om th e li rar of th e on de de Sab u osa th e t th t y f b y C g , vclha s ays of Gil Vicen e t ,

ue faz os Au os a El - Rei Q t , th at h e is s tout and ove r sixty He l ogo mui b arregudo a d s e s en E mai s p s s a os s ta .

Th e ond e d e Sa u os a i n an accom an in s ud Lisbon C b g , p y g t y ( , a rib u es th e a to th e ear 1 I n 1 1 Gil Vi cen e s o e f tt t pl y y 535. 53 t p k o ” ims e as near ea And is w as ev iden l no t d ue as ﬁ ve d . h lf th th t y , l ears ear ier to i nes s . y l , l 2 T eo i o B ra a Gi l Vicente e as Ori ens do Theatro N aci onal orto h ph l g , g P , 1 8 8 O er w or s on V icen e are —V is cond e Sanc es de Baena 9 . th k t h , GI L VICENTE 57

a w as at a e a ea e o ce Guim ar es th t tim gr t r ligi us ntre , and while m any offerings t o th e Vi rgem da Oli vei r a

o e for o e o an d e provided e mpl ym nt w rk rs in g ld silv r , ’ th e fétes and processi ons an d th e Church s love of dramatic effects may h ave l aid th e basis of Gil ’ rt an d th e o a c o and o e a o Vicent e s a , p pul r ust ms bs rv ti n o f th e crowds coming in from th e surrounding country would give t o his genius that indigenous cast which is 1 “ f e c a . As e o B a a a n o on e o its chi f h rms S nh r r g s ys , ” p oet w as ever m ore pro foundly n atio nal . About th e year 1 488 Vicent e went t o study law in th e U niversity f an d 1 2 h e w as c o e t o be a e o Lisbon , in 49 h s n M st r ” f h of Rheto ri c to th e Duke o Bej a . I n t e preceding ’ o s on A fo o h ad ee e at year th e King s nly , f ns , b n kill d

I B r i o R ebel o E mentas histori cas I I Gil Gil Vicente 1 8 . . . . : . 94 J t l , u l Gil Vi cente i sbon 1 i nde de O u e a . 0 V s co 8 . n Li sbon 1 02 . Vice te. , 9 g , L , 9

r i na Mic a is de V as con cell o s Gi l Vicente der S cho er des Por tu . Ca ol h el , pf g 8 V is co n de d e as i o A Mocidade de D ramas Grundriss . 2 0 ( , pp C t lh ,

- d r r e a e Th e r tu uese D rama i n Lisbon 1 8 . E a s o Gil Vicente. , 9 7 g P t g , P g h anc es r uar erl 1 I T M h te t . 8 Gil Vi cente e . . i t nth entur . the S x ee C y [ Q y ] 9 7 J .

Bri o R ebel o Gil Vi cente Grandes Vultos Por tu uezes N o . 2 . i sbon t l , ( g , ) L , I n i s las w or Genera Bri o R eb el o rin s tw o s i na ures 1 9 1 2 . th t k l t l p t g t o f Gil Vi cen te (at an in t erv a l o f tw en ty year s ) to s h ow that th e poe t n B ut th e ar umen r o m es e d ocu an d Silv er s mith were dis ti ct . g t f th men s i s b n o mean s con clus i v e an d in ac ra er s ren ens th e t y , , f t , th t gth vie w f en or A n s elmo B raamcam Freire iven i n ar icle s oppos ite o S h p , g t en i led Gil Vi cente oeta ourives ub is ed in th e ornal do ommercio t t p , p l h j C Feb ruar and a ai n in a a er r ead b e ore th e Lis on A cademia ( y , g p p f b de S ciencias in 1 1 2 rin ed in t e Diari o de N oticias D ecemb er 1 6 9 (p t h , , f th Re i Hi iew res s rin ci al on v ol xlii . 2 0 o e s ers s . . V t p p ly , p , g t f n M an oel I w ere Gil V icen e il vers mi f h of h e r i n o Ki . o t e t e g g , h t , S th ” ueen an d in a los s G11 V icen e trouador a ear a s th e s ame Q , ( g ) t , , pp l r er s on Th e v exed ues ion r ai s ed b . a s e o B an co i n 1 88 1 p . q t , y C C t l , n aw aits fres h d ocuments for its s o lutio . 1 Beir ix h aS ' als o b een iven as h i s n a i v e rovince owi n o a Ba a g t p , g t th e r e u l n t o i t i n h is w or s O ers ive Lis n o f q ent a l us i o s k . th g b o r Bar e l h i ve own c l os as s na ti t . 58 STUDI ES I N PORTUGU ESE LITERATU RE

a a e a a o o e at th e a e of S nt r m by f ll fr m his h rs , g

ee e o e a a e to a e sixt n , ight m nths aft r his m rri g Is b l , a Th e d ught er of F e rdin a nd an d Isabella Of Spain . 1 chro ni cles and p oets of t h e tim e give vivid p ath eti c

c e o f ea an d of th e e e a e . pi tur s his d th , g n r l gri f

Th e D e o f B e a o e of ee Leo o and uk j , br th r Qu n n r

co o f t h e w as now e t o th e o e . AS usin King , h ir thr n ’ a oe h e a e o e o King M n l I . m rri d his br th r s wid w, but a e h er ea C h e a e Ma a ft r d th in hildbirth m rri d ri ,

e anoth r daughte r o f F e rdin and and Isab ella . It w as o n th e o cca o of t h e e 6 1 0 2 of si n birth (Jun , 5 ) ’ h er s on a e a oao . a ce e , ft rw rds King J I I I , th t Vi nt s Monologo do Vaquei ro or Visi taca m w as recited in th e a ace e 8 o of e o e p l (J un , C nsisting littl v r a e e an d e a w a hundr d lin s , writt n in Sp nish , this s , — acco t o own e o o a rding his t stim ny , his ﬁrst w rk — pri mei r a cousa que o autor fez an d h e adds in a co lo

o a e o f a e o o ph n th t , b ing kind hith rt unkn wn in “ ” o a s o ea e th e ee a s h e P rtug l , it pl s d Old Qu n th t reque sted th e auth o r th at it Sh o uld be re pre sente d at

a o n a Da an d eca e th e a e was m tins Christm s y , b us m tt r s o unsuitable th e autho r wrote a seco nd wo rk (A uto

1 n nd D e u nr ii z a mor e d o rin e e a ci onei ro de Rese e. s a r a Cf . C l y j t p c p d om Affo n s u eo s tem Th e n e w s is b r o u to th e ueen and o q e d . ght Q rin ces s and P , S ol as l a s d os s e p ar tier6 n mas e s erar om anh as Sy p c p , D es ma adas y , C or ri en do quan to p o dierom Las q ue l evam s us e n tranh as as imad as L t . Llh egan d o com gram d ol or C ome can d es ta manera Gri o s d ando t . GI L VICENTE 59

1 Pastor i l C as telhano) in its st ead . From 1 502 t o 1 536

ce e co e t o o e autos comedi as an d a r as Vi nt ntinu d pr vid , , f c fo r th e o e e fo r ec a ce e o e o r for C urt , ith r sp i l r m ni s

e o e a c as a o r E a . r ligi us f stiv ls , su h Christm s piph ny I n

1 1 2 h e a e B a ca Be e a a e o f a 5 m rri d r n z rr , d ught r M rtim

a o an d ece of th e c o d e a a a a d o Cr st , ni ri h Pri r S nt M ri 2 h u e — a L 1 1 C a . He ad o c stello f r hildr n M rtim , uiz ( 5 4 a e a an d a a w h o e e h e r a e th e V l ri , P ul , h lp d f th r in co ec o o th e co o o o f o ll ti n , p ssibly in mp siti n , his w rks , an d l at e r beca me a l ady - in - waiting of th e I nfa nta 3 f th e a e ec e . o e e o e M aria King M an l di d pl gu in D mb r ,

I 2 1 an d at m a of 1 2 A uto Pastor il Por tu uez 5 , Christ s 5 3( g ) w e ﬁnd th e poet referring t o himself as utterly p e nni less an d without a farthing

Hum Gil ue nao t eIn n em ce1ti l Hum q , ” Q ue faz o s al t o s a el re1.

In th e following year h e receive s fro m th e King th e ’ f r eis a e e a of sum o , with suppl m nt ry sum “ an d a a 1 2 a e e of ea in J nu ry , 5 5, pr s nt wh t in Vi ew o f th e service s whi ch I h ave re ceive d fro m Gil Vi ce nte an d of th o se whi ch I h op e in future t o receive ” 1 1 h e oo a o e a from him . I n 53 t k pr min nt p rt in put ting an en d t o a persecutio n of th e n ew C hristians a e o f a at Lisbo n afte r th e earthqu k J nu ary 2 6. I n a

1 E p or s er cous a n ova e m Por tugal gos t ou tan to a R ain ha velh a d es ta r ep res entacao q ue pe di o ao aut or q ue i s to mes mo lh e r ep res en e s ma inas d o N a al e n d ere ad o ao n as cime n o do Redem or t as s a t t , c t pt , or ue a s us tan a era mui d esviad a e m lu ar di s o fez a s e uin e e p q c , g t g t b r a o . 2 l i n 1 8 8 . Th B a Gi V ce te. : rag . 9 3 V n o I n an a M ar a S ee aroli na Mi c aeli s d e as co ce s A t D . i dc C h ll , f

ortu al 1 2 1 or to 1 0 2 . P g ( 5 P , 9 60 STU DIES I N PORTUGUESE LITERATU RE

‘ ' h e e e t o oao . wh o wa at a a e l tt r King J I I I , s S nt r m , rel at es th e event as foll ows

' ’ E NHOR — a e d e ca n ao me cont ent arao S , Os fr d s nem em pulpito n em e m prati ca sobre e sta tor m enta d a t e rra q ue o ra passou p orque n ao b astava o e sp anto da ge nte m as ainda elles lh e afﬁ rmavao duas cousas q ue o s m ais fazi a esmorecer .

He goes on to s ay th at th e m o nks thus increase d th e p anic by t elling th e peopl e ( 1 ) that th e earthquake w as due t o th e great Sins o f Portugal th at an oth er ’ earthquake w as coming at o n e O clock on th e following Thursday ; and th at h e acco rdingly called th e m o nks “ ” n hic ll H t ogether a d m ade the m a fa a . e be sought th em to re m e mbe r th at preaching w as n ot cursing “ (pregar nd o ha de ser praguejar) th at if in th e t owns and c e o f o a an d e ec a L o e e are iti s P rtug l , sp i lly isb n , th r a S e e are a o e a an d a e m ny ins , th r ls inﬁnit lms pilgrim g s ,

a a e a n d a e a nd oce o n ea e m ny m ss s pr y rs pr ssi s , f sts , p ni t ences and an e e o f ou o l c , inﬁnit numb r pi s w rks , pub i ” an d private an d th at if th ere we re still so me ” a e our a w as e e t o co e e str ng rs in f ith , it b tt r nv rt th m than to pe rsecut e the m p or contentar a d esvairada

’ ‘ ” in ia e all a e an c Op o d o vulgo . Th y pr is d d a cepted his a ce an d h e a h e h ad n ot o e e now ea dvi , , s ys , h p d , b ing n r ea t o be e a e t o e e th e SO ea a d th , n bl d r nd r King gr t service. “ r h A ssi visinho da mo te como es tou . I n t e C olo ph on t o Flores ta de E nganos ( 1 536) w e are t old th at this comedia “ ” w a h e a a ce e o e e s t l st th t Gil Vi nt wr t in his tim .

1 6h e e a e e t o uinta do Mosteir o In 53 p rh ps r tir d his Q , th e pro perty n ear To rres Ve dras given to him by King Ma oe a co of o e e an d c a n l , in untry ﬂ w r d hills ryst l GI L VICENTE 61

1 streams that might remind him of his n ative Minh o . 2 e e h e occ e e f co ec o H r upi d hims l in ll ting his w rks , but e e o e th e co ec o was ea for ca o di d b f r ll ti n r dy publi ti n , in

r 1 0 o befo re th e year 54 . To s ay that Gil Vicente w as th oroughly Portugu ese is not to imply that h e of his ow n genius invented a N dramati c art for Portugal . o doubt h e might find th e ge rms of drama in th e dialogue s of th e early Portugu ese canti as de a mi o th e e o oce o an d e e g g , in r ligi us pr ssi ns , sp ciall th e a a of t h e a o f c ec y in dr m m ss , whi h s ular a p rodi es were acte d in Po rtugal in th e fiftee nth century . But in th e coloph o n t o his first auto h e impli es that it “ ” w as a n ew thing importe d from Sp ain fo r th e pleasure o f th e Sp a nish prin cesses at th e Portugu ese

C o . Th e eco a A uto Pas tor il Castelhano l e urt s nd pl y, , ik e e in a was a ec a e wis writt n Sp nish , in p rts dir tly imit t d from Ju an del En cin a ( 1 469 ? an d to th e in ’ ﬂuen ce of Encin a Vicente s dram atic art must prin i ll a e are a c p a y b e ttributed . Ther m ny signs in his f e a work o a close acqu aintance with Spanish lit r ture . Whe n in th e A uto da B ar ca do Purgatori o ( 1 51 8) th e De a t o th e la vr ador vil s ys ,

E os m arcos q ue mudavas ' D1z e o ue o s n ao o a a , p rq t rn v s Outra vez a s eu logar this is p erhaps less a - d irect obse rvati o n of life than a

1 I n th e A uto da His tori a de D eos owever h e co m ain s h , pl that th e coun tr y be tween Ci n tr a an d Torr es V ed ras i s all s tones and is es th tl . 2 “ Trab alhei a c0p illacao d ellas com muita p en a de minh a velhice e gloria de minh a von tade (dedicatory l e tter to K in g J oao 62 STU DI ES IN PORTU GUESE LITERATU RE

“ reminiscen ce of th e mal labr ador in Berceo (ci rca wh o

a o e or a a r C ambi ba moj n s p g n r e edat .

Branca Gil o f O Velho da H or ta ( 1 51 2 ) an d th e feiti cei r a o f th e Comedi a de Rubena ( 1 52 1 ) we re evide ntly drawn

th e Celes ti na o f c a e o a ea e from , whi h m ny diti ns pp r d ’ during Vi cent e s life . Th e epith et E za mano melibea F ar a das Ci anas 1 2 1 be ce o th e ( c g , 5 ) must tra d t

Th e o las f - s am e source . C p o J o rge M anriqu e ( 1 440 78) 1 h e imitat ed in th e epitaph which h e wrote fo r n d e e e h A u d lma e a t e to a A . hims lf , (th ir m tr ) in ce e w as a o e ce a o t o a e Vi nt ls inﬂu n d , lth ugh slight r

e ee th e F e c e and o a a d gr , by r n h myst ry m r lity pl ys , an d th e m any re fe re n ces t o France in his works prove th at th e menti o n in th e C anci oneir o de R esende

1 1 6 mi l allas de F r an a was no e e a e ( 5 ) Of f c m r phr s . I n th e A uto da Fe ( 1 51 0) a bed is sp oke n of as chaqueada ct “ la rancesa an d th e S e e S hica enselada ue f , h ph rds ing q

e F a th e A uto dos ua tr o tem o o i o de ranc . I n q p s is sung a cantiga fran ceza q ue diz

Ay d e la n o ble a Vill d e Paris .

Th e Chie f Justice in Floresta de E nganos h as t aken ” e ee at a un oc o ec o en e a his d gr P ris d t r h h S n . ’ ’ L o a o a ao d A mores 1 2 o isb n s rm ri l ship (N , 5 7) is w rth

1 I n th e Ch urch o f 8 50 F ran ci s co at Evora

O grao j uizo es peran do J aco aqui nes ta morad a T amb e m d a Vid a cancada De an nd o s c ca .

64 STUDIES I N PORTUGUESE LITE RATU RE

Q ue a t o rm e nta passada a Foi t ant a e t o desigu al . r as s (Ob var i a . )

says th e Portuguese p eo pl e n eeds to

Refun diC I On

E n la Portuguesa gente .

Already in 1 51 3 h e h ad inveigh ed against th e gilt

e c a e of th e c and ca e o and paint d h mb rs ri h , ll d up n h e e to be o e e n ot a o no r t e Portugu s P rtugu s , S x ns Italians

’ Nao queirais s er Genoez es ” n a muI tO Po r u eze S e o t gu s .

I n th e Tr i umpho do I nver no h e lam e nts th e vanish ed ea e th e e ec of th e ai teir o an simple pl sur s , n gl t g d song and dance Em Portugal vi eu ja 1 Em cada casa p ande iro E gait a em cada p alh eiro E d e vinte an n os a ca Nao h a a a n em a o hi g it g iteir . i s ate at are ’ 0 d en tao era cantar E a a co o h r b il r m a d e s e .

“ But in this age Todos somos n egligentes (A uto a de F ei r , Vice nt e also experi enced th e change of t ast e which delighted n o longe r in Simple Po rtugu ese ware s - but turn ed t o classical the me s a nd th e n ew poetry intro

1 C an dora an d ura a mus ica in s r umen wi ree s rin s a f . p , p , l t t th th t g , kit a cr oude a r eb ecke . Florio uo ed b E . ee le Th e Romance , , , q t y W k y ,

ndon 1 1 2 1 1 8 . SO b and re n W rds . o . o a ore an o o o . f L , 9 , pp 37 , 3 , b j , b j GI L VICENTE 55

’ de M a a a e o e t o a duced by S e. ir nd ft r his j urn y It ly in or ’ - about th e years 1 52 1 1 52 6. Vicente s 0 Clerig o da B ei r a ( 1 52 6) is supposed to aim in more than one

8 51 de M a a wh o for a p assage at ir nd , his p rt , is said to h e autos as a a o and e h ave despised t b rb r us m di aeval . In

De e e 1 2 A é Fa cao de Re e e a e ee c mb r , 53 , ndr s l s nd , ft r s ’ uto da Lusi tani a ec ing Vicente s A , r ords his opinio n that

G o a c o et ac o ill u t r t r , G o ocis levibus oc ers trin ere o e ill j d tus p g m r s ,

would h ave excelle d Pl autus and Teren ce h ad h e

e a and n ot o e th e u a o writt n in L tin s l ly in v lg r t ngue . Vi cente seems t o have felt th at h e w as being out

distanced by th e n ew style . In th e preface d edicat

’ ing D om Duardos (printed separately during th e author s e e to oao L h e ea o f co e lif tim ) King J I I , sp ks his m dies , “ a ce and o a e as low e I n c e e f r s , m r liti s ﬁgur s whi h th r is no ﬁtting rh et oric t o satisfy th e deli cate spirit of your ” Highness ; an d similarly in th e lett e r dedi cating his collected works t o th e King h e says : Anci e nt and mo dern writers have left n o good thing t o s ay n or fair ” 1 e ce or e o to co e and ea of mi d vi inv nti n dis v r , sp ks nha ” i noranci a and o f ma ldi tos detr actores g his . There w as evidently a t ende ncy to look down up on his sm all

1 Th e dis cover y o f I n dia h ad bro ught to literature as well as to ever y o ther as pect of Portuguese life unres t and a s tr ivi ng after new i nven on s Th e new inven ions of Gil Vi ce n e for w i c r i ti . t t , h h Ga c a d e R es end e prai sed h i s plays rep res entacOes D e e s i o mui e o uen e t l l q t , D e mui novas i nv encion es E feit as p er Gil Vi cen te Elle foi o q ue i nvent ou 66 STU DIES I N PO RTUGUESE LITER ATU RE

1 ea and e e e ce for e o a lan l rning his pr f r n simpl , p pul r 2 a e ce e and c a ac e and a a e th e gu g , s n s , h r t rs ; pp r ntly more e r udite C ourt p oets accuse d him of plagi arism . No doubt any b o rrowings by a poet s o natural a nd

‘ original as Gil Vicente would be m o re n oti ceable th an th ose of writ ers who se wh o l e art and o utlook were th e F ar a de I nez Per ei r a e e e e borrowed . Of c r pr s nt d “ a . c e 1 2 before J o o I I I in his onv nt Of Thom ar in 5 3, “ h e o a : a e a a c as t auth r s ys Its rgum nt is th t , in smu h certain men Of goo d learning doubted whether th e a utho r himself wrot e the se things o r stole th em from e a o e a e e e— a e th e oth r uth rs , th y g v him this th m n m ly, ‘ commo n saying : I would rathe r h ave an as s that ’ 3 carries me th an a ho rse that throws me . With th e Far ca de I nez Per ei ra characte r drama w as i initiated in Portugal . G l Vice nte delin eates his char acters S a o o e e e are a e with kill , lth ugh s m tim s th y m d

u s o I s to 05. e q e 0 u u C om mais ra a e mais d ou ri na g c t , Pos to q ue J oao del E n zin a O pas toril comecou s oon ceas ed to sa is and av e wa e ore th e me rica innova ion s t fy , g y b f t l t f w s c o Garcia de Re s end e in is as sa e e x ici s a s o th e ne h o l . th p g pl tly y th at Vicen te in trod uced in to P or tuga l th e auto pastoril invented by

J uan del En cina . 1 E ven in th e nine teen th cent ur y h e h as bee n b arb arously accuse d

f r of lack o cultu e . 2 h is Amadis de G aula 1 Cf . ( 533)

M abilia Yo Senor n o s é a i n . , , l t , A madis Ni o o s o ab lar r omance . y h . 3 O s eu argumento h e q ue porquan to d uvid ar ﬁo cer tos h omens de born saber s e o autor fazia de s i mes mo e s tas cous as ou s e as fur tava de ou ro s au o res lh e deri o es e ema s ob re ue ﬁ zes s e—s h um e xe m o t t , t th q . pl commum q ue dizem : Mais quero as no q ue me leve q ue cavallo q ue ’ me derrube . GI L VICENTE 7 ingenuously t o describe themselves ; his peasants and e ow o are e ec a and e e a humbl r t nsf lk sp i lly Vivid, g n r lly

e e e a e a e e th e a a e wh r v r his n tiv s tir ﬁnds v nt , p ss g w e h alm cr e e st ands out in strong reli ef . Thus have t e o v (carri er) riding along on his mule with great j ingling of bells and Singing a serranilha

e o o a oc e e h e a uelle S nh r , lm r v q Q ue os chocalho s ouco eu th e oc o wh o a e a o eec o f o con d t r , ft r l ng sp h n things , eludes that his p atie nt will live unless h e dies

De m anera Q ue para dalle Vida E S m enester q ue n o mue ra ;

th e lis boeta embarking for India and l eaving for his wife ’ 3 a ee ea o e of co o e and c th e thr y rs st r rn , Oil , h n y, loth ; royal page upbraiding a second page for being redole nt 4 o f and a o a e ca e th e serra turnips , h ving pr b bly k pt ttl in ; th e courtier with his slippers Of velvet ; th e courtier e F e a o e e ca and o e pri st , r i P c , with his v lv t p his gl v s “ and o c e a e ee co e gilt sw rd , min ing lik v ry sw t urti r azenda menei os dc muito doce cor tezd o an ea ( f ) , d sp king o and co eo ea o e of co e s ftly urt usly, with gr t st r mplim nts , 5 o o e a a th e alavrinhas de ventos w rds b rn w y by wind , p ; th e p easant wh o h as spent all his life to iling and p er s ecuted a ea o th e a t o e , living d th , pl ughing l nd giv

ea to o e th e e a e - o a re ateira br d th rs shr wd m rk t w m n , g , e h er e a wo reaes and o a e o s lling ggs t t , p uring w t r int 7 th e milk ; th e serving - man receiving bread and garlic

2 1 l F ar a d i ico m cr es 1 2 6. os F s s F ar a dos A o ev . c . 5 c 3 0 leri o da B i a 1 . A uto I i 1 1 . da nd a . e r 2 6 5 9 C g . 5 5 Roma em de A ravados 1 . g gg . 533 3 7 A utoda B arca do ur at ri o 1 1 8 I bid . P g o . 5 . 68 STUDI ES I N PO RTUGU ESE LITERATU RE

1 (migas y ajo) for his meal ; th e hardworking woman upbraiding h er husband for living o n h er labour during th e h ot summ er months

NO e ao n ao a a a a v r g nh s n d , ’ C o a ca a e - t e lm v ns a mim .

There is th e sh ephe rd wh o declares th at h e h as n eve r stolen anything but grap e s fro m tim e to time

E u nun ca m atei n em furte i 3 ’ N ega uvas algum ora th e h er ot au la it or a e oil ote de azeite girl with p , r th r , , p , on h er ea ca c a h ow s h e e and h d , l ul ting will s ll it buy e an d a e o eac e a c an d f r ggs , h v fr m h gg du k , o each

c a tostoi o and a e a c an d o o a e a a du k , m k ri h h n ur bl m rri ge , 5 whe n th e p ot breaks ; th e old Lisb on wom an wh o bids th e escudeir o go and apprentice himself to a tailor r a a e and n ot co e co and a o we v r , m urting pl ying th e guitar whe n h e is st arving :

' ’ Q ue nao te fartas de p ao E q u eres mus 1q u1ar ; h r a e wh o co e a o o e e d ught r, nsid rs th t w rk , th r than and a o e e a e a p ainting d rning h rs lf, m k s girl ugly and 6 “ e th e oo escudei ro wh o a e a a b nt ; p r p ss s his d ys f sting , ” in in nd a and a and s g g a pl ying , sighing y wning , spends tostao a o or wh o h as n ot a e but a in m nth , singl co in e a e two o to don e c o e Of silv r , but t k s h urs his (hir d) l th s , an a h e a ran senor and o e d dreams th t is g , l v s to tell of Roland and H annibal and S cipio

1 2 m h omedia do Viuvo 1 1 . Triu o do I nverno C . 5 4 p . 4 3 = A ut ar E xce . o da B ca do ur ator pt P g io . 5 3 n M endes 1 . uem tem arelos P 1 0 uto de M o a . A ﬁ . 534 Q f 5 5 GI L VICENTE 69

C e a d e los Anibales u nt , C e l on es Roz as valles p , , ” 1 n o a a a un a o Y m t r j rr ,

o r wh o e e an d oo a o sp nds his tim singing sh ting sp rr ws , 2 and keeps his wife shut up like a nun of O udivellas mo o ee on th e o th e ce o his c sl ps gr und , iling his nly covering ” 3 No ch ao e o e o or a a t lh p m nt ,

or e e Off an old Alemt e an is slightly b tt r , with j rug

’ ’ HIi a manta d Alemt ejo Q ue n a minh a cam a tinha ” a a a us adaz inh a M nt j ,

’ but is awoken at midnight t o hear his master s verses Esta no ite eu lazerando S obre h ﬁ a area e as p ernas fora

E e aco a - me a h fi a o a ll rd h r , — s e o e e F e a o Oh s ub ss s , rn nd , Q ue tro va q ue ﬁ z ago ra Faz - me accender o candieiro ue lh e e a o e o E q t nh tint ir , E O s eu galgo uivando E eu em é e e a o p , r n g nd Po rqu e ao so mn o prim eiro a m eu Est senho r trovando .

This scen e o f th e Sleepy boy holding th e inkstand fo r his m aste r t o write down his l atest verses while th e dog h owls is but one o f m any vivid sce n es occurring ’ ce e a —th e a o f o a a e a in Vi nt s pl ys f ir br d h rv sting h ts ,

1 Q uem temfarelos ? 2 C th e A uto de la Sibi lla f .

assandra la mu er ? So s ir ar C . Y j p ; D es ués en cas a r eh ir ruﬁ i r p , y g D l i ll v e a tr s te a i cauti a . 3 F ar a de I nez erei ra c P . 70 STU DI ES I N PO RTUGUESE LITERATU RE

an d e o e - a an d oe an d c an d ea littl h n y j rs , sh s , du ks , b ns

o V a a and th e a e - co o fr m i nn , m rk t girls ming d wn from 1 th e hills carrying baskets on th eir h eads ; o r th e

ea a oilld o s o n t o be a e a h p s nt ( ) bringing his pri st , th t e 2 may live a life of ease ; o r th e deceit practised upo n a 3 merchant by a poor escudeir o dressed up as a wido w ; or th e scene in which appears a little girl shepherdess (pastora meni na) wh o h ad freq uently seen God

1 A uto da F ira e . 2 Romagem de Aggravados a Por i ss o uer Peas nt . q o fa zer ’ E s e meu ra az d I re a t p g j , Nao com de vacao s obej a Mas p orque p os s a Viver omo mai s ol ad o s e a C f g j . ’ uer eis - m o adre en s inar Q , P , E d ar - vos - h ei q uan to t enh o t l e m mar ries Se 0 e e b o . P . l t easant era ud o tem en en o P . P t g h E tem vo z era can ar p t . riest To ma es e a e n a mac P . t p p l lé s s es v er s inh os E e os .

I s o h e e a mi nh os B oy . t p r co ' O u h ei d ir p or acafrao riest Ai nd a nao s a es nad a P . b . m nd eira B o Sei onde ora a e . y . t

easant I ere ore wis to ma e m s on a ri es not i ndeed for (P . th f h k y p t , th e oca ion b ut a h e ma li ve at e as e I f ou adre wi l eac V t , th t y . y , P , l t h h im I wi l iv u ll I ave Priest Yes if h e i s wi i n easan e o a . t , l g y h . , ll g . P . 0 h e h as alen fo r e ver in an d h e h as a ood voice ri est to t t yth g , g . P ( B o Ta e is a er i n o ur an d and r ead es e ver s e s B o I s it y) . k th p p y h th . y . t b u ummin r mus I o for s aff r on ries t You n ow n o in o y c o t g ? P . k th g at all B o I n ow w ere th e s o woman ive s . . y . k h h p l ) 3 Floresta de Enganos

m ra es e ais Vi uva . en or e o S . h , b t j

Em o r es e ais n Mercador . a Se ora b t j , h , Q ue h e O q ue de mand ais

V. Eu o direi o ra . Ai coitada ue ve n o ora tao cans ad a e tc Q h , .

72 STU D I ES I N PORTUGU ESE LITERATU RE

o u ta i a H r a o of L o A ut da L si n . e a t il r isb n ( ) husb nd , wh o was not co ntent with simpl e kid an d cu cumbers for e e for ca o and ea an d dinn r , but wish d rr ts b ns c and a f o a a a a a ummin s f r n , s ng Sp nish b ll d

Ai a e a a Va e a V l nc , gu i l nc , De o o e a e a a f g s j s qu im d , Prim eiro foste de M o iros u e C h ri an o o a Q e d s t s t m da.

But his wife says : This is th e song that I would have Donde Vindes fi lh a Bran ca e colorida De la e o a e v nh m dr , D a e ri e rib s d hum o . Ach e i m eus amo res ’ N hum ro sal fl orido . —F o o mh a filh l rid , a B a a e o r nc col rida . —De la e o a e v nh m dr , D e ribas d e hum alto . Achei m eus amores ’ o N hum r sal gran ado . —G a a o mb a filh a r n d , ” Bran ca e colorida .

Da e e ce co e ou s o e and s o a ( ught r , wh n m y , whit f ir P

Mo e co e o th e a o f a e . e th r , I m fr m b nks riv r Th re found — - o e a o e ee ﬂow er . I n o e I my l v by r s tr in ﬂ w r, my — a e s o e an d s o a . o e co f d ught r , whit f ir M th r , I m e rom e e th e banks of a stream . Th r fo und I my love by a

- - - m red o e ee . Red o e ee a e s o r s tr r s tr , y d ught r, white and s o fair . )

a e e o e e e as th e A uto His pl ys w r ft n writt n hurri dly , de Mar tinho o o e fo r th e C o r 5 . c o , mp s d rpus Christi p ce o o f 1 0 of c h e a a was o e e ssi n 5 4, whi h s ys th t it rd r d GI L VI C ENTE 73 — very late N ol a foi mais porque foi pedido mui to tar de or e as th e Tem lo de A ollo 1 2 6 Os dias in illn ss , p p ( 5 ) em que esta obr a fabr i cou es teve enfer mo dc gr andes febr es ” o a tor n a o a u . That his plays w o a wider appreci ti n th n that of th e C ourt is proved by his saying of his farce Q uem temfarelos P ( 1 505) This n ame w as given t o it — ’ th e eo ste ome J - lh ul o by p ple E n [ oz o o v g . It is in this play that h e skilfully turns a mon ologue into a di alogue :

Falla a m oca da j anella tao p asso q ue minguem a o e e o a a a a ue e e e o e s e ode con uv , p l s p l vr s q ll r sp nd p ” e ur r j t a o q ue ella diz .

(Th e girl sp eaks s o low from th e window that no one ea h er and h er o are co ec e o h rs , w rds nj tur d fr m his 1 a nswers . )

Similarly in th e Mouologo do Vaqueir o th ere are signs of dramatic acti o n breaking through th e m onologue . Th e herdsman forces an entrance into th e palace ’ di una unada an d h e e e e o ea ( p ) , xpr ss s his j y by l ping into th e air

1 I n th e s ame play h e in troduces d ogs as actor s h h m h Cdes . Ham, am, a , am.

' A i res N 0 ou o co a cai n ada . 5 c c .

Ra az d a- l es b ii a edrad a p , h p ’ u ar os r m d e o O f t e a a p a . ’

ari o C as e dras o s a ude D eos . Ap c . o p j ” H m h m h m h am. Cdes . a a a , , ,

D o H h m h m h r n n ear f r is b r in s . am a a am . A i es . I ca o o a . ( g , , , t h th k g T r n i v m ir ﬁ ll of re T m o r e e e b ad . B o e ow s o es at e b o . h t th , y , g th th y h y mus b e con en wi s ones D o s Ham h am h am h a m t t t th t . g . , , , . )

T us th e ar in a es th e ace o f th e an s wers to h is cour in h b k g t k pl t g , a ou rese n l th e old mo er ma es erse ear d to s ome ur o se lth gh p t y th k h lf h p p . 74 STU DI ES I N PO RTUGU ESE LITE RATU RE

Mi fé a a e o o s lt r qui r y , Hé a a z g l , D o ce a é mal ig , di , s lt I n his satire Vicente attacks great and sm all im a a h e A uto da B arca da lori a 1 1 Dea p rti lly . In t G ( 5 9) th e e cce e a C o a D e a an nt rs su ssiv ly with unt , uk , King , E e o a B o an A c o a C a a an d a mp r r, ish p , r hbish p , rdin l ,

o e . Th e e o a th e De h as a ea h ad P p Emp r r, s ys vil , lr dy a a e and ea n a a h e o o to his P r dis , it is r lly u f ir th t sh uld g

a Th e B o h a ea e a a a e th e it gain . ish p s rn d p ss g in ’ ” De oa a a e and a ti e th e vil s b t by his ph nt si s h ugh n ss ,

h Trium ho o e e and o . t e P p by luxury , prid , sim ny I n p I e h e do nv rno t e peasants are lash ed in th eir turn . Th y are oo for o oo and a c o and g d n thing , f lish , m li i us, murmur without unde rstanding

‘ ' ' Q ue ma cousa s ao Villaos E a e e o a g nt p pul r, ‘ Q ue n ao sabe m de sej ar S enao huns desej o s Vaos Q ue n ao s ao te rra n em mar ; De n enhum bem dizem bem Nem o a e co ece s b m nh r, r ra Mu mu o s em entender .

Bu a o e all th e C c an d o e e and t it is b v hur h P p , pri sts — a a V ce e co e a e th e fri rs , th t i nt s urg s with his s tir

e a r ades ver melhos th e o e a ee purpl fri rs (f ) , P p s sl p (Papas adormidos) ; th e Village cur a wh o h ad al ways omitted t o pray th e h ours t o th e Virgin ; th e sporting priest in O Clerigo da B ei r a ( 1 52 6)

a ca a ca a dia Ir c d , ” A e a a e a l lui , l lui l ) th e pri ol of Minh o skilled in obta1n 1ng chickens

’ Q u ap anh a as frangas mui bem GI L VICENTE 75 h wh o e e e o e not e t o b e th e o t e friar b li v s l v , h ll , w rst to rm ent E o es lo ue e é st q studi , ” r Esta e a mi libraria .

(A uto das Fa das . )

re e o e e h e S ometimes they a l ss pr sp rous . Th re is t ” purple G erman friar t o wh o m M ari a Parda be q ueath s h er old cloak with holes burnt in it by ﬁ re ; the re is th e poor ch aplain wh o co mplains that h e h as ’ to be up at o n e o clock e very m o rning t o s ay m ass e o e t h e c a e an d h as t o o t o a e and oo b f r h s , g m rk t , l k ’ e h e e th e c e an d c ea a e aft r t nigg rs in kit h n , l n his m st r s

oo ece e a a e e o of a b ts , r iving in r turn b r p nnyw rth d ily oo a o a e o e a h e e f d, lth ugh his m st r pr t sts th t giv s him a tostd o for e e a F ar a dos A lmocreves v ry m ss ( c , I n th e C or tes de j upiter ( 1 51 9) th e Lisbo n can ons are to accompany th e Prin cess Beatriz on h er voyage well beyond th e mouth Of th e Tagus in th e form of tunny th e A uto da F eira 1 ﬁsh . In ( 52 7) M ercury upbraids Ro me for warring against all sins but h er own

O Ro ma sempre vi la Q ue matas p eccados ca ” l i x 1 r E e as V ve os t eus .

c as a e ce e w as o o In his lyri ism , in his s tir , Vi nt th r ughly

ea e h Portugu ese . It is notic bl th at e wrot e his be st 2 c n ot a o ue e c of a c ea lyri s in Sp nish but in P rtug s , lyri s l r

1 Th e auth or notes : Th e b as is of this far ce i s that a n ob leman of ver y s mall i n come kept gr eat s t ate and h ad h is ch aplain an d h is

' i vers mi and o er d e ende n s w o m h e n ev er aid Th e tostao S l th th p t , h p . , w ic in th e s ix een cen ur wou d b u a d uck 68 i s w or ﬁ ve h h t th t y l y (p . ) th ’ en e 1 00 r is p c ( e ) . 2 Th e delightful pr ai s es of s pri ng i n th e A uto dos Q uatro Tempos and

i n th e Trium h o do Inverno are owever i n S anis . p , h , p h 76 STU D IES I N PO RTUG U ESE LITE RATU RE j oyousn ess an d mystic simplicity which must place him 1 h e f all e Th e A uto da a m ong t e greatest po ts o tim . B ar ca do I nferno e nds with a magniﬁcent invocati on of th e angel to th e knights wh o die d ﬁghting in Afri ca

O C avalleiros de Deos A VOS estou e sperando ; Q ue morrestes p elej ando

Por C o e o dos C eo . hrist , S nh r s o e de o o 0 mal S is livr s t d , Sanctos or ce o s em a a p rt f lh , Q ue qu em m o rre em t al bat alha ” z e e Merece p a t rnal .

( Knights of God Fo r o u a y I w it , You wh o ﬁghting met your fat e For th e C t h e Lo f e hrist , rd o H eav n . F o all e are ou ee r m vil y fr , o are ou ce a H ly y rt inly , U nto him wh o in su ch co nﬂict D e e e ies et rn al p ac is given . )

Th e A uto da B arca do Purgatori o Op e ns with th e lin es

' Re mando Vao re madores Barca d e grande alen a

1 Th e nobles t and mo s t dis cerni ng p rai se of Gil V icente i s to b e — found in th e s tudy b y M arcelin o M e n en dez y Pelayo ( 1 856 1 9 1 2 ) “ A ntolo ia de li ricos castellanos to m. rolo o ar Gil V i cen e ( g , 7 , p g , p t t e s un o de los ran d es oe as de la eni ns ula en r e los nacidos e n g p t P , y t or u a nadie le ev a ven a a e xce o cl é ico amoen s ue ino P t g l ll t j , pt p C , q V d es ués ue e s muc o mas imi ador ue ab arca un ci rculo d e re re p , q h t y q p s en ta i nes oé icas me n o ex e n s o E l a ma d el ue lo or u ués no c o p t s t . l p b p t g r e s i ra i n e ra mas ue en Gil Vi cen e ran n umero de los e e men os p t g q t , y g l t mas o ul ares de l e nio eni n s u ar en romances can ar es s u ers ti p p g p l , y t , p ciones re ranes es an admirableme n e en arz ados en s us o ras ue y f , t t g b , q s on lo mas n acion a d el ea r o an er ior a Lo e de V e xiii a . l t t t p g (p cl ) . GI L VICENTE 77

O patrao q ue a gui ava Filho d e D eo s s e dizia ; Anj o s e ram o s remeiros Q ue remava m a p orﬁ a ; ’ a ar e d es eran a Est nd t p c , O qu am b em q ue parecia O m asto da fo rtaleza C o mo cristal reluzia ; A e a com fé co a v l , sid ,

Todo O mundo esclarecia . A ribeira mui s eren a ue e Q n nhum vento bolia .

(Rowers now are rowing A boat of great delight ; Th e b oatm an wh o w as steering it Th e So n o f God is hight An d a e e e th e o a ng ls w r rsmen ,

Rowing with all th e ir might . ﬂa th e ﬂa o f o e Its g g h p , O h ow fair a sight ! a th e a of o e Its m st m st f rtitud , An d as crystal bright ’ Th e oa a e a b t s s il , s wn with f ith , h To all t e world gave light . U pon th e wate rs calm No ea of ma br th wind y light . )

Th e A uto da Histori a de D eos co ntains th e exq uisite vilancete sung by Abel

Adorae o a a , m nt nh s O D eos d as alturas ! T ambem as e a v rdur s . Adorae e e o , d s rt s E serras ﬂo ridas Deo dos ec e o O s s r t s , O S enhor das Vidas ! Ribeiras crescidas 78 STU D IES I N PO RTU GU ESE LITERATU RE

Louvae nas alturas Deos das c reatu ras Louvae a o e o , rv r d s De u o e a o fr t pr z d , Digam os pen edos Deos sej a louvado E louve meu gado N estas ve rduras

O Deos das alturas .

Ye o a a o e f h e e and ( m unt ins d r th e God o t h ights ,

e ee ace . o e e e e an d o e e y gr n pl s Ad r , y d s rts ﬂ w r d hills , th e God o f ec e a t h e Lo of e . Dee s r t w ys , rd lif p

ea a e o n th e e th e God o f . str ms , pr is h ights living things a e e ee of o e let th e oc s a : Pr is him , y tr s n bl fruit , r ks y e e God be praised . An d let my ﬂ ock praise in th s a e t h green pl c s e God of th e heights . )

Fa c a too th e canti a de ami o th e s in ting , , is g g in Tr agi comedi a Pas toril da Serra da E s tr ella Hum amigo q ue eu havi a ’ ’ Mancanas d ouro m enVia .

G arrido am or . Hum amigo q ue eu am ava ’ Mancan as d ouro me manda . ” Garrido amo r .

Fa o e . (A fri end I h ad sends me apples of gold . ir is l v

e Fa o e . A fri nd I loved se nds me apples of gold . ir is l v )

’ S ome Of Vi cente s plays were publish ed separately e e and th e co ec o of o was during his lif tim , ll ti n his w rks

e e far a a e at ea . was o e e vid ntly dv n c d his d th It , h w v r , not o e ea a e —on e e e until v r twenty y rs l t r S pt mb r 3, — 1 561 that his daughte r Paula receive d lice n ce to h old ’ th e C opyright o f th e canci oneir o of Gil Vicente s com lete o to be o at a ce n ot e cee o ne p w rks , s ld pri x ding ’ cruzado = oo r ei B a o e ( 4 s ) p er volum e . ut lthough th r e o o o e e ce o ee t o a e diti ns f ll w d , his inﬂu n w uld s m h v

80 STU DI ES I N PO RTU GU ESE LITE RATU RE

But however much Vicente may imitate or be imitated in th e constru ction and ch aracters of his a h e e e e e ee o a a nd pl ys , n v rth l ss k ps his rigin lity , in his h e a H h lyrical gift e r m ins inimitabl e . e is t e only great Po rtuguese p oet of unforced mirth an d j ollity

E e h e Ma o a o h e e e st i , O M i st , ” h M ﬂ r Este e 0 aio e o ece .

Ma e e for Ma e e ( y is h r , y is h r ,

M e n ll - ﬂ r ay is he r a d a a ow e . )

a oe h e a eco o to C a be and ma As p t r nks s nd nly m s , y pe rh aps without exaggeration be calle d th e greatest o riginal ge nius o f Po rtugal . C H A P T E R I V

SA DE M I RANDA

HI C K - SE T of e e e e a T , m dium h ight , with v ry whit h nds nd ace oo ac a ea o an d c e e a f , sm th bl k h ir , b rd l ng thi k , y s 1 2 ee e a e a o e ce e a e o e gr n , w ll sh d d , but lm st x ssiv ly l rg , n s o and a e a e an d e a c o a ea a ce l ng quilin , gr v m l n h ly in pp r n , of ea and ea a co e a o and e e but sy pl s nt nv rs ti n , witty r ﬁn d , ” n of o a f a d less sparing w rds th n o laughter . Such is th e c e o f F a c co de 8 61 de M a a h pi tur r n is ir nd , drawn by t e 3 a e th e 1 61 anonymous biogr ph r in 4 edition of his works . Th e description tallies with th e p ortrait reproduced by S enhora Mi chaelis d e Vasco ncellos as a frontispiece to

1 T is re er s not to th e colo ur of th e e es b ut more rob a to h f y , p bly h en n d ic nes s o f th e e elas es t e l gth a th k y h .

' 2 i i mi e i n th e uo a i on on cxxxiv of en or Mi l Th s s o tt d q t t p . S h a chae is ’ l e n th m a e we v r de V as conce os re ac . O e s a e o e ere is a l p f p g , h , th ” h i ar e es reference t o s l g ey . 3 r o D o or F rancisco de S aa de i r nda A or e n A s Ob as d ct M a . g a d ouo m Rela ao d e s ua calid ade id Por Vi en A im res s as co a a . c e varez p c V t l . n de 1 61 i sbon : Do min o Fer n andez liureir o F An o . o omem 4 [L ] g , . y h d or d mead e s a ura mui o al uo d e maos ros r gros so e c po ; e t t , t t o com pouca cOr nelle ; o cabello pre to corredio a b ar ba muito p ouoada d e s eu na ura cres cida os ol os verdes b em as s om rad os mas t l h b , com algii a demas ia gr an de s ; a n ari z comprid a com cauall o ; graue n a es s oa melan ch olico n a a aren cia mas aci uman o n a con p , p p , f l h uers a ao en r a ad o n el a com orn tom d e a a menos arco em c , g c l , b f ll , p a ar ue e m r ir f ll q . 8 2 STU DIES I N PO RTUGU ESE LITERATU RE

1 2 h r e Th e a o o a o f h a e dition . n nym us uth r o t e biogr phy is ge nerally conside red t o b e G o ncalo C o utinh o . ’ o e ea a e th e o e ea h e Writing s m ﬁfty y rs ft r p t s d th , derived his account fro m Di ogo Bernar des an d o th er f 5 3 h e o a e o 8 2. d e a a an d e a t e p rs n l fri nds Mir nd , it r m ins m ost imp ortant an d trustworthy source o f ou r inform a

o . Acco to acco F a c co w as th e ti n rding this unt , r n is s on o f a canon of C oimbra C athedral belonging to th e e o e of 5é and was o th e ea 1 a an ci nt h us , b rn in y r 495 t 4 o a . Th e a e e e o e f c e e e C imbr d t pr s nts s m di ﬁ ulti s , sp cially since S enh or Braga h as discovered an d publish ed a document legitimizing Fran cisco in th e year

’ 1 ci ran Edi i Poesias de F r ancisco de S de Mi da . cao fe ta s obr e cin co

‘ manus cri tos i neditos e od as a s e di Oes im res s as aco m an ada d e p t c p , p h um es udo s o r e 0 oe a var ian es n o as l os s ario e u m r e ra o or t b p t , t , t , g t t , p H l M i c a is de V as concello s . al e M ax N i eme er 1 88 aro in a e . C l h l y , 5 2 Vida d o D ov tor Fr ancis co d e S a d e Miran da coll e id a de es s oas , g p ﬁ dedignas q ue o conh ecerao tratarao d o s liur o s d as ger acbes des te R no T is ri e no ice was tr ans la ed i n o En is in a n a rid ed e y . h b f t t t gl h b g tu al Ol an N w nd 1 orm O . C rawfurd : or d d e . o on 880 . f by P g , L , 3 Dio o B ernar d es a uem s e uimos e m mui a ar e dis o g ( q g t p t t ) . 4 So i n a e e r to or e de M on te mai or Mirand a s a s , l tt J g , y

V zino a ue tu mon e d o h as nacid o e é. q l t C ogi es te aire d e Vid a i del M on de go n lara i tan s ab ro s a a ua h e evid o Ta C g b .

Th e auth or o f th e famous Di ana was born a t M on te mor o V elho in He ear w n n a n d o n h is e u n th e val e o f th e M onde o . e to S ai r r l y g ly t p , t M n e m o th e ﬁ in f is u w as nown as o a r . C rs e o e er : to Por t gal k t y f. t l th l tt M on te maior q ue a lo alto del Parnas o ! ub is e S t , an d tho se of a l etter address ed to h im by Pedro d e An drade C aminh a M on te M ayor cuj o alto i ngenh o es pan ta Gran des i n en h os e di os amen e g , t t ! e ers s e l eva n a A todo es tilo v o t .

5 l an r T i B ra a orto h la ta i a o eo o . iranda e a E sc o i . P S ci de M h ph l g P , 6 1 89 .

84 STU DI ES IN PO RTUGUESE LITERATU RE

1 - e a h e 1 8 r 1 0 ma o nly twenty on e . P rh ps t year 4 9 o 49 y provisi o nally be give n as th at o f his birth . I n 1 51 3 h e w as at th e C ourt o f Dom Manoel ; in ’ 1 2 1 th e ea o f Man oel s ea h e s et out on 5 , y r King d th , a an Be o e e his travels thro ugh Sp in d It aly . f r s ttling ” o t o o o and a e of e e a th e d wn phil s phy lif qui tn ss , s ys

1 61 o a h e e t o s ee th e o uis er e 4 bi gr phy, wish d w rld (q p rinar ollo mundo an d e a an d h e o g p ) , Visit d It ly t m st ” e a e a a He s aw at e cel br t d pl ces in Sp in . his l isure

com va ar <5: curiosidade Ro e e ce a e a ( g ) m , V ni , N pl s , Mil n , h i i i ” F o e ce an d t e e o f C c l a . l r n , b st

' Vi Ro a vi e e a vi ao m , V n z , Mil Em e o d e E s an h ois e d e F a ce e t mp p r n s s , O s j ardins de V ale nca d e Aragao m ” 2 E q ue 0 amor Vive e reina .

Th e C a a a th e r andes cam os de R oma in mp gn , g p , spire d him with a cantiga which shows him s ad an d weary “ ” 3 He a e h e a of foreign ski es . m d t acqu intance of many

1 He oo h is de ree in Law a er ﬁ rs s ud in literae humani ores in t k g ft t t y g , w ic h e w on dis in c i on letras de humanidade en ue o i nsi ne h h t t ( q j y g ) . 2 Le f d Mi rand a to Fern an do d e Menez es tter o 8 21 e .

Por es tes camp os s em ﬁ m E m q ue a vis ta s e es ten d e ue v e rei ri s e d e mim Q , t t , Poi s ver vos s e me de fe nde T od os e s tes campo s ch eos 8 50 d e dor e de pes ar Q ue ve m pera me matar Debai xo d e ceo s alb eos m erra es ran a e mar E t t h , M al s em meo e mal s em ﬁ m DOr q ue n inguem nao e n te nde Até quam l onge s e es ten de ” O v os s o oder e m mim p . SA DE M I RAN DA 5

1 ce e a e a a c S an naz aro to o h e l br t d It li ns , in luding , wh m “ ” a e as a oo old man an d e a A o o llud s th t g d , p rh ps ri st — ( 1 474 1 533) an d Pi etro Bembo ( 1 470 both p ro e h e e bably so m e twenty years his seniors . Wh n e r turn d to Po rtugal h e re main e d fo r so m e tim e at th e C ourt of

’

oao . w h o h ad ee o o th e o e a aui a J I I I , b n l ng up n thr n (j mui o t ue r e naua an d eca e one of th e o . q y ) , b m m st ” e ee Th ea f e st med courti ers of his time . e y r o his r turn w a 1 f e a s 2 6 or o 1 2 . A ew ea a e 5 , p ssibly 5 7 y rs l t r, p rh ps 1 h h Th e 61 2 e e e e e o t e C o . 1 in 53 , r tir d d ﬁnit ly fr m urt 4 bi ography says th at this w as due to a passage o f his “ ” leixo ec o e A fa e e e e e . l gu , ls ly int rpr t d by nvy It is th ought that h e may h ave symp athize d t oo ope nly with 2 e Bern ardim R e o wh o o a o t o his fri nd ib ir , , pr b bly wing 3 a o e - e h ad e e a e o C o an d a l v intrigu , b n b nish d fr m urt , th t h e c e th e ea e of th e o e a o e in urr d displ sur p w rful f v urit , h e H c e t C onde de C astanheira . e w as obviously in lin d t o be o o e a o h e w as e a a e of th e utsp k n , lth ugh w ll w r 4 drawbacks ; h e confess ed th at it w as difﬁcult fo r a

1 He w l i n n i t i nn as hims e f d s tan tly co ect ed w th h e fam ly o f Col o a . 2 Hi s s m a i s w n i n s ev e ra as s a es f th ue y p thy s ho l p g o e ec l og . 3 Not o wever wi th e dau er of K in M anoe as ran th e , h , th ght g l , e en d l g .

4 C N50 en as or ami o f . t h p g Q uem te and a s empre a von tad e i imu n n i D s s la do co t go . O lh a aq uelle dit o an tigo i Q ue en fada mu to a v erdade . Eclo ue B asto ( g . )

(Think not th e man your fri end wh o deceives you accor ding i me w s es on s ider th e ancien s a i n a ru is ir s o . h . C t y g th t t th k )

Por que diz er a verdade Li vr eme n t e s em engano Traz con si o an o d ano g t t , 86 STUDI ES I N PORTUGU ESE LITE RATU RE

l man o f c a ac e to be a courtier and h e e e h r t r , r tir d “ vol unt arily t o th e segura p obreza o f th e r a t des cha m s and ar e ma d p t o s is s os .

Q ue p ode t an t o a malda de ue faz mal ao des en an o Q g . an (E cl ogue M ont o. )

To el ru re e wi ou d ecei b r i n s wi it muc ur for ( t l t th f ly th t t g th h h t , wic n ked es s h as s uch pow er th at it h ar ms s i n cerity . )

I n a le er addre s s ed to 8 5 d e M ir an da h i s b ro er - in - law advises tt , th h im to res train h i s ar dour to r efo r m th e w or ld

N5O queirai s emen dar tud o N o mun do e eu d es con cer o s t .

1 I n th e famous lin es of h is letter to JO5O I I I

’ Homem d um SO parecer ’ m ’ f D u s o r o s o e d ii a. e t , ’ D a n te s quebrar q ue torcer O utra cous a pode s e r m ” M as d e co r te ho em n5o é .

A man o f s in e mi nd and ace an d ai wh o w o u d ra er rea ( gl f f th , l th b k

an end ma b e an i n h e eas e b ut a cour ier h e is not . th b , y yth g pl t )

He ims e i n is e er as i n h i s oimb r a s eec rai s es th e h lf th l tt , C p h , p K in i n n o meas ured er ms b ut o e r w ri ers b ear wi n e s s to th e r ea g t , th t t l o u ari o f o5o I I I and to th e ac a 8 5 d e M iran da w as n o mere p p l ty J . , f t th t ﬂatte rer wh en h e w ro te

O ut ro s reis os s eus es tad os Guard50 d e ar mas r odeados ” d d e amor V os rod ea o .

O er in s s urroun d emse ves wi arms to uard eir s a es ( th k g th l th g th t t , b ut you with l ove

O r ms b r r s corremos , U s o e out o A morrer p or v os com go s to Grandes t es temunh as te mos C o m q ue m5os e corn q ue ros to

Por d eus e p o r v os mor remos .

(W e r un in eagernes s to die for you w illingly we h ave great pro ofs of h ow ra ve n i ie for G d and for ou b ly a d w th what deed s w e d o y . )

88 STU DI ES IN PORTU GU ESE LITERATU RE

e ea ea b a a o th e ea 1 2 h e o e r tr t n r C oim r , b ut y r 5 7, wr t th at h e h ad mo re j oyful d ays th an s ad o n es

Tenho mais dias contado na d e t rl s t es De ledos q ue o , an d that with reading an d writing th e hours sp ed

’ ’ C O ue 11 co ue e c e q , q s r vi a’ ” Inda me n o en fadeI .

h o o e So so me ﬁftee n years lat e r e wrote t his br th r , Mem de 8 5 a e o e o of B a , l t r G v rn r r zil

Polo q ual a est e abrigo Onde me acolhi cansado et o m a a e o E j c ss z p rig , A e ssas letras q ue sigo De ue ca me e a o vo q nun nf d , Devo a minh a muito amada E prezada liberdade

Q ue tive aos dedos jugada . Aq ui som ente é mandada a Da rez o boa e ve rdade . Nas co rt es n5o p ode s er !

e e o e to e ea t o c ca e e and (Th r f r this r tr t , whi h I m tir d o e a e t e e e e c fo o ow e in s m d ng r , o th s l tt rs whi h I ll w , I

a e e o ear an d ow e c - o e it th t I n v r gr w w y , my mu h l v d ,

- c e e c w as an ace of o . mu h priz d lib rty , whi h I within l sing

H e re it is only bound by good reaso n and truth . I n

C ourts this cannot be . )

Of his life in this retreat it is p ossibl e to piece e ea was t ogeth r a very pleasant pi cture . His r ding

a o . o e h e ea th e o a e e v ri us H m r r d in rigin l , v n writing o e A co of o ace w as n t s in his C opy in Greek . py H r d a a da md rarely o ut of his hand (parece n o l rg ua o) . a e an d e a ca a a and a a c a o D nt P tr r in It li n , in Sp nish G r il s

‘ de la Ve a and Bo a o bom Lasso o bom B oscoi o g sc n ( , ) , SA D E M I RAN DA 89

e e a o e : a c a o a a e w r amo ng his f v urit s G r il s , pp r ntly, in a a c e o to e A o o e e a m nus ript b l nging his fri nd nt ni P r ir , of a ece a d e Ba o w h o a o a to o e C b ir s st , ls t ught him l v h ” 1 t e livros divinos . To c h e w as e o e and e a e on th e musi d v t d , hims lf pl y d

B h e le n - of- oo violin o r viola. ut e vide ntly d a out d r 2 e . He o be ea e o e c o a lif w uld up rly b f r rims n d wns , an d o ut o ac th e o on e of still with his d gs , tr king w lf in 3 those summe r calmas th at are s o oppressive in th e oc e a e of o an d a - os - o e e r ky riv r v ll ys Minh Tr z M nt s , tir d and co e e an d a e t o thirsty , v r d with mud dust , un bl ﬁnd 4 He h in cli ad his way . w as fo nd o f hunting t e wolf ( n o

1 ere ra d n e P i a vocated a tra s l a tion o f th e Bible i n to th e vulgar tongu . de Miran da wri es to rien 8 5. t a f d :

O ra apren do Ler p or elles de giolh os D e ue s e i uam ouco e n en do q q p t . M a s fos s em din o s meus olh os ” D e ce ar sob re el es en do g l l .

I am now earnin to r ead em on m nees and now h ow i e ( l g th y k , k l ttl I can under s and b ut w ou d m e es w ere w or to row li n d in t , l y y thy g b r eadin g th em . ) S o Pe dro d e A n d rad e C amin h a w rites to h im tha t i n h is retreat “ h e s eas ons h is pl eas ures with th e r eading of divine and h uman his tories ’ ’ C o as divin as i s orias co as umanas h t , h

Tem z p eras o pra er . 2 De color de h iva grana ! A r iend o - s e los cielos al ori en e b t . 3 A calma u l i Q e e r a grand e e o s o ard a .

th e ﬁ rs ine o f h i s beau i u s on n e Cf . t l t f l t

’ O s ol é r an d e caem co a calma as ves g , a . 4 e vou me um l o b o a os s i L p , E ” u como d oudo corria .

A er a w ol I wen and i e madm n ran ( ft f t l k a a . ) 90 STU D I ES I N PORTU GUESE LITERATU RE

’ a ca a de lobos an d o e e oo c ) , his hunting s m tim s t k him far a e e e as far as a ece a d e Ba o o a ﬁ ld , v n C b ir s st , t w rds

- - Re e e - and Traz os M onte s . f r n ce s t o wolf hunting ﬁshing 1 r He e e th e ffe e ce a e m any in his works . kn w w ll di r n be twee n trout fresh fro m th e stream an d ﬁsh co ming by carri er from th e t own

C o rn dous p eixinh o s passaras ’ D rio n ao d lm r O , a oc eves , ue a vilh a a e t am ca Q s s f z m ras . ” Beberas nas fo nte s claras .

(Your fare will co nsist of tw o little ﬁsh e s from th e e n ot o e o f ca e o e c are s o ea riv r , th s rri rs , th s whi h d r in h t e towns ; your drink will be fro m th e cl ear springs . )

’ He knew h ow excelle nt w as th e water of Mimb o s

h ow e e a e e e a e o th springs , pr f r bl w r p rtridg s sh t in e ’ and a e e o e ow n a t o hills , fruits g th r d with n s h nds h 2 t e produce bo ught in th e m arket . At o th er tim es h e

Y an s i cans ad o i t o do n A qui lle o arribé d e po l vo i lod o .

An ll rr re u o f d us nd mud ( d th us ti red and a I a i ved h e f ll t a . )

Afogad o d a quen tur a n5 bi Por terra q ue o s a a .

Sq ocated th e ea in a coun r w ic I did not know . ( by h t , t y h h )

1 I n E cl ogue 4 h e re fer s to tro ut p res s in g up s tream in E cl ogue 2 to th e cr ue l wolves coming d own from th e hills

E s t es l ob o s ruin s e m s mon te s ins Q ue dec do .

N5O v in a n ad a d a ra a h p c , Alli d a v os s a cac a a h c , A lli d as v o s s as p erd i zes A lli d as fruitas d a t erra ue d a cad a em o a s ua (Q t p ) , ” C o lh I da a m5o cad a ii a l

9 2 STU DI ES I N PORTUGU ESE LITE RATU RE

“ ” em bandas) and ge ntle swallows (altas andurinh as

a h e e th e e a o r br ndas) . Or e wo uld m dit at by N iv

th e o a ea o e o r e a e . by f unt in n r his h us , t nd his g rd n Pedro de Andrade C aminha writes to him as follows

Lo a teu oce e a as a a a uv s d N iv , gu s s ns Da tua o e as i a ue a a e f nt , fru t s q pl nt st ,

As a e ue o e OS e a o 0 0108 . v s q uv s , t us s nt s

You a e o ee e a th e e a e o f ( pr is y ur sw t N iv , pur w t r o o a th e a o u a e a e th e y ur f unt in , fruits th t y h v pl nt d ,

i ou ea o ac e e e . b rds y h r, y ur s r d l isur )

His hunting brought him into contact with th e ea a o h e o a o ee at th e a e p s nts , wh m w uld ls m t vill g ’ fairs and on his land (A lgums que d alem da serr a Das 1 eiras me conheci ci o o e - in - law e to f ) . His br th r writ s him Vos q uereis com des crip cOis E com vossas letras grande s ue em a a E a a e F ran des Q It li , sp nh r n h O Vos eco ecam as n ac is .

Eu quise ra q ue os s alo i os Vos e stimasse m Somente Po rqu e da vossa s e me nte m i S empre colhereis mais o os .

E come i gr u van can tan do lor lai F acend o i n aer di s e l unga r iga

’ E come gli s tornei n e por tan l ali Nel reddo e m o a s c iera ar a e iena f t p h l g p .

C m Lu a 6es s . x . f. C , , 94

u b a nd e e s rnin s Q al o e s pes s o n gro d e e t o ho .

1 (So me [s h e ph erd s ] from th e other s ide of th e serra w h o knew me rom s eein me at th e airs f g f . ) SA DE M I RAN DA 93

(You wish with your p oetry an d high lit erature that o a e o e e t o th e a o to a y ur n m sh uld xt nd n ti ns , It ly,

a an d F a e . co a th e ea a Sp in , l nd rs I uld wish th t p s nts o o e ec ou fo r o ee e e nly sh uld r sp t y , thus will y ur s d v r pro duce m o re fruit . )

“ E ce e o h e a of o e e e o x ll nt f lk , s ys s m sh ph rds wh m h e found t aking th eir sesta in th e hills wh en h e h ad lost his w ay n ear C abeceiras d e Basto

Vi p ast o res co m s eu gado e a Estar a s sta p ssando . i m N un ca v t a boa gente .

He wo uld sh are th eir simple fare Of milk an d bread a ms mexidas an d c a e and ac (p / ) , rusti fruits , ppl s , ﬁgs bl k 1 and e an d e e a e e w a of e whit , whil th y pr is d th ir y lif , h e praised his hunting

C a a a co a a a a d um su s us s g b v , ” m I nh E u tambe as m as cacas .

2 He o e e e e o e of a and , h w v r , kn w th ir l v pr ttling

1 Detiver5o me cons igo N5O fallecer 5o mil rui as f t , A ma 5 ranca e o ﬁ o c b , g r r n r s mui s e o a co e ou a a . P t , b , t t

2 I nh oran tes

ue a am mais d o ue en endem Q f ll q t .

Guarda cab ras

ue s e V5o de on o e m on o Q p t p t , Q uerem Sos d uas p alavras ue d os ad os e d as avras Q g l , D es ois n 5o tem ﬁm nem con o p t .

(Wandering goath erds wh o would h ave but a word with you about eir erds and cro s an d en e o on wi ou end or meas ure th h p , th th y g th t . ) 94 STU DIES I N PORTUGU ESE LITERATU RE

1 2 A h co mplaining and their te nde ncy to idl e ness . t t e sam e tim e h e evide ntly fo und m any cases of real Op p re s

n - sio n a d injustice t o th e farm s e rvants an d p easants . “ Th ere are many appare ntly ho n est men in th e

a e h e a wh o e co o eec vill g s , s ys , liv in mf rt by ﬂ ing th e peasants “ Q ue eu vej o n os po voado s Muito s dos salt eadores C om n o me e rosto de h o nrado s Andar que nte s e fo rrado s De pelles de lavradores and speaks o f peasants having to l eave the ir own vines to wo rk for a whole week in som e great Vineyard belonging to men more p owe rful th an th ey N50 me forc5o p ola geira c Pe ra cavar a gram vinh a Por to da a s o m a n a inte ira h Quando ei d e cavar a minha . So h e says that O p obre do zag alej o N 5O t em onde s e aco lh e r Quando s e que r de fe nde r ; O q ue te m m ais de sobej o

a - N o n o conse nt e Vive r . Se alguem j ustica brada

1 “ ’ Their mas ters live on th eir l ab our (Vivem d os nos s os s uores ) an d eat whea ten bread while they eat oat en ’ omem ri o e n os d avea C t g , Elles e em omem s ua b b , h , D o i es ouco a dor a b ea lh p l , ” uere m ue no s doa a s ua Q q .

n i e There are ma y s milar pas s ag s . 2 A n on a wa s a in choca er a s a in d of rus ic oc e i e th y l y pl y g [p h p k t h k y, l k th e As urian cachurra M ar a a wa s oss i in i n th e mar e - lace t ], th l y g p g k t p An 5o nun ca s a i d a c o ca t h , a n ai as ra as M r ta nu ca s d p c .

96STUDI ES I N PO RTU GUESE LITERATU RE

Ve ffe e th e a e o f F a ce e e h e a ry di r nt is st t r n , wh r , s ys ,

e e e o e a o and th e ea a th y liv in l ss m d rn f shi n , p s nt

e e th e a o e e h e h as a a e ﬁnds sh lt r in sm ll t wns , wh r n m Th and o e and e o n th e o of a . e pr p rty , liv s t il his h nds

o e ﬁ re at coc - c o th e co e smith lights his f rg k r w , bbl r e a and S o to a a t o bit s his l st , h uts his sluggish ssist nt Th e e com e fro m be neath his blanket . nobles liv ec e th e co and th e a o e s ur ly in untry , hunt d ring w lv s th e ee t h e a all o e e in wilds , k ping pl ins r und th ir dw ll

a e for th e o c an d ee e o th e ings s f ﬂ ks , fr ing th m fr m e oe wh o o a e s o a an wh o vild rs w rk in d rkn ss , th t y will ma o S t o h e a a o r o e on y g inging t f ir aft er nightf ll , d z his ” e a s h e e mul rid s along . Inda h oj e ve mo s q ue em Fra nca Vive m nist o m ais a antiga Na villa o Vill5o s e abriga e t em o e e e a a Ond n m h r nc , V e 1 u iv da s a fadiga . Acende a fragoa o fe rreiro O t e mpo q ue 0 gallo canta ; o e o co o o a at eiro M rd ur c p , Brada ao m oco ron ceiro

Q ue saia d e baixo d a m anta .

Vive a n obreza p o r fora e a e o oa o S gur , d sp v d s C o e cos o o o a o rr l b s us d s , ’ Por d arredo r donde mora a e e o ca o aos a o M nt m livr mp g d s , Da ma gent e ave ntureira ue as e c a a s eu a o Q s ur s tr z tr t , Q ue possa livre q u e m qu eira a a o de o e a e a C nt nd ir n it f ir , Ou dormindo n o

5 de M a a o e e was no ea e e a e 5 ir nd , h w v r, by m ns r l g t d SA D E M I RAN DA 9 7

to th e soci ety of peasants . H is m elan choly disposition ” 1 did n ot preve nt him fro m relishing th e divine suppers

“ at th e house of his fri ends Anto ni o and Nun alvarez 2 e e a at C a ece a d e Ba o a e a o e da P r ir b ir s st , ft r wh l y

S e th e c a e n or o a e ea e p nt in h s , fr m tt nding with pl sur th e splendid e nt ert ainments given at th e ancestral ’ o e of as C a o a a - o a o h us Cr t o ( str ) , h lf h ur s w lk fr m his ow n uin d Ta da Th L f 5 ta a a . e o o C a o 8 de Q p rd r st , ’ 2 a a old e a oe ac a o de A e e o Mir nd s fri nd M n l M h d z v d ,

e o e t o th e c a o o f o a an d at one b l ng d prin ip l n bility P rtug l , of these ent ert ainm e nts th e Infantes Luiz an d H enrique

8 5 e h a a B we re prese nt . d Miranda d m rri ed his sister rio

' a a lanj a in 1 536. King J o o I I I . is said to h ve made th e f f r f f h o rm al dem and or h e h and on beh al o t e p oet .

Sh e h ad a a e e e oo oo nor ea , pp r ntly, n ith r g d l ks gr t ” “ o e o Lo e a SA de M a a a e p ss ssi ns , but v , s ys ir nd , m d his presence clearly known : I heard th e sound of his quiver and arrows and they h ad a happy marri ed e f 8 5 de M a a e lif o nearly twe nty years . ir nd hims lf gladly e ntertained his friends at th e Q uinta da Tapada

1 O h ceas d o par ais o Q ue nun ca o te mpo v os veo ca

2 ab eceiras i s a s ma Min o o i a e near Traz - os - M on es w ic C ll h t V ll g t h h , wi its co n ven and circle o f ous es r ound a ree - an ed common th t h t pl t , can ave C an ed b t i e s i e th e i n cen r To ese h h g u l ttl nc s xtee th tu y . th bro ther s Pereira several eclogue s and l e tters of 8 5 d e Miranda are direc ed i n c udin th e amous ec o ue B as to = a eceiras d e Bas o t , l g f l g ( C b t ) , d edica ed to Nun al varez t . 3 His li e w as w ri en in th e s e ven ee n cen ur h is descend an f tt t th t y by t , F elix M ac ado d a Silv a as ro e V a s concell os M ar uez d e M on e h C t , q t h ll e o .

4 A mor d eu Claro s inal q ue era ali E u 0 s om d o cold re e n , s a ouvi 0 om d s s etas . 98 STUDI ES I N PO RTUGU ESE LITERATU RE

a ce a a e . Th e oe D o o Be a e with rt in l vishn ss p t i g rn rd s , a o o e o ea e e o e L a o e m ng th rs , w uld l v his b l v d im (s m twe nty mil e s n o rth o f Braga) in o rder t o Visit him . “ 8 5 de a a a th e 1 61 o a w as s o Mir nd , s ys 4 bi gr phy,

e o e t o c a a o h e w as n ot e c d v t d musi th t , lth ugh v ry ri h , h e kept at his house exp e nsive m aste rs of music t o eac s on Hiero n mo de 8 51 wh o a t o a e t h his y , is s id h v e ce e a art an d o o Be a e o w e x ll d in th t , Di g rn rd s (wh m follow in much of what is h e re stat ed) said th at wh e n h e e at o e d o L a ace and e liv d P nt im , his birthpl , w nt o e t o s ee 8 51 de M a a o s on a v r him , ir nd w uld bid his pl y

o a o e an d o e e co ec up n v ri us instrum nts, s m tim s rr t him h He w as e and a e e if e m ade a mistake . sob r ust r o a e and e e o e e t o e ce o a t w rds hims lf , g n r us v n x ss t w rds e o h e e e a e ee e ce e his gu sts , wh m nt rt in d fr ly, with x ll nt a e e o to s a a co e a o e t st , b ing w nt y th t nv rs ti n with th m ee o e Mo eo e a e h ad fr d him fr m hims lf r v r , his f m ea far and e an d all th e o e o of th e spr d wid , f r m st younge r p oets o f Po rtugal h ailed him as their guide and a e e e o to b e co ec e o r m st r, s nt him th ir w rks rr t d , D B correspo nde d with him in verse . iogo e rn ardes “ a as L of th e M e e a h ils him ight us s , bright r th n ” “ th e and co e e a h e a e oce sun , nf ss s th t imit t s his d ” 1 e stilo . Dom Ma noel de Portugal ( 1 52 0 prob a o o e ca Ra o F a c co bly his ﬁrst f ll w r, lls him rissim r n is ” e ce e e . o e de o e a o a o e e x ll nt J rg M nt m y r , in l ng l tt r , “ ” ee e o n f o A o o Ferreira s ks his prot cti n a d av ur . nt ni “ ” e address s him as Maste r o f th e Muses . To Pedro A “ ” ndrade de C aminh a h e is a rarissimo ingenh o .

’ Th e a e oao e to th e o e o a ce I nf nt J , h ir thr n , s ught his dvi

1 O d oce es i o teu omo or uia t l t p g .

1 00 STU DI ES I N PORTUGUESE LITE RATU RE

Fe e a o e an e e A a e d e C a a rr ir wr t l gy, ndr d minh his 1 epitaph . Th e biograph er of 1 61 4 m ore th an once insists o n ’

8 6. de a a ee e a c o an d e o f Mir nd s d p m l n h ly , in spit his o th e c a e and o e o f a e h e e S j y in h s his l v N tur , Oft n ings 2 a e and e e ac a to a e ee in s dn ss , , lik H r litus , is s id h v b n frequently in tears

Ves q ue pressa os dias Levao s em ca a ns r , a‘ Nun ca h o d e torn ar .

(See h ow swift th e days a e e c a P ss in ndl ss h in ,

N eve r t o com e again . )

So th e song of birds is to him half l am e ntation

S e una avezilla ub , No s é n 1 SI es ca a no Sé SI es a o nt r, ll nt and one of his vilancetes (in Sp anish) is a frail crystal mist of tears

Los e o o mis trist s j s , T an e t an e trist s , trist s , e mis e o o Vist s n j s ,

Umpl aze r no Viste s .

1 E nding with th e lines

A mor e des az ud o mas Mirand a t f t , 6 e vi v rr n da Vivo é no 0 0 o na te a a .

All ie d s to dea b ut Mirand a ives in th e s k and ( y l th , l y r th e e a th . )

2 O f w h om Sir d e Miranda hims elf w rites Co mo d e cas a s aia S emp re d os s e us o lh os agua A Heraclito co rria o o ue ouvia e ue v ia P l q q , De ue udo i n a ma oa q t t h g . SA DE M I RAN DA 1 9 1

Vist es afi adid a e a e a A mi p n p n , I en tan luenga Vida Nun ca un a o ra bue n a l i Si 6. a sue rte m a e e u e e Plugui s , plug i s Q ue vi e se ora el dia C on q ue mas n o V1ese

e s ad e o e e (Ey s b y nd r li f, a Sad e e m e Al s y s in , Yo u a e ee all e h v s n my gri f , ’ But n e e r s aw joy Shine .

You h ave see n w oe t o woe A e at e u e dd d l is r , ’ ’ N e e r in th e lo ng years ﬂow O ne h our o f pleasure ; ’ m O—th at twere given e V a in my e ndeavour Now my l ast d ay t o s ee C lo se you fo r eve r !)

e o a Mi h aélis d e a co ce o h e r e o of S nh r c V s n ll s , in diti n ’ SA d e a a oe e a a a o f oe Mir nd s p ms , giv s v ri nt this p m in

ﬁ ve ve rses . Towards th e close of his life sorrows fell thick upo n n d 8 . 1 e e s o o a o e e e 5 him I n 553 his ld st , G nc l M nd s , w as e at th e a e of S ee ca a kill d g ixt n in Afri , with m ny Had o thers of th e Portuguese n obility (at C euta) . 8 61 de Miranda read th e works of Gil Vicente with a h e o a e e e ea e co o a o symp thy, w uld h v d riv d gr t r ns l ti n 1 from th e l ast lin es of on e of his autos th an from al l th e long letter in verse addressed t o him on this occasion A ee e by ntonio Ferreira . His d p gri f is sh own plainly

1 ee 6. S p . 7 1 0 2 STUDI ES I N PORTUGUESE LITERATU RE

1 a e e e th e fo o ea th e in his nsw ring l tt r . In ll wing y r

e t o th e o e ce o ao 1 - 1 e at th e h ir thr n , Prin J ( 537 554) di d

a e a e a few a e o e h e of s on th e s m g , d ys b f r t birth his ,

e e a w a a e o t o 8 5 futur King S b sti an . This s h avy bl w d e A m c Miranda . lth ough h e ight at tim es look ba k with ” 2 regret t o t h e m asks an d balls begun at midnight of ’ Man oel s S e o - o a e th e o e o f th e King pl nd ur l ving g , pr mis co ming reign h ad hith erto been a full reco mp ense . Th e Prince h ad eve n in extre m e youth sh own himself an e e e f e 8 61 d e nlight n d p atro n o letters . At his requ st Miranda himself h ad thrice sent him a collecti o n of his

o eac a e ca o o e and h e h ad e n w rks , h with d di t ry s nn t , 3 coura ed o e e e e ec a g th r p oets o f t h e new style . Th s xp t

o e e n ow a e e and e e e a e e ti ns w r sh tt r d , th r r m in d littl ch ance of protection for t h e younge r p oets of 8 51 d e ’ a a f f e c oo . n h e o e o Mir nd s s h l Of o e o t y ung st th m , C a 6 h e e a a e e e ea . m s , pp r ntly n v r h rd Wh en 8 5 d e Miranda di e d th e h opes of a long

1 en I s en m s o n at s uc an a e to die fo r th e ai if i t Wh t y h g f th , mus t b e (Q uan d o man dei meu ﬁlh o e m tal id ade m rr er ol fe s e as s i cum ri s s e A o a . p , p )

I t is I w h o s ould ave died h e cri es h h ,

E u s ou q ue d ev er a i r ! quem n os t rocou ? a nd in s D on R od r i o M aa ue a w os e s on s urvi ved th k g q h ppy , h i I m las s ng h S pr ai s e s (in th e fa ous Cop ) .

2 O s momos os s erOe s de or u a , P t g l Tam fa llados n o mundo o nde S50 id os E as gracas te mperad as d e s e u s al

3 A n d rade d e amin a in h is e le on r in ce o5o s a s C h , gy P J , y

D ev e mse a ti e ngen h os excellen t es Por que co m te u favor os levan tas te r den e s Largo M ecen as eras ao s p u t .

1 04 STUDI ES I N PORTUGU ESE LITE RATU RE

’ Miranda s wife died and from this loss h e never 1 eco e e s o a a e e an d o o r v r d , th t in his priv t gri f his s rr w for th e misfortunes of Portugal th e death of King

' h e oao . an d th e e a e of o e t o o J I I I d p rtur his br th r , wh m was e o e for B a as o e o 1 ee to d v t d , r zil ( G v rn r) in 557 s m ’ ”

a e ll . A e ea h v p asse d a but unnoticed ft er his wif s d th , “ a ea e o a e h e t oo e a t o die t o s ys his rli st bi gr ph r, b g n all th e things pertaining t o his pleasure an d fo rm e r ” 2 He o o e one oe a o e on th e pursuits . nly wr t p m , s nn t , ea o f e e d th his wif , b ginning

A uelle S o a t am bem a a o q pirit j p g d , an d is said n ever t o have l eft his h ouse except to attend 3 ‘1 th e services of th e C hurch Esp ecially h e was pioi1s ” and a a o c C a e e o e t o th e V C th li hristi n , v ry d v t d irgin , i a He in wh ose ho nour h e wrot e m o re than on e cant g . e th e ea 1 8 an d w as e th e c c of di d in y r 55 , buri d in hur h th e e a e S50 a o d e a a e o e e a littl Vill g M rtinh C rr z d , wh r La c tin ins ription marks his tomb . 8 5 de Miranda occupies o n e of th e mo st imp ortant ace o e e e a e a o t o t h e pl s in P rtugu s lit r tur , p rtly wing

c e of oe a eca e e intrinsi m rits his p try , p rtly b us . lik

1 “ A magoa do q ue lh e reuelaua o s piri to d os i n fortunios da s ua err a t . 2 “ C om 0 (j e lle comecou a morrer logo tamb em pera t odas as co us as ” e os n i e xer cici de s u g to a t gos os . 3 Se n5o era ounir o s Ofﬁ cios Diuino s p . 4 I n one as s a e o weve r i n h is amous e er to K in o5o p g , h ( f l tt g J h e s ea s f th e villa e r ie s s in th e vein of V i cen e as f t n p k o g p t t , a a d p ros perous and ab s ol ved o f all their s ins Mas eu vej o ca na aldea N os en terros ab as tad os uan o adre ue as s ea Q t p q p , E mﬁ m ve nt re e b ols a ch ea ” E asol tos d e s eus ecad os p . SA DE M I RAN DA 9 5

Bo ca S a h e o ce th e n ew e e o s n in p in , intr du d m tr s fr m 1 a and a e th e w a fo r th e ea e o e It ly, thus p v d y gr t r p try 2 6 Had o a o e e fo r of Cam e s . his inn v ti ns m r ly stood h f h e a o a oe th e oe of t e decay o t n ti n l p try , p try Gil

V ce e e e o b e ea o t o o e e i nt , th r w uld r s n d ubt wh th r Po rtugal owes him any great debt o f gratitude ; but his f e Th real inﬂu ence w as ve ry dif er nt . e n ati o nal p oetry h ad already received its death - blow fro m th e pomp and luxury intro du ced into Po rtugal afte r th e discove ry of

a an d w as n ot a a th e e e o e of th e Indi , it g inst d v l pm nt n ati o n al p oetry but against th e te nden cy of th e age t o 3 eco e o a e a c a 8 5 d e a b m wh lly m t ri listi th t Mir nda strove .

1 o de ar te nzai or o r da medida nova endecas llabi h I e. vers s cs t e . , , (h y , s onn e Petr arcan canzoni th e terza ri ma co ied r om D an e th e octava t , , , p f t , a O r m A r ios o rim C ied o . , p f t ) 2 Betwe en 8 5 d e M ir a nda an d B os can 1 49 0 - 1 542 ) th er e are s o me s ri in s imilari i e s al ou th e or mer is wi ou d oub th e rea er t k g t , th gh f th t t g t oe T e w er e b or n er a s i n th e same ear T e b o vi s i ed p t . h y p h p y . h y th t I al Bo s can e an w ri in i n I a ian en decas la i cs in 1 2 6 ro b t y . b g t g t l h yl b 5 , p ab ly th e very year in w hich 8 5 d e M iran da i n t r oduced th e new s tyle i n o or u a o n h is r e urn rom I al B o e m o ed S an is t P t g l t f t y . th pl y p h , an alien on ue for B os can w as a a al an an d b o w ro e in e t g ( C t ) , th t th ir b or rowed me tres with an a w kw ard ne s s a nd h ars h nes s which co n tras ted with th e i nﬁ n ite l y mor e melodi ous v ers e of their youn ger con em orar ies Garcila s o d e l a V e a and ambes t p , g C . 3 He Speaks of th e r ich p ar venus

P od em chei ra r ao alh o Ri cos h omen s e i nfa n coi s

of th e old nobility yi eldin g to th e n ew w ealth

Din eir o oﬁ cios ri van as h , , p c A n ob r e za n os des te rr a

o f th e general greed for gold s poiling and degr adin g thous an d s th o us and s of mind s Lancon n os a per der engen hos mil E mil es t e i n te r es s e q ue h aj a mal ue lud o o mais fez V il s end o e le V il Q , l 1 06STU DI ES I N PORTU GU ESE LITERATU RE

1 a a a e of th e F a bula do Monde o e e I n p ss g g , writt n wh n o o e e e at C o Sé de a a a ea b th p ts w r still urt , Mir nd pp rs t o refer slightingly t o th e work o f Vice nte ; but anoth e r p assage lamenting th e decay of poetry w as written at ’ 2 a e tim whe n Vi ce nte s work w as n earing its en d . 8 5 de Miranda an d Vi ce nt e retire d fro m Lisb on within a few ea of o n e a o e ea t o th e o oe y rs n th r , l ving C urt p ts

e a o o oo an Th a n th ir n rr w utl k d trivial th e mes . e C ci onei r o o f th e poet G arcia d e R esende is a typical collectio n of such poe ms its drearin ess h as bee n Ofte n 3 o ce an d o e t o a e e 55 d e n ti d , it is supp s d h v disgust d a a h A Mir nd with t e Portuguese p oetry of his age .

oe t o a s ea - c a o or th e co a of a co e p m si k b r n , mpl int urti r in th e country th at h e ﬁnds only ch eap grapes an d n o of full coffers an d poor he ar ts Q ue o s cora cOis h 5o d e s er Ri co s ue os co r es n5o , q f .

An onio F errei ra : Cf . t “ O ur o d es ois vi r ude ouro onra da , p t h . 1 I Vien do q ue b ajai s vues t ros oidos Por es a tan human a man s id umb re Al can o as ori ia ec o o s a d o t p t l h h , Q ui za mover é mas b azia la c umb re D e a uel al o arn as o or o l vido q t P , p I ma os iem os ia medio o vidado l t p l . 2 I n th e eclogue Celi a C omo s e perdieron E n re nos el can ar co mo cl ta ﬁ er t t , Q ue t an to n o mb re a l os pas ad os dier on

3 B o Studien Gleich fo rmi keit bi s zur M ono onie y W lf ( , g t , li h k it bis z ur Fl a c ei Beob ac un d e s Herk o mmlich en b is A us s e r c e hh t , ht g

' M e n n z el ntolo ia t m 1 8 8 z ur Ban alitat é de a o A o . by y P y ( g , 7 , 9 ) Nunca s e viO tan es téril abun dan ci a d e vers iﬁ cadores y tan ta pen uria s i E l ec or de uen us o camin a or a ue i n e rminable d e poe a . l t b g t p q l t ” n on r ar a ena s n u i o d e a ua con ue mi i ar la s ed arena! s in e c t p h l g q t g .

1 08 STU DIES I N PO RTUGU ESE LITERATU RE

Re e e c are o n a e e o e o f th e e s nd , whi h l v l with s m b st oe o f S5 de M a a and are of a p try ir nd , full individu lity ’ an d c a 8 5 d e a a e fo o ce th e h rm . Mir nd s f rts t o intr du 1 new e e e a a e not e cce at styl w r pp r ntly v ry su ssful ﬁrst , but gradu ally won universal recogniti o n . Opp ositio n is implied in a p assage o f his l ette r t o Antonio Ferreira

Vilancete a o ou e a c e U m br nd , s j um hist , e a as inven Ois o e as a a L tr s c , m t s d m s , U a e a e c a e a a e pr gunt s ur , sp rs trist o bom e o e a Mas o e Tud qu m n g p rqu , S e al uem e co e a s e lh e e e g d s br m is , r sist He h ails Do m Manoel de Portugal as his follower “ with evide nt delight : I thought Po rtugal was o nly e on o and e an d ou a e o me out b nt g ld silv r , y h v s ught in my retreat C uidei q ue S6buscava prata e ouro ! Bus cas tes me n o meu es con dedou ro !

’ M ar Th e dates of Sé. de iranda s wo rks e fully dis cussed by S enho ra Mich aelis de Vasconcellos in th e n ot es t o h er e ditio n . Probably in 1 52 7 h e wrot e his

Aj onsa o quarto d Portugal matou é Coimbra p or o p rincip e sen fi lho a ter como mulher ( 51 olo the ueria nam ueria casar p 7 q q . 1 Altho ugh s ome d oubt s hav e been cas t on h i s origin ality in this res ec it s eems cer ain a th e 1 61 bi o ra er is r i : F o o p t , t th t 4 g ph ght y ’ p rimei ro que comp os versos grandes nes te Reyno and th at 8 5 de Miranda s cl aim i s j us tifi ed Ja q ue fi z Ab er ta a o s b o ns ca n tare s per egr i no s ( to D o m M an oe l d e Por tug al ) E s as nues ras za m o nas la s r imeras t t p , p ue or a ui can ar an bien 0 mal Q p q t , o mo udi eran r imas es tran er as C p , j (le tter to A n t on io Per e ira) ; un les s we are to r egar d th e thir teen th ce n ur oe s wri in i n th e ro ven al man n er as h is recur s or s t y p t , t g P c , p . SA DE M I RAN DA 1 9 9

1 o e comedi a Os E s tran eir os th e o a ﬁrst pr s , g ( ﬁrst in P rtug l) ,

an d e a ce e th e F a bula d th n , in riv lry with Vi nt , o Monde o Pet rarcan a a 1 2 8 o r n g , in st nz s ( 5 a d ,

tw o o r ee ea a e ec o e A leixo thr y rs ft r this , his ﬁrst l gu , ,

an d a can oi o t o th e . o of o e o c Virgin M st his th r w rks ,

ec o e e e e e e o e e e e th e l gu s , l tt rs , l gi s , s nn ts , w r writt n in

e e of M o A o th e ea 1 l isur gree n and rainy inh . b ut y r 535 (in th e eclogu e Celia) h e writes :

oco aca mas com fé mas com oca a e P , , p rt , a l e tran r C ntan p asto res a m odo s je o . C o rre n l agrimas justas sin p arar M e a e a t ambien co e a la mar i ntr s N iv rr , and calls on c i erto s zagales del Estremadura Lisb on poets) to Sing in hon our of th e n ew “ ” A o bl anda s musas d e P arn aso . lth ugh h e w as a a e no e o f ce e h e ce a pp r ntly fri nd Gil Vi nt , rt inly did n e and ot despise his poetry for being simpl nation al . He himself strove p ersistently t o give his imported 2 e e a o e e e a o f c o f m tr s P rtugu s dr ss , lth ugh di ﬁ ulty adapting them and his l o ve of G arcilaso drove him t o 3 T o a c a o h write frequently in Spanish . G r il s e acknow e e e and th e ea e e e o a co l dg s his d bt , pl sur d riv d fr m py of his poems (in m anuscript) sent to him by his friend Antonio P ereira

1 B e n Th e se cond Os Vi lh al andos in 1 8 . o ar co ven iona in , p , 53 th t l s u ec and man ner bj t . 2 To A n oni o Ferreira wh o h ad w ri en t o h im in S ani s an t , tt p h ( ec o ue in th e new s le de versos estran ei ros variada h e answer l g ty , g ) , s with a l e tt er i n Por tugues e . 3 id With a Por tugues e w ord or i om here an d there . Th e Por tugues e — e e . inﬁ nitive appear s more th an o nc . g

in s er n de e m es ad inturbiados S e t p t . I I o STUDI ES I N PORTUGUESE LITERATU RE

E a e me el e a o nvi st bu n L s , I ré a ea o as i a p s nd mi p aso paso . Al qual gran d o n io quanto ” 1 De o s ab reis . v ,

’ But c o 8 5 d e a a e and o , uri usly , Mir nd s b st m st 2 fam ous p oetry is writte n in t h e old n ati o n al o cto 3 a c e e and w e th e n e w e h e o a syll bi m tr , hil in styl is nly — — forerunne r o fte n a rough an d halting fo rerunn e r o f

D o o Be a e an d C amOeS a ca e e i g rn rd s , in his s tiri l l tt rs and in th e eclogu e s writte n in th e old Po rtuguese

e e h m a a o be a e e e H h a m tr e y lm st c ll d a gr at po t . e s

ee e c e as th e a ce o f o a a a b n d s rib d Ch u r P rtug l , but f ire r description wo uld be to s ay that h e is a Po rtugue se co f ace an d L F H a o o o a o a e . e h as mbin ti n H r nt in , ’ ee e of t h e a e c ea e of e e o ind d , littl l tt r s l rn ss xpr ssi n , but h ow e nchantingly h e tells th e story o f Psyche an d 4 E o o r th e a e of th e r at de ville and th e rat des r s , f bl 5 cham s and a o a eo e h e p , with wh t sp nt n us d light sings th e a e of ea and Sk at e eca th e pr is s rth y , tim s r lling simpl e charm Of Vice nt e :

1 re ace to th e ec o ue N emoroso w ri en wi rea ar ifi ce of P f l g , tt ( th g t t ’ r hyme a nd metre) for th e fi rs t anniv ers ar y of Garcilas o s tr agic d eath at Frej us . 2 Few ro a w i a ree wi O . C rawfurd ortu al Old and , p b bly , ll g th (P g ’ N ew) th at Miranda s Por tugue s e w ritings ar e s ingul ar ly inferi or to ” in s u o n w ic h is ame ie s s His or u h is S an is w ri c re . p h t g , p h h f h fly t P t ues e wri in s ma h e o e n crab e d an d diffi cul b ut e are u o f g t g y ft b t , th y f ll ’ “ Garre s ve rdic a th ur cor r ion i e a nd c arac er . C . e i ec l f h t f tt t th t p ty , t , na ura nes s an d s ub ime s im li ci of th e redondilh as i n h is le er s are t l , l p ty tt ” l h i nl i Garr e al s h im n ow h is rea es a mos s o e to ame . c g t t , t y , t tl f tt l ” er o f our oe r th e t rue fath p t y . 3 e versos de arte menor da medida velha redondilh as wri en i n vers es I . . , , , tt

of ﬁ ve s ix s eve n e i n ine or ten ines . , , , ght, , l 1‘ n mento 6- 0 Ec o ue E nca ta . . l g , ll 33 5 3 3 i r M em de 1 1 - 00 Le er I V . to h s o er SA . tt , b th , , 9 3

1 1 2 STU DIES I N PORT UGUESE LITERATU RE

An d in th eir company Th e m oo n returning fair Grows fro m me re thread in th e sky T o a c e ce s h e ea r s nt , till w r He r ea e e e e full b uty v rywh r ,

E ach mo nth un e rringly . )

This wh ole eclogu e (B as to) is writt en in a h om ely

e co c e and e a a c styl , n is pung nt , with m ny dry , rusti a e and o e and e a o of th e phr s pr v rb , d lights by its fl v ur 1 lao o a a o as e e of o u a chacotas or so s . s il , fl v ur it w r p p l r He e e e o e o e a e writ s with s nt nti us br vity, ft n littl c or c e an d o e e s o o lumsily Obs ur ly, his P rtugu s is idi m atic th at it is som etim es fa r more difficult to unde r a a th e e e o f D tw o ce e st nd th n v rs s King iniz , nturi s earlier . O n e o r tw o vivid lin es Oft e n throw a scen e

o c ea e e th e ea a an d th e co e int l r r li f, till p s nts untry liv f o r us .

551 de M a a e e e e com é o e e com ir nd p rs v r d f , if s m tim s oca ar te a e at e e an d p , h mm ring his v rs , imprinting it

h e e B asto e a with his character . Of t eclogu S nhor Mich aelis d e Vasconcellos says that no less th an four

ee e o a oo a h e ea e o t n v rsi ns exist ( pr f th t r liz d its w rth) , and h e e one o f e ca o o e to hims lf , in his d di t ry s nn ts ce oao e a h e oe on e a ea a e Prin J , writ s th t g s r sing y r ft r ea a e a e : y r, in b ttl with his p p rs

Eu co e co vou me de a o em a o ris ris , nn nn ” Ando co s meus pap eis em difference s !

Befo re Prin ce J o ao requested him to send him his

o e e e h e a e o e to and w rks , th y w r , s ys , giv n v r dust ’ Spiders webs in his Vill age

1 S olao h as een various ex lained as a s o n of s o i ude s uns ine b ly p g l t , h , i n er ain s olace ; b ut its d erivation rema ns u c t . SA DE M I RAN DA 1 1 3

Era j a tudo co m o en com endado A t ra a e O da a ea e s ua a e a c p ld b ix z , ” ea Entre t s de ara nh as encantado .

Afte r his ﬁrst early app earan ce in print in 1 51 6h e 1 seems to h ave been in n o hurry to publish his p oe ms .

He w as co e a e o o e a c a o de nt nt th t th y sh uld g , lik G r il s ’ la e a a c o a t o a . V g s , in m nus ript fr m h nd h nd NO doubt in th e quality of his p oetry 8 5 de MI ran da cann ot be compared with C am6es ; ye t th ere is so m e thing s o delightfully fresh an d individual about a great p art of what h e wrote th at o n e may wo nder th at h e is

n ot o e o e ea . o e t o ea m r ft n r d It is w rth whil r d him , if o nly t o m ake acquaintan ce with his charact e r an d his m o . But ee o o e e c e life in Minh ind d his w rk , s m ti s rud ,

e e c o e ea a a e an d n v r insipid , is r wd d with b utiful p ss g s , his roughn esses o f di cti o n in th emselves n ot in fre

e a c qu ently hav a certain f s ination .

1 Th e ﬁ rs e di i on on a eared in 1 t t ly pp 595 . C HA PTE R V

CAMOE S

C AMOE S w as born ab out a qu art er of a ce ntury b efo re th e ea of Sir de a a et at ea a ce d th Mir nd , y l st ntury 1 seems to separat e th e p oetry o f th e gr an Miranda fro m 1 f h di 6e e th e o e th at o t e vino C am s . Whil with f rm r th e n ew doce es tilo runs rough a nd un even like th e

e a Ta o e e e oc a 6e turbul nt Sp nish j b tw n r ks , in C m s it ﬂows with th e smo oth m aj e sty o f th e Tejo suave e ’ 2 br ando a m6e h e e o a eco . Of C s life t cont mp r ry r rds

1 Lo e de V a aur l d A olo rv n e s s ea s of h im i n Don e e e . e a p g , L p C t p k ui o e el x l e n t im am es Q x t as e ce i s o C b . 2 Th e ear lies t auth ori tie s are Th e commen tar y of M anoe l orrea on th e Lusiads w ri e n oward s th e en d o f th e s i x een C , tt t t th cen tur y and prin ted in th e 1 61 3 e diti on : Os Losiadas do Grande Lois am ens rinci e da oes i a h r oi ca o mmen tad os e o icenciad o de o e . C C , P p p p l L b b A n n 1 61 M an oe orr E m is oa Por edro C ras eeck . o ea . l C . L . P 3 C o rr éa s ays i n a p refator y no t e : Fiz h a muyto s an uos e s t as an n o ” Th e s o r Me b ed r d e M a ri z con ain ed i n i s a 6es . 2 o t c ( ) h t y P , t th n o f h e u i a o e tudi s o da li o oeti ca M 1 61 3 editio t L s ds : A s o ca p . P . . s i ne d edro de M ari z I t i s re rin ed wi s li var ia ions i n ( g P ) . p t , th ght t ,

N a f cina i d am e u d a r e Em i sboa . o R mas de Lois e b s Se n a . C . g p t L j 61 6 A e tudi oso da li am oeti ca Fei a or o de edro C rasbeeck 1 : 0 s . P , c p t p Li ce n ciad o edro d e M ar i s S ace rd o e anon is a e m ue con a a P , t C t , q t id a d e ui s d e C amOes Th e e i a as crib ed to ou in o i s ere V L . p t ph C t h h ” omitted (th e w ord s with this e pitaph b ein g r epl aced by with an i a and i s rin ed s e ar a e a er t e i e Th e i e ep t ph p t p t ly ft h l f . (3) l f by M an oel e verim d e Faria d w ic a e ar ed in Discursos de S ( . h h pp varias oliticos E vora 1 62 an d i s r e rin ed i n Obras do Grande Luis de p , , 4 , p t 1 1 4

1 1 6STU DI ES I N PORTUGUESE LITERATU RE — born abo ut th e year 1 52 5 h e w as a youth (mancebo) 1 in 1 553 - but efforts t o ﬁx th e precise date have been e e th e a e e o f Fa a e o a fruitl ss , unl ss st t m nt ri S us

- s e to ( 1 59 0 1 649) be tru e . This writ e r w as o giv n mys tiﬁ catio n s and inve ntions th at no implicit trust can be place d in any of his state m ents ; an d this p articular state m ent is rej ecte d by Sto rck as a gross

a ca o . eco e of th e oe Fa a e f bri ti n I n his s nd lif p t , ri S ousa declare s th at in 1 643 a list of th e I ndi a H o use

f L o ca e o a co a th e a e o isb n m int his h nds , nt ining n m s of all t h e prin cipal p erso ns w h o h ad served in I ndia

o 1 00 t o ow n e an d e th e ea 1 0 fr m 5 his tim , und r y r 55 h e o e : L d e a oe s o n of o f und this ntry uis C m ns , Sim n

Vaz an d a d e 8 61 e e at L o th e Ann , dw ll rs isb n , in

o a a e e e - ﬁ ve ea M ur ri , squir , tw nty y rs Old , with light 2 colo ured beard ; h e bro ught his fathe r as surety ; h e ” 3 h an Pedr d e o B u lese A a goes in t e ship S o l s rg a s . g inst Dr o c ec a a of th e e o n ot this . St r k Obj ts th t list p rs ns ( h e c a e o S ce a eco o a o t prin ip l p rs ns , in in s nd qu t ti n , o a C a 6e ac a a e 1 Fa a sh wing th t m s tu lly s il d in 553, ri e S ousa give s th e n am e o f a co mm on soldie r) go ing t o serve in I ndia during a ce ntury an d a h alf would ﬁll many volum e s ; th at C amoe s w as calle d at this tim e

’ 1 Th e K in s e er of ard on M arc 1 : E lle so ricante he g l tt p , h 7, 553 p m ncebo hum a . “ ” 2 B arbi rubio i s not as i t h as een rans a ed red ear d but , b t l t , b ,

li - co oured —in ac a mos an co our e xce blac ght l f t , l t y l pt k . “ 3 E l afi o 1 643 v ino a mis mano s un R egis tr o d e la C as a d e l a I n dia d e Li s b o a d e tod as l as pers on as mas p rin cipa le s q ue pas aron rvir e n la I n dia d es d e e l a fi o 1 00 as a e s e s n ues ros anos e n a s e 5 h t t t , y la lis a de el d e 1 00 al é e s e as s ien o : Lui s d e amoe n s i o de t 5 h l t t C , h j imon V az A na de 8 5 morad ores en is oa a la M orar ia E s cudero S y , L b , , , d e vi n tecin co anos b ar bir ubio tr uxo or ﬁ ador a s u ad re va en la , p p ’ Nave d e San edro de los B ur aleses P g . CAMOES 1 1 7

’ L de Vaaz o r Vaz n ot L d e C a be o r C a oe uis , uis m s m ns ; ’ that his m oth e r s n ame w as Ann a d e M acedo ; that

a e as e o de a e a e w as ec e his f th r , P dr M riz r l t s , shipwr k d

ea Goa an d e e e e o e th e o e e t o a n r , di d th r b f r p t w nt Indi ; ’ a a e a e ea co e c e o be th t ft r his f th r s d th his rr t titl w uld , 1 E cudei ro avallei r o dal h f h not s C o. T e us e o t e , but ﬁ g o L de a oe at ea ee to S o a f rm uis C m ns , l st , s ms h w th t even if Faria e S ousa h ad see n so m e docum ent t o ’ supp ort his statem ent co ncerning C am6es int ende d a 1 0 h e a e a far o o acco s iling in 55 , g v fr m trustw rthy unt

of . Severim de Fa a on th e a o o f o ea it ri , uth rity C rr ,

' ’ a e th e a e of a oe as 1 1 th e ame g v d t C m s birth 5 7 , but in s n otice says th at h e di e d in 1 579 at an age n ot exce e d

- fi ft fi ve . Th e a e o e a e t o e ac a ing y tt mpt , ft n m d , xtr t ’ precise dat e from C a m6e s ow n stateme nt in th e 2 Lusi a ds o o e a o a e e e is bvi usly futil , lth ugh his—g th r impli e d fully confirms t h e appro xim ate date 1 52 5. ’ mOe m e C a s ace e a ce a . e birthpl is qu lly un rt in Al qu r , ’ a a e o e ace C o a an d S nt r m (his m th r s birthpl ) , imbr ,

L ll e h u a a h e isbo n h ave a claim d t e h o n o r . H ere g in t

r a e o ea of prin cip al autho riti es a e divide d . M no l C rr ( “ Lisbo n) says th at h e w as bo rn a n d brought up in ” th e c f L o an d n ot at o a as o e h ad ity o isb n C imbr , s m

o o th e ac a a ce o e e e . th ught , fr m f t th t his n st rs liv d th r S om e years earli er th e bookselle r Domingos Fe rn andes (of C oimbra) declare d (in th e dedi cati o n of th e Ri mas Lis boa Pedr o Cr asbeeck 1 60 a h e w as o th e , 7) th t b rn in h o e e city of C oimbra . His family ad l ng r sid d at

1 A s er a s in th e 1 carta de erdd o. , p h p , 553 p 2 Lus . x . , . 9

V5o o s a n no s de s c en d o e a d o es io , j t ” a ouco ue as s ar a é o ou ono H p q p t t . 1 1 8 STU DIES I N PORTUGU ESE LITERATU RE

C o a an d e ma b e a e a L o was imbr , whil it y rgu d th t isb n n ow m o re th an eve r drawing a l arge numbe r o f in

a a o th e o ce am o o ma a e h bit nts fr m pr vin s , ng wh m y h v ’ ee C a oe a e o n th e o e a o e b n m s p r nts , th r h nd it is m r likely that h is bi rth sh ould have bee n wro ngly pl ace d

L o th e ea e a o a h A o in isb n gr t r th n in C imbr t e le ss . m ng m odern write rs S enh o r Br aga supp o rts th e Lisbo n D r a o e . o c a e o a o ca e ttributi n , whil St r k m k s ut str ng s f r o C oimbra . “ “ He w as of e o e a a a o v ry n bl f mily , s ys M riz , b th ’ on th e Side of his m oth er an d m oth er s fathe r a n d ’ a a e as w e a e a and on th e a e e gr ndf th r , h v s id , f th r s sid ” 1 from th e C amoes of Evo ra ; an d again : He w as illustri ous in n obility of intell ect an d w as also o f th e

e f F r h e w th e o n f 5o blu st bloo d o Po rtugal . o as s o Sim

Vaz d e C a oe o c C o a w h o m s , b rn in this ity imbr on a voyage t o I ndia as captain o f a ship w as wrecked o n th e coa of Goa an d e ca e o n a a st in sight , s p d pl nk n n d f a d ace o a d e e e i . e. at Goa a o e th r di d [ , ], Ann M d , h o f a a e of o e . An d e w as th e a S nt r m , n bl birth gr nd s on O f A a Vaz de C amOe s an d of e o a nt o his wif , Gui m r

Vaz d e a a e e e o to th e o e a G m , lik wis b l nging n bl f mily o f h o f A e h e w as th e ea - a t e G am as lgarv . And gr t gr nd ” 3 s on Of oao Vaz de C amOes a a of o a . J , inh bit nt C imbr

1 Era c m o o d e s a n ue n ob ilis s imo as s i or ar e de s ua M5 o p s t g p p t y ,

Auoo V i zauoo como a or a di s s emos : como tamb em e a ar e , g p l p t n i s am s d e E nor a pa tro im ca d o C oe . 2 ’ Since th e book i n w hich M ar i z life i s prin ted w as pub lish e d at

Lis on i t i s er a s more li el a e s a C I d ad e r e ers to Lis b on . b , p h p k y th t t f 3 “ E s e o n os s o C am6es foy t ao illus tre em nob re za d e en ten di men to tambe m foy aco mpanh ad o d o melh or s angue q ue Por t ugal p ro d uzio Por fo ﬁ lh o d e Sim5o V az de amo es n a ura d es a cid ade . q y C , t l t , o q ual ind o para a I n dia p o r C apit5o d e b ii a n ao a v i s ta de Goa d eu E d e A nna de a cos ta s e s aluou em h fI a ta boa laa mor reo .

1 2 0 STU D IES I N PO RTU GU ESE LITERATU RE — S antarem living in extrem e Old age an d in extre m e ’

o e a e th e oe ea ? o r as Dr . o c con p v rty ft r p t s d th , St r k is vinced was A a de ace o o e wh o e at , nn M d his m th r , di d

2 and A a d e 8 5 e e wh o a o e his birth , nn his st pm oth r , ll w d h erself t o figure in official docume nts as his m othe r eith er fro m be ing h abitu ally s o calle d or in orde r t o obtain th e p e nsi o n ? It is impo ssible t o d ecide with certainty ; S e nhor Braga accepts Ann a d e 8 51 as ’ C a oe o e an d ee n ot a e a m s m th r, it is ind d littl d ring to creat e a stepm oth e r o ut of a vague phrase (materna s ep ultur a) and a dive rsity of n am e s whi ch may con ceivabl a e e o e t o th e a e e o ace y h v b l ng d s m p rs n , in f Of th e ec ee o f 1 8 2 an d 1 8 c A a de 8 5 d r s 5 5 5, in whi h nn is ca e th e f 6 ll d m oth er o Luis de C am e s . C am6es in all pro bability studied at th e U niversity o f o a a o e e a a w a e n o e e C imbr , lth ugh h r g in e h v d finit o e e Th e h a kn wl dg . wide acqu aintance with t e cl ssics —“ Shown in his wo rk a m o st m asterly accuracy in ” 1 — every branch of an ci e nt lite rature as well as th e ac a c e Be o de C a 6e 1 00 f t th t his un l , nt m s ( 5 w as C han cello r of th e U nive rsity fro m 1 539 t o e e e a r nd rs it probabl . It wo uld see m th at h e spent t

C o a th e o e a e o f th e o e o th e imbr , in l v ly v ll y M nd g ,

’ a n ca oes h ppi est years of his life . O e of his nc begins

V50 as se re n as agua s Do M o ndego descendo a’ E m ansam ente até 0 mar n o param .

(Th e sere n e wate rs of th e M o ndego ﬂow down gently without stopping till th ey reach th e s ea . )

1 . Mic . e W J kl . 2 Th e U nivers ity h ad been trans fer red from Lis bon to C oimb ra i n 1 537 . CAMOES 1 2 1

An d late r in th e sam e cangd o h e says

’ e a ﬂo rida e a N st t rr , Le a e ca e e e a d , fr s s r n , i Ledo e conte nte para m1 Vi v a .

o e e a o e and e e e (In this ﬂ w r d l nd , j yful , fr sh s r n , o n j yful a d co ntent unto myself I lived . ) 1 — C amoes cam e t o Lisbo n in th e early fo rties prob a in L o an d e ec a th e C o h ad bly isb n , sp i lly urt , ch anged since th e tim e wh en King M an oel w as wo nt t o be rowe d t o th e sound of music in a boat gay with e a e o n th e a an d t o e e a th e silk n b nn rs T gus , nt rt in Portugue se nobility a n d m any fo reigne rs at brilliant s er des L o o r a a ace an d e a in his isb n Cintr p l s , , in mul

o o f a o - al - a c e an e e a an d o e ti n H r un R s hid , s nt l ph nt th r of e h e But re gifts Ori ntal sple ndour t o t P o pe . it a m in e d th e m etrop olis of a vast new empire . E ach — year cam e an d we nt th e ﬂ eet t o th e I ndi es went 3 a e e an d o e of th e a with dv ntur rs s ldi rs King , dr ining

1‘ th e co of e men e e a e untry its b st , r turn d l d n with 5 n e h Ea spices a d gold an d preci ous st o n s fro m t e st .

No o th e e co e e a as at th e d ubt n wly dis v r d l nds still , e n d o f th e ece ce e t o o a pr ding ntury, dr w Lisb n m ny 6 o e e o f ea e and e o f r ign rs l rn d inquiring mind , whil fr m

1 O r r e turned . 2 A ccordin to uromen a and Bra a in 1 2 accordin to o ers g J h g , 54 g th , i n 1 544 . 3 ’ D uri n g th e tw en ty - s ix ye ars of K ing Manoel s reign thirty - three ee s s et s ail r om is b o n for I n dia ﬂ t f L .

4 - u i ads iv . 1 0 C . s f L , 9 5 4 . 3 Lus ii ‘ . 4

ane a cravo ar den e e s eciaria C ll , , t p ﬁ n ri id diam n O ru i o o o a e . b , g t

3 ‘ M u tos hom letrados é curi os os hronica do rinci e Dom am es . I o y (C p p , R ei ue foi d e s es r e nos s e undo d o n o me em ue s vmmariamente q t y , g , q 1 2 2 ST UDI ES IN PO RTUGU ESE LITE RATU RE th e province s cam e a ste ady ﬂow of me n desirous o f 1 Li b a i n en te m aking fortun e . Th e life of th e c ity ( s o g w as co a c a e a n d ea ece e men in nst nt h ng , y rly it r iv d sca rre d an d r uin e d aft e r yea rs o f se rvi ce beyo nd t h e

ea an d o e e c e u c o s s , th rs r turning with ri h s ns rupul usly

' a masse d during th e ir E ast e rn c o mma nd (though J oao d e C a stro w as still t o Sh o w th at th e re were Ofﬁ ci als wh ose thoughts were above gold) o r w o n in a few years

f ce Th e a o th e e h ad o suc ssful trading . we lth fr m Indi s “ ” - n ow o create d a brand n ew aristocracy . Kings g 2 e e o e e — o e th e e ca wh r m n y guid s m n y, subtl suist , ” 3 ' a e an d a e o f a a a oe ec o n m k r unm k r l ws , s ys C m s , h i g th e co mplaint o f F alcao d e Rese nde at t h e e n d of th e ﬁftee nth ce ntury

Ago ra e nge nho t ern q uem t em m ais ouro .

(But h e n ow genius h as wh o h as m ost gold . )

Th e gilt youth o f th e capital saunt e re d idly in th e 4 Roc o ca e t o a a an af ec e a e and i , r ful m int in f t d s dn ss

e e co e a o an d e a c a o g ntility in th ir nv rs ti n , s tting G r il s

s e trattam h as ous as us tan iaes ue n el es acon te er5o om os a c s c q l c . C p t d e n o uo er D ami am d e Goes Li sboa p . , 1 Lus v iii . , . 5. 2 — La V 50 r ei s onde quere m cr uzados . 3 us v ii L . , i . 9 9

E s te i n terpreta mais q ue s ub tilmen te ” x s e s e faz e d es az le is O s te to t f .

4 M e o a er in in a e er to a frien d s a s a h e w as es ll l t ( l tt , y th t t h is d a s w a c in os e w h o come a n d os e w h o o as a mean man y t h g th th g ,

eer s at a b ul - ﬁ h t r o u th e crac s o f th e oar din and I s ee th e p l g th gh k h g , cour tie rs pa s s ing an d w alkin g up an d d ow n thi s s quare [th e R ocio]

Tod o 0 s an o di a s e me v a n o an d o o s ue v em e 05 ue v 5. 0 como t y t q q , o me m mes uin o ue e s r e i a o s o ur os e l a re a d o a an ue h q h q p t t p g t p l q . ” D e a ui ve o o s C or te s5os ue as s 5o e ue as s e5o es s a r a a q j q p q p p c ,

1 2 .4 r STU DI ES I N PORTUGU ESE LITERATU RE and f r o a e o reaso ns vari ously given by his bi gr ph rs , C a 6e w as a e o L o o a th e m s b nish d fr m isb n , pr b bly in

Th e ec o f th e A uto b eginning o f th e year 1 549 . subj t ’ d E l - R ei Selenca e e c o on th e co c , with its r ﬂ ti ns ndu t o f th e a e a o e ma a e co e t o l t King M n l , y h v ntribut d his

ac . He e o e h w as a to a e disgr e r c gniz s that e in p rt bl m , in t h e so nn et beginning

E o e ma o a a o a e e rr s m us , f rtun , m r rd nt

' ” E a e m minh a p e rdic o s co njurar am .

A e e o th e R a e o o a ft r sp nding six m nths in ib t j , pr b bly

at a a e h e e t o e e o A ca . w as S nt r m , w nt s rv in N rth fri It cust o mary fo r yo ung men o f n obl e fa mily t o s erve in A ca e e as a e a t o ece o e fri , ith r pr limin ry r iving s m

o a beneﬁ ce commenda o r as co a o fo r o e r y l ( ) , mmut ti n s m h a a on e e a c e . T e e ce w as a p n lty in urr d s rvi h r ssing , owing t o th e desult ory att acks o f th e M oo rs an d owing t o th e fact th at th e suppli es fo r th e Po rtugu e se troops 2 r ll was arrived irregula rly o n ot at a . It during this

e o a a 6e o e e o a a p ri d th t C m s l st his right y , pr b bly in

e o e an e e o S kirmish . In a l tter written (in pr s d v rs ) fr m 3 A ca h e o e o f a e at e e fri sh ws hims lf full s dn ss his xil , an d a t o ca oo s o as n ot t o trying in v in st Off his gl m , — app ea r as an owl am o ng sp a rro ws p or nd o p arecer ” e coruja entr e par daes . Th e poe ms writt e n at this tim in clude th e outavas addressed to Antoni o de N o ronha

1 C th e s o n n e f . t Em p r i s bes b ai xas fui um te mp o atad o V e r on os o cas i o d e meus er r o s g h t g .

2 Two le er s i n v er s e b M an oe l ereir a d e O ce m or mer l as cr ib ed tt y P , f y to amoes an d s i l rin ed amo n h is w or s d es cribe th e A r ican C , t l p t g k , f s e rv 1ce as o ne of ard s i a n d un e r h h p h g . 3 Es ta ae c m a a a a m v o c ndei n do. CAM OES 1 2 5

s obr e o des conce t u — f r r o do m ndo o whi ch D . Sto rck “ S ea as a ce a a a e o p ks m gniﬁ nt st nz s , unriv ll d in P rtu ues e ca oe e a a e m a be o g lyri l p try, unl ss p r ll ls y f und in ’ ” C a 6 m es own p oems . Returning t o Lisbon in th e a of 1 1 h e e th e e o e e n o utumn 55 , sp nt n xt m nths th r , “ ” o e cheo de anares a a e a of l ng r f , but pp r ntly in kind o e e e o a a oc e oo and o e o p n r b lli n g inst s i ty , with p r b ist r us comp a nions .

th e d a of C o C e 1 6 1 2 e On y rpus hristi , Jun , 55 , wh n all t h e busin ess of th e city was suspended in o rde r to ce e a e th e o e oce o Gon alo Bor eS a l br t s l mn pr ssi n , c , g , o of c a c o th e Roc o o n o e ac w as C urt ﬁ i l , r ssing i h rs b k ,

ea e w a e men tr t d with scant respect by t o m sk d .

C a 6e eco t h e tw o me n as e m s , r gnizing his fri nds , in th e quarre l th at e nsu ed drew his swo rd an d wo unded h F r h w a a e e n t e C ourt Ofﬁ ci al . o this e s rr st d a d o o o e e h e la for c o e o e thr wn int pris n , wh r y l s up n nin h ad n ow e e a e months . His trouble s b gun in rn st Imprisonme nt at that tim e no tr onquo desta cidade — a e ee e a e e o ea an d h e must h v b n in its lf t rribl rd l , o f r o a o Bo e a eco e e nly left it o exile . G nc l rg s h ving r v r d o o an d a ee n ot t o o ec e a oe fr m his w und gr ing pr s ut , C m s 1 e a e o t o th e an d ece e a e e o f s nt p titi n King , r iv d l tt r

a o a e a c 1 Th e e e ea of p rd n , d t d M r h 7 , 553. l tt r sp ks as e ou an d oo an d a a h e him b ing y ng p r , s ys th t is ” 2 ’ . S orck going t o se rve me this year in India . If Dr t s

1 “ “ Fa o nos s ab er s a s th e le er ue ui s V aaz d e C amOes c , y tt , q L , fi lh o d e S m5o V a z C av al ro fi d al uo d e min a cas a morador e m y , g h , e s a cid a de d e lixb o me en v i u di z er er s ua iti am D oes t a o p p c . avallei ro dal uo e tc a l t o ui s or to h i s a er S m5o s ill C fi g , . , pp y L f th y , t a i ve ? D r S or c i s of i n ion a it mus a to th e s on n ow l . t k Op th t t pply , n i a or an an d o er s imi ar en ri es s u or s iew . ph , th l t pp t th V 2 Elle s op ri cante h e h um mancebo e p ob re e me vay es te anno ” s eruir a I n dia. 1 2 6STU DIES I N PO RTUGUESE LITERATU RE c o o o a o e C a oe co n ot a e e e hr n l gy is d pt d , m s uld h v d sign d t o o t o a ea e 1 0 e e Afr1ca . g Indi rli r , in 55 , b ing th n in n ea e a e If h e went to Afri ca and return ed at a rli r d t , h e may well have reso lved t o prove his fortun e across th e ea and a e ee e o a o e o h I S s s , h v b n t mp r rily m v d fr m purp ose by th e h op e o f o bt a ining th e patro nage o f

‘ ce o ao w h o w as ea e t o e co a men Prin J , gr tly giv n n ur ging a a a h e e a e o t o h l S of lett ers . M riz s ys th t mb rk d wing 1 o e a e th e ea of a e a o h e a o p v rty ft r d th his f th r , lth ugh ls f Th e a o n oti ces th e report o his b anishm e nt . dis pp int m ent shown in his ﬁrst lette r fro m I ndi a p erh aps 2 o e a h e h ad n ot ee o e ec a o pr v s th t b n with ut xp t ti ns , altho ugh at th e m o ment of l eaving Lisbo n h e h ad e a e death in his h eart . Littl e o ve r a fortnight l ps d betwee n his release from priso n an d his sailing with th e ee fo r a th e d o B ento a c 2 6 ﬂ t I ndi in ship S (M r h ,

Acco to Fa a e o a h e oo th e ace rding ri S us , t k pl 3 f e o a co o o e ece th e o a a . mm n s ldi r, r iving , rdin ry w g “ He l e ft Po rtugal as o n e l eaving this world for th e ” n d a e - ll e a oo b e t o a o e . a n xt , b d g d y his h p s H is l st wo rds t o his country we re tho se of S cipi o Africanus ” 4 n n i i a a a a o os s deb s mea o a . o Ingr t p tri , p ss Th ugh

1 “ E co mo o no s s o Po e t a ﬁ cou s e m p ay t5o p obre ven dos e nes e d es am aro s e emb arcou ar a a I ndia t p p . 2 He s ays th at h i s n ew s w i ll b e good for cer tai n ad vent urers wh o — thin k t hat th ere is n othing but marj oram i n th e Wi lder n e s s cuidarn

' ue todo o matto é oure ci os T o ambes to o th e w orld h ad s ee med q g C , , racioso e alante and li e man - co oure d i e a ma nta of Alemte o g g f y l , l k j A uto d F i lodemo ( e ) . 3 Th e uo a ion o n w ic i s r es s i s ro m th e an om r e is er q t t h h th t f ph t g t , un der th e ear 1 : Fer nan d o as ad o i o d e M an uel as a do y 553 C , h j C y d e Blan ca ue ma d a morad ore s en i s b oa E s cud e ro Fué e n s u Q y , L , . u ar uis d e a mo en s i o d e Simon V az A na d e 8 51 Es cudero l g L C , h j y , , ” r ecibio r eis co mo l o s d e mas y . 4 Le er r o m I n dia D esezei tanto uma vossa tt f .

1 2 8 STU DIES I N PO RTU GU ESE LITERATU RE

A bem aventuran ca ja passada Di ant e de mi te nha t5o presente 5 C om o s e n o mudasse o te mp o n ada .

E com o e o o o e e co e e g st imm t d s nt nt , ’ C o s us l ro o u o e mal ouv1do um p pr f nd , Po r n ao m ostrar meu mal a to da a ge nte

ea ﬁft - ea e o e C amOes Va co da a a N rly y six y rs b f r , s G m h ad s et sail o n this s am e voyage with th e three ships

b e ael n i l n 1 0 m n S . Ga ri l Ra h a d . M ue a d e S . S 8 , p , g , 7 (July , He h ad arrived O ff th e co ast of N atal on a a 1 0 1 8 at th e o of th e a e e o n J nu ry , 49 ; m uth Z mb z

a 1 a c e ce h e J nu ary 3; at M ozambique in M r h . H n reach ed Mombaca on April 7 ; M elinde on E ast e r M h a A 1 an d C alecut o n a 2 0 . t e Sund y, pril 5 y In autumn o f t h e same year h e st arted o n th e return

o a e an d a eac e Be e th e a e u e v y g , ﬁn lly r h d l m in l t s mm r

- of 1 ﬁ ft ﬁ ve o ut o f 1 0 co a o . 499 , with but y his 7 mp ni ns S e nho r Braga conside re d th at th e re so lve to celebrat e ’ ’ Vasco d a G ama s vo yage w as fo rm ed in C amOes mind during his imprisonment at Lisbon afte r reading th e

B ecadas of o5o d e Ba o o e e a J rr s , but it is m r lik ly th t th e plan evolved itself on th e voyage as h e came p er s onall h Th e Sd o y t o know t e places visited by G ama . B ento eac e Goa e 1 1 0 th e ca a of o e e r h d , sinc 5 pit l P rtugu s

a e e e . I ndi , in S pt mb r

’ Dest art e me chegou minh a ventura A e a e e a a e o a e a st d s j d l ng t rr , D a a e todo pobre ho nr do sepultur .

w as e a e o a h e o e o It , p rh ps , in bitt r ir ny th t wr t fr m “ I ndia : I am h e re held in m o re honour th an bulls of

1 o a S n Elegy O p et i mo ides . CAMOES 1 2 9

e cea a and e ea e e a th e ce of M r n , liv in gr t r qui t th n in ll ” a p reach ing friar ; for in his n ext sente n ce h e says “ that th e land is th e moth er of vi lloes r uins and step ” f e m n 1 a e h h e a m oth er o ho n st e . S c rc ly ad dise mb rked wh e n it becam e n ecessary fo r him t o serve in a military 2 e e o a a th e f xp diti n g inst King o Ch e mbe . C am be s lived in th e Po rtuguese colonies unde r eight f m h e o e o o o e e ce o . t e G v rn rs , six wh w r Vi r ys I n wint r of 1 555 his play F ilodemo w as acted in h onour of th e n F B ma e e e ew o e o a c co a e o . w e G v rn r , r n is rr t I f y b li v Fa a e o a h e a o o e a e a a th e c ri S us , ls wr t s tir s g inst prin i

al o u e e in Go a fo r c Ba e o w as o e p P rt gu s , whi h rr t blig d h im a e a t o banish t o China . It is m o re prob bl th t his departure fro m Goa w as rath e r a reward than a punish

e e e th e o e o h ad as e o B a a m nt , wh th r G v rn r , S nh r r g

o a e h im a of a t o th e o cca h lds , gr nt d right tr ding M lu h a or as Dr . o c a a h ad e t e Isl nds , , St r k m int ins , giv n him ‘ p o st of Pr ovedor - mor dos defuntos e ausentes (Chief 3 ee f r h n Trust o t e dead a d absent) at M acao . Possibly during th e voyage fro m Goa t o M alacca — occupying b etwee n fo rty an d ﬁfty days C am bes may

a e co o e ce e a e r edondilhas B a bel e S id o. h v mp s d his l br t d ,

B a bel B a b loni a in ernal Goa e Sid o a for , y f , is , whil st nds

1 e er Des ei tanto uma vossa L tt , ci . 2 E e O oeta Simoni des l gy, p

Foi lo o neces sario er mo s uerra g t g ,

3 S en o r B ra a r e ec s is an d uo es F ran ci s co Alexan dre o b o h g j t th , q t L “ ’ Th e o s w a s i ncom a ibl e w i C am eS n o b ili a n d muc more s o p t p t th O ty , h ” w i h i s mar ial in cli n a i o n s A s t o h is mar i a n clin a D r . i ons . th t t t l I t , S or c i s a li e s ce i cal a n d h e cer a in l d es cr ibes wi more t k ttl pt , t y th eas ure a le s lon a o s uc as Al ub arr o a an an ﬁ in in pl b tt g g , h j t , th y ght g w ic h e oo ar al ou n o one h as doub ed h i s coura e an d h h t k p t , th gh t g

end urance . ‘ 1 30 STU DI ES IN PO RTU GU ESE LITE RATU RE

1 L e of e e - ee e e of ﬁ ve isbo n . Th y consist s v nty thr v rs s — lines a lin e for each day in th e yea r ; an d it would ee ee a a e e ea of e e s m , ind d , th t d ily during th s y rs xil o Th e e e uin C am es sigh ed fo r his n ative l and . v rs s (q tilhas) so und like sobs of gri e f

SObolos rios q ue v5. 0 Po r Ba o a me ac e byl ni h i , Onde se nt ado ch o re i le mbran as d e Si5o As c ,

E qu anto n ella passei .

916

A minh a lingua s e apegue a ce o t e e As f u s , p is p rdi , S e em uan t o e a , q Viv r ssi , H o uve r te mpo em q ue t e negu e Ou q ue me e s q ueca d e ti

Lea Goa A 1 6 h e a e a o th e ving in pril , 55 , rriv d in b ut e of Ma at a acca th e e o f th e middl y M l , in b ginning 2 sixte enth cent ury a town of n early inh abitants .

e ce h e a e t o h e o cca a an d w as Th n s il d t M lu Isl nds , , 3 a a e a e o a at s ea . pp r ntly , d ng r usly wo unded in ﬁght In

1 8 h e e a e t o e to a acca an d e ce to 55 mb rk d r turn M l , th n

Th o e M acao . e mo nths spe nt at M acao w uld giv him le isure t o bring almo st t o th eir con clusi o n th e cantos of th e L usi ads o e c e e o a co m , s m six Of whi h w r pr b bly le ed h e e But eace w as of n o p t wh en l ft India . his p

1 C h is s onn e Cd nesta B ab loni a f . t , y . 2 C . Lus x. f . , 44

O ule n M a n mead a p ta l acca o .

3 h e an m h e I la n d of Ban da C . t ao Co or a desusada w ri en i n t s f C c , f c , tt S orc or Te rna e Br a ( t k) , t ( ag ) .

’ 1 32 STU DI ES I N PORTUGU ESE LITERATU RE

e ea e h e w as e e a e e fo r e an d r l s d , but subs q u ntly rr st d d bt , “ ” o th e i n ernal cadei a as h e— n o o e o e fr m f , d ubt v ry pr p rly —ca th e o h e o e a oe t o th e ce o e lls pris n , wr t p m Vi r y , th n a o to e a o n an e e o e a e o e b ut mb rk xp diti n , b gging th t b f r h e e on oa h e th e oe be ee w nt b rd his ship , , p t , might fr d from th e h ardship o f priso n

Q ue ante s q ue s ej a e mbarcado ” Eu de se mbargado sej a .

1 6 a ea e th e e o e of a 6e In 5 3 p p r d ﬁrst print d p m C m s,

V ce o o f a a e of a c a d a O a e i r y Indi z in p r is G r i __ rt , print d in ’ th e latter s Collo ui os dos sim les e dr o as e cousas medicinais ’ da I ndi a Th e year s in C amoe s life fro m th e

ea o f th e o e d e Re o o F e u a 1 6 to d th C nd d nd ( br ry , 5 4) ’ th e poet s arrival in M ozambique in th e autumn of

1 567 re m ain a blank . Th e reaso n for his acceptance of th e fe t o acco a e o Ba e o wh o w as Of r mp ny P dr rr t ,

o 1 6 as o e o to o a e was a g ing in 5 7 G v rn r M z mbiqu , p

arentl a e n ow e e e o e an d p y th t , b ing in xtr m p v rty , e o of e t o o a h e o d sir us r turning P rtug l , w uld thus

f h e e e e no acco mplish p art o t xp nsive j ourn y. It is t kn own wheth e r h e w as appo inte d t o be an admin is — 1 trato r at Chaul when th e po st Should becom e vacant

- b a ce o e o e ea a o r as . o c y Vi r y b f r l ving Indi , , Dr St r k , o o a o a e o B a co co e ec f ll wing C mill C st ll r n , nsid rs , dir tly ’ e a a a e a be e t o o a by King S b sti n , ft r C m s r turn P rtug l f a and th e publi cati on o th e Lusi ds .

1 S uch w a s th e de man d fo r o ffi ce th a t a pos t w ould s o me times b e fi ll ed fo ur o r fi ve times o v er th e s ucce s s o r o f th e s ucce s s o r o f th e s ucces s o r o f a n offi cia l w ould b e alre ad a oin ed I n i s y pp t . th in s tance C amOe S n e ver occupied th e pos t for which h e h ad been nomi n a ed t . CAMOES I 33

In th e unh ealthy island o f M ozambique C amOe s

e a o tw o e a . e e a e a sp nt b ut y rs S v r l fri nds , s iling with h e e a - o n ee o Goa o e e t ho m w rd b u d ﬂ t fr m , f und him th r “ ” z a D o o th e e of 1 6 . o a e in wint r 5 9 I n M mbiqu , s ys i g de o o o at L o 1 2 e at Goa C ut [b rn isb n 54 , di d w e o a ce o f th e oe of e f und th t prin p ts his tim , my ship

a e an d e L de C amOes SO oo a h e w as m t fri nd uis , p r th t h e m be oblige d t o live o n his fri e nds . And that ight a e to e a for o a w e e u e bl mb rk P rtug l , his fri nds f rnish d

all th e c o e h e ee e an d o ne of him with l th s n d d , us An d a e would supply him with foo d . th t wint r in M ozambique h e s et th e ﬁnishing t ou che s t o his Lusi ads

a e t o e an d w as c with vi w printing th m , writing mu h

a oo c h e w as m a an d c h e e e in b k whi h king , whi h ntitl d The Par nassus o L uis de C amdes a oo o f c f , b k mu h Sc e c e ea an d o o c w as o e i n , l rning , phil s phy , whi h st l n

ea o f fro m him . And I w as n ever abl e to h r it in

o a e o f a u e . w as P rtug l , in spit my m ny inq iri s And it a a e oe e not bl th e ft . And this excellent p t di d in ” 1 o a ee e P rtug l in sh r d stituti o n .

e on A 1 0 th e S anta Clar a At l ngth , pril 7 , 57 , , with

C a 6e o n oa a r e at a cae ea th e o m s b rd , riv d C s s , n r m uth H th e e of th e Tagus . e reach e d th e Pe ninsula in v ry

1 ’ Decada O taoa da A s i a ub is ed a er th e a u or s d e a i n y (p l h ft th th , ca 2 6: E m M o a mb i ue ac amos a ue lle ri n ci e d os o e as de p . c q h q P p P t s eu e m o meu matal o te e ami o Lui z d e a mo ens t5o ob re ue t p , g C . p q co mia d e a mi os e er a s e e mb arcar era o R ein o lh e a un amo s o s g , p p j t amigos t o d a a ro up a q ue h o uve mis ter e n a6falt o u quem lh e d es s e d e comer e a uelle i n vern o ue e s eve em M o am ue acab ou d e , q q t c q , ap er feicoar a s s ua s L uz ia d as pera as imprimir e foy es cr e ven d o mui o em h um li vr o ue h ia aze n do ue in i ulava arn as o de uiz t q f , q t t P L d e a moen s ivr o d e mui a e r udi aO dou ri na e Filo s o ﬁ a o ua lh e C , l t c , t , , q l fur taraO e n un ca o d e s ab er n o R e in o de le or mui o ue o in uer i , p l , p t q q , e fo ur o n otav el e em or u a mor re o e s e e xcel en e Poe a e m y f t , P t g l t l t t ura o re za p p b . 1 34 STU DI ES I N PORTUGU ESE LITERATU RE

ea c ea e co e o a e a e w as y r in whi h his gr t r nt mp r ry , C rv nt s , st arting o n his Odyssey o f similar p e rils an d mis ad 1 e e Fo r e e ee ea v ntur s by land an d s ea . s v nt n y rs C amOeS h ad bee n able t o re p eat daily th e lin es fro m

Can d o i nde cci his c , V

o a e e o a o e a e Ag r , p r grin , v g rr nt e o a oe a e e co e V nd n c s , lingu g ns stum s , eo a o ua a e e e e C s v ri s , q lid d s diff r nt s , SO p o r s eguir co m passo s dilige nt es A Fortun a a ue co e ti , injust , q nsum s

a e e a o - e a e As id d s , l v nd lh s di nt Uma esp eranca em Vista d e diam ant e Mas a o d as m5os cae s e co ece qu nd , nh l Q ue é fragil vidro aq uil o q ue ap p arece .

An e e now an d a e e a ( xil w nd r r I str y, o an d a a e an d a o s ee Cust ms l ngu g s n ti ns , And n ew conditi o ns unde r ali e n ski es T o o o ee o e e e e f ll w th is my s l nt rpris , Fo e — ce e e o e o ee rtun unjust , sin v rm r thr ugh th Th e e e a o e and ra g n r ti ns p rish , thy y o e as a o e e w a Of h p , di m nd bright , illum s th ir y , now o o ut e a a and lo Till fr m th ir h nds it f lls , ,

Brittl e as glass is all its empty sh ow . )

Das die e ist W lt , Sie e f511t st igt und , U nd rollt bes t éin dig Sie w ie a klingt Gl s , Wie b ald bri cht das ” Ist hohl inwe ndig .

During these years h e h ad sh own th e sam e spirit that caused him t o write in a lette r fro m Africa He

1 O lon o mar ue a mea an d o g , q c ’ ” Tan as vezes m es eve a id a cara t t V . C an d o Vi nde cd ( c , . )

1 36STU DIES I N PO RTUGU ESE LITERATU RE

The n would w e lie by th e pure crystal ﬂow a e o o e Of spring th t , w lling f rth , sh uld still invit Sweet nightingale t o t ell us of h er w oe ’ An d p arting fro m h e r m at e in love s de spite ee th e e e o f th e ea e o Or s k sh lt r h rth , wh n sn w Th e hills in winte r ch ange d fro m green t o e whit , And unto pl easant study turn our mind I n which th e Spirit still its surest food must

ﬁnd . )

His real love of n ature is shown in passage afte r

a a e of o as th e o e c Boca e p ss g his w rks , in s nn t whi h g considered to be worth h alf th e Lusi ads

’ A o o a e a e ca e a f rm sur d st fr s s rr , E a o a d o s e e ca a e o s mbr v rd s st nh ir s , ’ a o ca a e e e o O m ns minh r d st s rib ir s , Donde t o da a tristeza s e de sterra ; o co s om do m ar a e a a e a O r u , str nh t rr , e co e do s ol e o o e o O s nd r p l s ut ir s , eco e do s a o e a e o O r lh r g d s d rr d ir s , Das nuve ns p elo ar a branda gue rra E m ﬁ m o ue a a a a e a , tud O q r r n tur z C om tanta vari edade n os offrece ’

e a s e n 5o t e e o a oa o . M st , v j , m g nd Sem ti tudo me e noj a e me abo rrece S em ti p e rpetua m e nte estou p assando ” Nas m ores alegri as mOr trist eza .

’ (These cool hills beauty and th e [pl easant] shade th e ee c e - ee t h e e e ﬂow Of gr n h stnut tr s , g ntl Of these [fair] streams wh en ce eve ry [thought of] w o e I s banish ed [and all gri ef must swiftly fade] ; ’ Th e ea oa ea c o a s s dull r r , rth uri us[ly inl id ’ ’ ea o e r th e th e e o With b uty], hills suns t[ s gl w , ] th e a e a o o e a o And l st h rds th t [sl wly] h m w rd g , Th e qui et w ar by clo uds in heave n [m ade] CAM OES 1 37

All th at fair n ature Offe rs us [m o st fair] c a e all o m e In su h v ri ty , unt ,

ee ma n ot s ee n o e e . If th I y , brings r li f Without th ee all is so rrow a n d de sp air ; Witho ut th ee I must ﬁnd p e rp etually 1 I n that whi ch give s m o st pleasure greatest grief . )

B ut C amoe s arrived in Portugal with no m eans to a e a c o ce of l Th e a c o f th e m k h i ot po ssible . m nus ript Lusi ads an d o e oe w as o e ea and o th r p ms his s l w lth , m st of e e e ea o r a e He h ad ee a his fri nds w r d d bs nt . s n m ny of e die a an d o o a h ad co e e th m in Indi , fr m P rtug l m n ws

1 ereas th e old r edondilhas ar e o e n clos el ac ed in ran sl a in Wh ft y p k , t t g poems of th e n ew s tyle in t o th e s a me me tr e addition s (in this s onne t e nclos ed in b rac e s ar e r e ue n n ecces s ar Th e ol owi n i s k t ) f q tly y . f l g ’ A d ams on s v ers ion of th e s onne t (th e s econd and eighth lines ar e mi s tran s lated )

’ Th e moun ain co ol th e c es nu s v erdan s ad e t , h t t t h , ’ Th e loi t r in w a alon th e ri ver s ide g lk g , er e n eve r w oe h er s ad ab ode a made Wh [ h th ,] ’ [Nor ] s orr o w li nger d [on th e s i l ver y tide] ’ — Th e s ea s hoar s e s oun d th e ear th [with v erdure gay] ’ [Th e gilded p omp of] Ph oeb us p ar tin g ra ys Th e ﬂ ock s that t read at eve th eir h ome war d way Th e s o ft mis t yi e lding to th e s unn y blaze N ot all th e var ied c h ar ms an d b eauties r are T a n a ure b oas s w en ou m s o e d e i h t t t , h th , [ y l l ght , ] A r t ab s en ro m r om me to m ac in s i t f f , y h g ght C an com or ive b ut as a r os ec d r ear f t g , p p t — A n d cold b e fore me s tan d [I o n w ar d go] A nd as th e o s in cr ease in creas e m w oe j y , y .

Memoi rs o the i e and Wri tin s o uis de amoens B o n ( f L f g f L C . y J h l A d ms on . 2 v s ndon on man Hurs nd o 1 8 2 T r o C 0 . e e a o . : t a . L L g , , h is a reer r an s l a ion o f i s s onne in oems rom th e ortu uese o ui s f t t th t P , f P g f L de amoens : wi r e mar s o n h i s li e and w ri i n s B Lord C th k f t g . y Vi s coun S ran o r d London : ar enter 1 8 0 1 8 0 1 80 1 8 0 t t gf . C p , 3 [ 4 , 5, 7 , 1 38 STUDI ES I N PORTUGU ESE LITERATU RE of th e death o f Anto nio d e N oronh a Prince J o5o C aterin a d e Ath aide and oth e rs ea to He o co e t o ee d r him . f und his untry giv n up gr d and m ean - spirite d gloo m

O favo r co m q ue m ais s e acce nde O enge nho 5 0 d a a a a n 5o ue e a mettida N O p tri , , q st No gosto da cubica e n a rudeza ’ D a a e a a a a a il e a e v . um ust r , p g d trist z

Th e co a e h ad ee e a e an d th e ece in g b n d b s d , in pr ding summ er ( 1 569) a plagu e o f unusual viole nce h ad

a a e th e c of L o ﬁ ve and and e e r v g d ity isb n , six s v n

e e o e a an d h ad n ot e e hundr d p rs ns p rishing d ily, v n n ow o e s o a th e a e e of th e wh lly subsid d , th t p ss ng rs

“ San ta C lar a we re not allowe d t o dise mbark immedi h a e . A o e oce o w as e a e t e a e t ly s l mn pr ssi n h ld ft r pl gu , o n 2 0 1 0 o a a few a a e C amOes April , 57 , pr b bly d ys ft r

H ma a a n h d h ad a e . e a e e a d a l nd d y h v t k n p rt in it , full Opp ortunity t o co ntrast th e pre s ent desolati o n th e a ce e of th e C o oce o with g y s n s rpus Christi pr ssi n , eighte en ye ars befo re . H is o bj ect n ow w as t o publish th e L us i ads an d o th e e ce of Dom a oe , thr ugh inﬂu n M n l 2 de o a th e oe an d e o f 8 5 de a a P rtug l , p t fri nd Mir nd ,

h Th e h e was able t o Obtain t e n ece ssary p ermission .

o a e e a e e e e 2 1 1 . ea r y l privil g is d t d S pt mb r 3, 57 It sp ks “ of th e p oe m as a wo rk in octava r ima called th e

Lusi adas c co a ten co e e a o c , whi h nt ins mpl t C nt s , in whi h are s et fo rth poetically in verse th e principal dee ds of th e Portuguese in I ndia since th e discove ry made by

1 Lus x . 1 . . , 45 2 D r S or c in s a th e o d e A uem dardo w as a dd re s s ed . t k th k th t q by C amOes to D om M anoe d e or u al n ot e ore b ut immedia el a er l P t g b f , t y ft , th e ub ica ion of th e usiads p l t L .

1 40 STU DI ES I N PO RTU GU ESE LITERATU RE th e poet received from th e King a pensio n of 1 5 0 00 r Th e ec ee a lvara r éis a year fo three years . d r ( ) is

a e 2 8 1 2 an d : th e a d t d July , 57 , runs I King h ving e a t o th e e ce c L de C amOes of r g rd s rvi whi h uis , knight

o e o h as e e e me a a my h us h ld , r nd r d in Indi during m ny ea and t o a c o e h e e e me y rs , th t whi h I h p will r nd r in th e e an d to th e o e e a e o f futur , kn wl dg I h v his gifts an d ability an d t o th e sufﬁ ci e ncy whi ch h e showed in th e book written by him co n ce rning th e things of a am e a e t o a a e o o f I ndi , pl s d gr nt him p nsi n ’ 1 l ar d r eis . In 1 575 (alvar d o f August 2 ) an d 1 578 (a v Of Jun e 2 ) th e pe nsi o n was ren ewe d for three m ore e eac a e and 1 8 alvar d o f Ma 1 y ars in h c s , in 5 2 ( y 3 )

“ ’ ' a de Moli de Luis de . a e t o A n Sa King Philip I I gr nt d ,

’ I t co n ai ns n o in b ut th e ri vile i o censura and ex A (ﬁ . t th g p g , , t t . s econd edi io n eari n th e s a me d a e h a s n umer ous t (ﬁ . b g t n r n n n Th e d i ion i n w h 1 h th eli can o n var i a ts o f p i t a d s p elli g . e t c e p

i - r n i l i n th e t tle page t u s i ts h ea d to ts e ft i s pr ob ab ly t h e edi tio p r cep s . Th a t i n w hic h th e pe l ica n t urn s its h ead to i ts right i s i n all p r ob a

b ili t a l a e r e di i on mad e e r h a s b e o re 1 8 2 w e n th e o r i in al y t t , , p p , f 5 ( h g r i vi le e o f te n ear s w o uld e x ir e o r e v e n l a er to a v o i d th e n e ce s s i p g y p ) , t , ty o f s ub mi in th e e di i o n to th e I n uis i ion e r a s w e n th e e xa min er tt g t q t , p h p h o f b o ok s for th e p re s s w as s o me pr ies t le s s lib e r al th a n th e F r e y B e r

th ol a meu Fer re i r a w h o s i n e d th e o r i i n a l cens ura . H e ow e ver , g g ( , h , r e mai ned i n th is ofﬁ ce till I f th e o bj e ct w as to p as s o ff th e ne w e di io n a s th e edi ti o ri nce s i t w as a n e x raor dinar il l ums t p p , t y c y “ imi a io n M a r i z w r i e s i n 1 61 a th e oem h as b e en eld in t t . t 3 th t p h

s uc on o ur a c o n r a r to th e ro e n s i o f th e o r u ues e to h h th t , t y p p ty P t g es ee m ore i n i n s mor e an eir o wn o ver co ies of i t t f g th g th th , p

h av e b ee n p r in te d i n Por tugal . 1 Eu E l Re y a ven d o r e s peit o a o s er uico q ue Luis de C amOes cauallei ro ﬁ dalgo d e min h a ca s a me t em feyto n as pa r tes d a I n dia p or muitos a n uos e ao q ue e s per o q ue a o d ian te me far a e a in fo r ma ca m q ue tenh o d e s e u eng e n h o e h ab ilid ad e e a s uﬁ c ie n cia [mui ta sczencza w o uld b e a b ette r d es criptio n] q ue mos tr o u n o livr o q ue fe z d as co us as d a I n d ia e y p or b e m e me p raz d e lh e fazer merce de quin ze m cada h um an n mil r eis d e ten ca e o . C AM OES 1 4 1

” Ca moes co e th e e ce c h e e e e , nsid ring s rvi s whi h r nd r d

a an d o a an d a s h e a de 55 in Indi in P rtug l , th t , Ann , is ” 1 e old a n d oo an d a h e e n o o e e v ry p r , th t l ft th r h ir , o f th e r éis c was a e a lvar d o f Feb , whi h l t r ( ruar 1 8 c ea e to th e th e e e y 5, 5 5) in r s d full At pr s nt d a 1 mi lr ei s o a o at a e a y 5 is w rth b ut 3, but th t tim m ny 2 ofﬁcials h ad salari es of eve n l ess th an that sum . It is c ea o e e a e e h ad ee e a a l r , h w v r , th t v n it b n r gul rly p id, it

e a e a e o e a a ee would but n bl him b r ly t liv . M riz gr s

o o as e a e e e o e an d S everim with C ut r g rds his xtr m p v rty , ’ d e Fa ri a says that this pensio n o f r eis w as s o “ a a co e o w as for w e ma sm ll th t , nsid ring wh m it , y ” 3 ca n o a o at all . a e a e e justly ll it f v ur M riz, p rh ps , v n ’ A e o a a exagge rate s this p overty . ft r C am es arriv l t “ o h e a h e e co o an d e ec Lisb n , s ys , ﬁnish d mp sing p rf t ing th e C anto s whi ch h e h ad brought already writte n o a an d h ad a e ea f c as h e fr m I ndi , s v d with gr t di ﬁ ulty , h L a t e a a e o e a o e us . . s ys in st nz m nti n d b v [ , x

A n d t h e ea 1 2 h e e e an d w as o e in y r 57 print d th m , blig d ‘1 t o remain at th e C ourt in o rde r to receive th e sm all e o c th e h ad a e a a p nsi n whi h King gr nt d him , but lw ys

c o e a e D a da a a a a in su h p v rty th t , wh n Ruy i z C m r ,

e - o da l o a e t o a e a e e a w ll kn wn ﬁ g , sk d him m k v rs tr ns

aue ndo re s ei o a os s e r vi os ue e e fe z n a I ndia e n o r ein o p t c q ll , e a e lla A n a d e 8 5 s e r muyt o v e lh a e p o b r e e d elle n 5o ﬁ car o utro d i r e r e o . 2 mo n o s e i v e n b D r S or c i s a o f a e ri na d e A aide A g th g y . t k th t C t th ’ s l ad - i n - wa i in ten mi lr ei h i i n Gil Vi n C . e r ce s ce a y t g : s a ye ar . f t p te s A uto de M oﬁna M endes (1 534) an d A uto da B arca do Purga ori o 3 “ ’ a mer cé ue lh e fe z el Re D S eb as i5o d uma e uen a q y . t p q ten ca e tal q ue e m s ua co mp arac5o j us tamen te lh e podemos chamar ” n en uma h . 4 Fro m thi s o ne might gather that Cambes h ad wi s hed to leave Lis on os s ibl to li ve at o imb ra b , p y C . 1 42 STU DIES I N PORTUGU ESE LITERATU RE

a o of th e e e a a and th e oe for all l ti n P nit nti l Ps lms , p t

n ot a e th e a a o th e o e a his urging did m k tr nsl ti n , n bl m n ,

e t o an d co a a e h e w nt him , mpl ining , sk d him why did n ot ca o ut o m e a e s o o a o ee rry his pr is , m d l ng g , s ing th at h e was s o great a poet a n d h ad co mposed s o cele brat ed a oe th e oe a e e a e h e p m ; but p t nsw r d , th t wh n

o e o e C a o h e w as o and o e wr t th s nt s y ung in l v , living e o e an d o o e an d oa e a in pl nty, l v d h n ur d , l d d with m ny

and a o o e an d a e c e c gifts f v urs fr m fri nds l di s , whi h x it ed

oe c a o a n ow h e h ad n ot ea o r his p ti rd ur , but th t h rt co e fo r a fo r e e w as ao a nt nt nything , h r his J sking him fo r a few e ce t o coa and h e h ad n o o e p n buy l , m n y t o give ” 1 h him . And M ariz insists that e found n o favour with

e a a nd o teue r a a com ess e R e and e King S b sti n ( g c y ) , liv d

’ c o e a ai o th e a e h e h ad o in su h p v rty th t J , sl v br ught with

om A ca e e fo r a e th e ee a him fr fri , b gg d his m st r in str ts t 2 night a statem e nt pro bably e ntire ly unfounded . A

t o of e e ea c h as a ea e air of s ry th s y rs , whi h gr t r truth ,

‘ rel at es that C amoe s threat e ned t o as k th e King t o

1 D ep ois dis to acab ou d e compor limar es tes s eus C an t os 61 d a I ndia trazia cOp o s tos : n o s e u n aufr agio s al uar a com grande trabalh o co mo e le di z n a o c ava acima r e e rida E o o n o an n o d e s e en a l t f . l g t t d ous o s imp rimio fi cou res idi n d o e m C o r te p or o b r ig ac5o d a tens i n h a ue cl Re lh e der a M as tam ob re s e m re edi n d o lh e q y . p p q p R u Diaz d a amara fid al o b em con ecido lh e rad uzi s s e e m ve r s o y C , g h , t os Ps almos Penitenci aes : n5o acab and o d e o a zer or mais ue f , p q ar a i s s o o e s timul aua s e fo a el e o fi dal o er un tan d o lh e ue p , y l g p g q y xos o por que lh e n5o acab aua d e fa zer O q ue lh e pr o me tera h aui a tan to e m o s e ndo ta m ran de o e a ue in a com o s o t am amos o t p , g P t q t h p t f Poe ma : ell e lh e r es p o n deo q quand o fe zera aq uelles C an to s e ra mance b o ar o n amo rad o uer id o es imad o c eo d e mu tos , f t , q t , h y fauores merces d e amigos d e damas co m q ue o calo r Poetico s e augme n taua : E q ue agora n 5o tin h a e s pi ri tu n e m con t en ta me n to ar a n ad a : or ue al es ana o s eu 150 ue lh e edia d uas moed as p P q y t , q p ara car n5o lle a d ar p e as n5o tinh a para lh s . 2 D e no te i r y ped a es mola para o aj udar a s us tenta .

1 44 STU DI ES I N PO RTU GU ESE LITERATU RE

1 th e C c of Sa a A a an d e e a in hur h nt nn , giv s this pit ph “ A ui az Luis de C a moes Pr i nci e dos Poetas de seu q j , p

morreo . temp o. Viveo pobre mis erauelmen t e assi

A o de 1 a ca a lh e a o a Or Dom nn 579 . Est mp m nd u qui p

n l N a e 5o e e a a ers oa Go cal o C o utinho . a qu l s n nt rr r p al fi a But th e ea a e of ea w as u e 1 0 g . r l d t his d th J n , He probably h ad n ot h eard o f th e tw o Spanish 3 a a o of th e Lusi ads th e im r imatur of t h e tr nsl ti ns , p first o f c a e a c 2 1 8 0 n or o f th e o e whi h is d t d M r h 7 , 5 , s nn t in which Tasso ( 1 544 - 1 595) refers t o him as th e colto e ” buon Lui i a . e . e e e o a e g Wh n Philip I I nt r d Lisb n , y r ’ a e C a 6e ea a to a e ft r m s d th , his first inquiry is s id h v been fo r th e great Po rtuguese poet . ’ ece a to e at e on C amOes e It is n ss ry dw ll l ngth lif , sin ce his life t o a greate r degree than th at o f any oth e r oe a e co ec e oe an d o p t is intim t ly nn t d with his p try, with ut ” 4 knowle dge of t h e per egr in acdes ( S: successos var i os o f e a a a e o eco e ea his lif , m ny p ss g s in his w rks b m m ning

e . oe h ad ee co a co a o an d l ss His p ms b n his nst nt mp ni n , h ad o a a e his e s o a w as a a pr b bly s v d lif , th t it but f ir th t h e o e e h f h M o sh uld sav his po ms at t e m outh o t e ek ng . Thus his m ost famous C ancao begins

1 er a s rom a co n us io n w i th e Hos i ta l de Santa A nna a P h p f f th p . Wh t wer e pres umed to b e h is r e main s w e r e r e move d i n th e n ine teen th ce n ur to B e em an d n o w li e in a o mb in a s ma l s ide c a e of th e t y l , t l h p l r w i h mb f V a Gama a n K in eb s ian c u c t e o s o s co d a d S a . h h , th t g t 2 D r e f No v m er 1 1 8 2 r an i n to A n n a e r i s ec e o e d 8 5. e b 3, 5 , g t g d ue to uis d e a mbes rom 1 an uar 1 8 0 to 1 0 une of th e s ame L C f J y , 5 , J

' ear w en h e died—desde anei r o do anno de 1 8 80 até 1 0 de unho d elle y , h j j , ” em ue allecen q f . 3 ‘ Los Lusi adas de Luis de Camoes t ra d uzidos en o ctav a r ima cas tellana

’ or Ben i o a era A lcal nar a u i a d l amos He es 1 0 . L L s da e c o d . cz de 8 p t C l , 5 f oeta u s de amoes rad uzid a or u s Gome s de Ta ia p L y C , t p L y p . S alamanca 1 8 0 , 5 .

1‘ m a S everi de F ri a . CAM OES 1 45

Vinde ca m eu ce rto secretari o i u e o D os q ue x mes q ue se mpre ando faz nd , ” a e com e a e a d es affo o . P p l , qu m p n g

o e a co a o f all e a e to (C m , f ithful nﬁd nt my gri fs , p p r who m I am eve r te lling my sorrow . )

No poet gains more by b eing read and re - read his poems are like th e l eaves of so me plant which require t o be well crushe d be fore they give out their full sce nt .

o e a e e n ot o th e And his w rk must b re d in its ntir ty, nly

Lusi ads th e ea o e th e a ce , but b utiful s nn ts , m gniﬁ nt can des all o an d o an d o of e a ca th e c , g ld iv ry w rthy P tr r , a e u e r edondilhas th e o e and e e e and m ny xq isit , d s l gi s 1 outavas th e e e c o e . He h as ee s o e , spl ndid l gu s b n Oft n 2 ca e th e a o of th e Lusi ads th e ce of e o c ll d uth r , prin h r i

1 Th e mo re recen t e di ti on s o f C amOe s (compl ete w orks ) are

’ Obras com letas de ui s de ambes corr ec as e eme n dadas e o cuidado p L C , t p l Ham li ia d e V B arr i v l . n M n e r . o e di e c . . e o F ei o e G o o g J t J . . t 3 bur o 1 8 . g , 34 bras de uiz de ambes r e i m e ns o b io r a h ico n o O . ced das d e u ai L C P g p , ual s e r ela a m a l uns ac os n5o co n ecid o s d a s ua v ida au mentadas q t g f t h , g com a umas com os i cOe s inedita s d o oe a e o V isconde de uro lg p p t . P l J me n 6vol isboa 1 8 - 1 86 V l n i e ib i o r a a . 60 i n i s . . o co a h L , 9 ( . . t l f , b l g phy , and d ocume n s t . )

m le as de uiz de m - Obras co t L a e r to 8 . o s v ol . o 1 p C . 7 P , 7374

bras com letas de ui z de am l di 5o v ol . O oes . No v a o u ar e p L C [p p ] c . 3 Lisboa 1 1 2 , 9 . U nfor t unately none of thes e editions dis tingui s h between th e poe ms wr itten by Camoes and thos e (o v er a quar ter of th e w h o l e) w ritten b o er oe s a n d ma n s e ndid oems o f D io o Bern ar des ui e y th p t , y pl p g ( q t ’ ra ui ous accus ed o f avi n s o l e n C amOeS arnaso are for in g t t ly h g t P ) , ’ s an ce ri n ed a mo n C a mOes w or s S orc rans la ed th e w ole t , p t g k . t k t t h , i n cl udi n n o e ss an 62 so nn e s g l th 3 t . 2 Th e us iads av e b een ran l e i n o E n i s b R Fan s a w L h t s at d t gl h y . h ondon M i l e Ox ord 6 Ox ord 1 8 D ublin . . c 1 ; ; (L , W J k ( f , 77 f , 77 , 1 1 ondon 1 8 ondon 1 80 ondon 1 80 ondon 1 8 1 0 - in 79 ; L , 79 ; L , 7 ; L , 9 ; L , ’ o ns on s oe s B s t n ndon T M M us rav e o o 1 8 2 2 L o . J h P t ; , ; , . g ondon : Murra i e ond n R F D uf M c o . (L y , L . t h ll (L , . f 1 0 1 46STU DIES IN PO RTUGU ESE LITERATU RE

oe a a t to be o o e a h e e e p ts , th t it is p f rg tt n th t is ss n 1 ti ll c a e e a y lyrical . Th e lyri c p oet app ears ontinu lly v n

t h us ia d f n o e a as in e L s . As a write r o lyri cs l ss th n an epic poet h e sta nds supre m e in P o rtuguese poetry

Os m ais S50 collinas ” 2 Elle é a mo ntanh a .

o e th e e o an d e a th e os Of his s nn ts , b st kn wn p rh ps m t b eautiful is that o n th e death o f C aterin a d e Ath aide :

Alm a minh a ge ntil q ue t e partiste ’ T am ce o e a a e co e e d d st Vid d s nt nt , Re p ousa 15 n o ceo ete rn am e nte E viva eu 9 9 n a terra s empre triste S e 15 n o asse nt o eth ereo o nd e subiste ’ e o a e a a s e co e e M m ri d st Vid ns nt ,

isbon R B ur on wi th e l rics ondon : uaritch 1 880 (L , . t , th y (L Q , , A b r i n n n on 1 n . No e f es e . u e n o do 1 8 8 o d 88 . o J J t (L , 7 ; L , 4 th rans la ion iv n r i l t t s g e a ad eq ua te id e a of th e o ig na . 1 His lyr ical poe ms w ere n ot p ub li s h e d till ﬁ ftee n ye ar s a fter h is d ea R thmas de ui d a i vi e in co ar e s i s o s e m es . D didas m c b a th y L C o p t . L M anoel d ra h n r e L 1 . German is t e o n cou a os s es s es y , 595 y ly t y th t p ’ C am e s co m e e i n i D S or f un ai in O w or s a ran s l a o n b r . c o pl t k , t t y t k , f l g

e xce lence . Ta e for ins ance th e v er s ion of A uella cativa l k t , q

ene S a vin ach J kl , , Deren Skl av I ch b in

’ Ganz mi t Seel un d Sinn S te llt mir todtlich nach I ch erblickte n ie ’ Eine R os im K ranz Die an R ei z und Glanz l Reicher war a s s ie . Sch On er s trahlen n icht B l umen auf d em Fe ld ’ Stern am Himmel s zelt ” l h A n e i A s i r s c e tc . g ht ,

2 o5o d e D eus B ut i t is un air a th e moun ain s ou d en ir J . f th t t h l t ely o vers adow th e de i u s cen ed i s h l ghtf lly t h ll .

1 48 STU DI ES I N PORTU GU ESE LITERATU RE

Viu apartar - s e de uma o utra vo ntade Q ue nun ca p ode ra ve r - s e apartada Ella SO viu as l agrim as em ﬁ o ue d e e d e o u o o o e a a Q , uns tr s lh s d riv d s , J u ntando - s e formaram largo rio ; Ella ouviu as p alavra s m agoadas Q ue p o der5o torn ar o fog o fri o

E dar de sca nso as alm as conde n adas .

a a c a o e et o (Th t d wn whi h s dly r s y j yfully, But o e all a o o an d a r s fr ught with s rr w with p in , While in th e wo rld regret an d tears rem ain

I trust may neve r unre m e mbe re d be . For a o e as c ea a e it l n , in l r m j sty ca e and t o th e ea o a a It m rth br ught light g in , Beheld will part from will an d cleft in twa in

Th at still must eve r live in unity . And it alo ne s aw t ears unceasing ﬂow

F o o e e e and o e e o o - e e r m th s y s fr m th s , s rr w distr ss d , Forming togethe r a l ong stream of w oe It liste ned t o t h e words in grie f expresse d ’ That shall have p owe r t o ch ange e en ﬁ re to sn ow

An d unto souls in ago ny give rest . )

’ C amOes sh are d 8 5 de Mira nda s adm i rati o n fo r G arcil a so d e la Vega “ O brando e doce Lasso castelh ano and some of his earliest poems were written in th e new style ; but h e also de lighte d in t h e olde r popular poetry of e e an d canti a canti as muito velhas c a s l g nd g , g su h o e h A uto de Filodemo a co be th s sung in t e . Wh t uld more delightful a nd n atural th an his voltas to th e lines

Menin a dos olh os verdes Po rque me n 5o vede s

Or t o S audade minh a a o os e a Qu nd v v ri . CAM OES 149

Ve rdes S50 0 5 campo s 5 ” De cOr d e l i m o .

’ a ce e e a a a N s str ll d lv , A m anh5 s e vern Des ert ae a a a p , minh lm , m 5 rm m u b . N O du aes , e e

' th e redon dilhas t o th e fa ca e e Or y ptiv , with th ir ’ l” reminiscence of Santillan a s

M oza t an fermo s a Non V I en la fro nte ra

Aqu ella cativa ue me t e m ca o Q tiv , o e e a o P rqu n ll viv , a n 5o e ue a J qu r q Viv . Eu nunca vi ro sa Em suave s molho s Q ue p a ra m eus olh os F o e a o m a ss m is f r o s . Nem n o campo ﬂo res Nem n o ceo estrellas Me parecem bellas C o o OS e a o m m us m res .

Sh e th e a ca e ( , f ir ptiv , ea e r St ls my lib ty, Sh e t h e e o f me , lif , uffe me n ot t S rs o live . N eve r in my sight Bea of th e o e uty r s , a s o ee o Th t sw tly gr ws , ee e o e e S m d m r xquisite . a ea e a o e St rs in h v n b v , F o e of th e e l w rs ﬁ ld , All in beauty yi eld o h r U nt e I lo ve . ) 1 59 STU DI ES IN PO RTUGUESE LITE RATU RE

S eve ral passages in his lyrical works show th at h e ea h d t h e e e o be th e o e e V not rly a d sir t P rtugu s irgil , if 1 e e e oe t o outsh adow H o mer . M any oth r Portugu s p ts N C a o h ad e nt e rtain ed th e sam e a mbiti o n . o doubt nt s 2 3 an d 4 of th e Lusi ads were writte n b efore C amOeS f r 1 a o co a t h e l eft Po rtugal o India in 553. C nt 3 nt ins e o e th e o e and ea of é d e C a o o pis d Of l v d th In s str , wh m h e would co nn ect with C aterina de Athaide ; C anto 4 contains th e spirite d d es cription of th e Battle o f Aljubarrota (stanzas 30 Muito s tamb em do vulgo Vil s em n om e V5O e t ambem d os o e ao o o , n br s , pr fund , Onde o trifauce C 50 pe rpetua fom e T ern das almas q ue passam de ste mundo ; E po rqu e m ais aqui s e a m anse e dom e A o e a do o o s b rb inimig furibund , A sublim e bandeira C ast elhan a

Foi de r ri bada ao s p és d a Lusitan a . Aqui a fe ra b atalha s e e n cruece C o m o e o a e e c a a m rt s , grit s , s ngu util d s , A multid5o d a gente q ue p erece T e m as ﬂo res d a o a cOr a a pr pri mud d s , ’ ai as co a d5o e as a a a ece J st s Vid s , j f ll O furo r e s obej am as lan cad as ;

J a. d e C ast e lla o Rei d esbaratado

S e Ve e de s e u o o o a o . , pr p sit mud d

ca o vae e a o ao e ce o O mp d ix nd v n d r, C o nt e nt e d e lh e n 5o dei xar a Vi da ;

e em - n o O S ue ﬁ caram e o e o S gu q , t m r

1 th e lin e s i n th e eclo ue antando or um valle docemente Cf. g C p

’ Pod eis faze r q ue cr e s ca d h or a e m hora O n o me us i ano e a a i n ve a L t , f c j ’ ' A Es mir n a ue d Home ro S e n randece , q g .

2 Th e w o r d Lusi adas o r u ues e w as a aren coined b P t g ) , pp tly, y A ndr é Fal 5o d e Res nde in a La in oem in h 1 c e t p t e y ear 1 53 .

1 52 STU DIES I N PORTUGU ESE LITERATU RE

purpo se than an account of those discoveri es which h ad now made Po rtugal in some sense th e centre of Europ e ? Th e earli er histo ry w as wo rke d in th e a a e o f a co da Ga a t o th e of e e n rr tiv V s m King M lind , and of Paulo da Gama t o th e C atual o f C alecut an d th e l ate r histo ry in th e proph ecies of th e go ds wh o ﬁgure s o pro minently in th e wo rk . Thus his purpose was now clear As arm as e o s barOe S assin alado s Q ue da occide ntal praia lusitan a Po r m ares nun ca d e antes n avegado s r n Passa ram ainda além d a Tap oba a . E tambem as m e morias gl ori o sas ’ D aq uelles re is q ue foram dilatando f A é e o imperio . Lu 1 s . . ( i , (Arms an d th e men I Sing of noble fame ’ Wh o fro m fair Lusitani a s weste rn sh ore ’ E e e a e o far a ca e v n furth r th n C yl n s isl nd m , ’ Traversing seas n e er traversed be fo re An d also glo ri o us m em o ri es of th ose Kings

Wh o e mpire an d t h e faith ext ende d far .

But ma be a a co be o e e o it y s id , wh t uld m r t di us a a e o c o e o a e o a o e a o th n h r i p m with ut h r , with wh l n ti n for e o a o e ea an e e e o e its h r , p m d ling with nt rpris m r remote th an that o f Godefroi d e Bo uillo n to th e H oly La c o e a o th e ec o f nd , whi h pr vid d T ss with subj t his Gerusalemme Li berata P Add to this th e introduction of 1 th e a e o th e c o i us e of c a ca o o m rv ll us , l y ng l ssi l myth l gy , 2 th e title of th e oe o e co e as a e e p m , ft n mis nstru d f minin

1 I n s ix ines o f th e ec o ue antando occur Helicon e as us l l g C , P g , llio li in r h a e T a a M ar s M e va t e a rn as s us th e ie rid es . C p , h , , , P , P 2 I n th e oe m i s e th e o r u ues e ar e n o t called Os Lus iadas b ut p t lf P t g , A ente l usi tana Os de uso us i tanos Gente de us o ortu ues es g , L , L , L , P g . CAMOES 1 53 a ac e as o ne of th e a e o of 1 80 bstr t t rm , in Sp nish v rsi ns 5 , an d th ere is n o cause for wo nde r that th o se w h o h ave n ot read th e Lusi ads have found it extrao rdinarily

u . o e wh o ea oo a d ll Th s r d it s n ch nge th eir opini o n . What h as struck all th e criti cs is th e great sense of 1 ea oem c e ce h e o r lity in this p , by whi h it x ls t p ems 2 of a o n A A e n T ss a d riosto . l xander vo Humboldt ca e C amOes a ea a e of th e s ea an d ll d gr t p int r , sweet indeed we re th e uses of th e adversity which drove C amOes to po rtray fro m direct obse rvatio n th e ’ ce o f a m a e e e h e s n es V sco d a G a a s voy g . Wh th r is des Cribing th e arrival of th e ships with purpl e banners h n ﬂying (ii . o r t e ﬁrst l and app earing like clouds o th e o r h e e e a e ea horizo n (v . t fright n d n tiv s l ping h “ 6 o e a oe o t e a e e o . 2 fr m th ir c n s int w t r lik fr gs (ii ,

r r 1 o a t omba an d th e sun su cking up th e wat er (v . 8 or th e s ea becalm ed an d windless

e o o e 0 mar e as o a a e . 1 1 0 O v nt d rm , nd s j z m (ii ) U m subito Sile ncio en freia OS vento s E faz I r d oce m ente murmurando

As aguas (x .

or th e coral growing ben eath th e water (11. 77) — A eve rywh ere th e re is th e same vivid realism . s “ C a oe e e l e e o e e an d ac a ex m s kn w w l , m r kn wl dg tu l p erience are as different as are consoling and being ” 3 o Th e o o e c o of th e o c nsoled . f ll wing d s ripti n st rm

1 im el Lus i 1 1 and v 2 an d 8 a th e s u ec C am es e s . . O f lt h f ( . 3 9) th t bj t f h is em need ed n o an as ic embellis men s o po f t t h t . 2 Os Lusiadas h as s an zas ines ab ou a th e en of t , l , t h lf l gth u mme Liberata La Ger sale .

3 Le er ro m A r ica E sta vac Gar 5o a or u ues e oe uo ed tt f f , . c , P t g p t q t e n or Bra a s a s usiads are n o t w ri en in th e la of luxur by S h g , y L tt p y — lh c landres em toa as d F . 1 54 STU D I E S I N PO RTUGUESE LITERATU RE off th e C a e o f Goo o e th e e e O oeta p d H p , in l gy p

Simonides e e e to be s et e e a o f , d s rv s sid by sid with th t

- A 60 r h Lus . vi . dam astor ( Lus . v . 37 ) o t e storm in

70 ' 9 I ’ Eis a o e com e e c ece n it nuv ns s s ur , DO ar subitam ente foge 0 dia ; ’ m r E to do o largo O cean o s e b avece . A m achina do mundo pareci a ’ Qu e m torm e ntas s e Vi nh a de sfaze nd o m r Em se rras todo 0 a s e co nverti a . Luctan d o o Boreas fe ro e N oto ho rre ndo o o a e e a e e a a a S n r s t mp st d s l v nt v m , n Das nao s as velas co cavas ro mpe ndo .

’ As co rdas co o ruido assoviavam ; O S a i ei o a e e e a o m r nh r s , j d s sp r d s ,

C om gri tos p ara 0 ceo 0 ar coalhavam . Os rai o s p or Vulcan o fabricado s Vi a a e o e a e o o a e br v O f r sp r T n nt ,

Treme ndo os Polo s a mb o s d e asso mbrado s .

But 10 th e oo a a a c o ( , night l ms d rk with m ny l ud As e ac e da e sudd nly in bl kn ss y is furl d ,

A n d th e whole O cean wide grows ﬁ erce an d proud . It seems th at th e foundatio ns of th e world A re e oo e an d o ca e b ing l s d t rn in hurri n ,

An d all th e s ea in surging mountains hurled . Th e wild N o rth wind an d fell S outh strive am ain

And a th e o - o ce e e o a dr w l ud v i d t mp st fr m its l ir, h Till th e sails Swell an d crack ben eath t e strain .

Th e e an d e a rigging whistl s shrill , in d sp ir Th e sailors n ow to H eaven raise th eir cries An d all a e o S o th e air dism y d with l ud h uts ﬁll ,

’ Whil e Vulcan s lightning - ﬂas h es in th e skies Are th e ea e e e swiftly by dr dful Thund r r whirl d ,

And e ither Po le in wo nder trembling lies . )

1 56STU DI ES I N PO RTU GU ESE LITE RATU RE

Assim como a bo nina q ue co rtada A e do e o foi ca da e e a nt s t mp , ndi b ll , S endo das m5os l ascivas m altratada Da me nin a q ue a trouxe n a cap ella O ch eiro traz p erdido e a cOr mu rchada Tal e a o a a a a o e a st m rt p llid d nz ll , Seccas d o ro sto as ro sas e p e rdida ’ 1 A branca e viva cOr co a do ce vida .

As ﬁlh as d o Mondego a m o rte escura La o e o c o a o e o a a rg t mp h r nd m m r r m , E p or mem o ria ete rna em fo nt e pura As lagrimas ch o radas transform aram o m e lh e uz e ra m ue a r a O n p , q ind du , Dos am o res d e Inés q ue alli p assaram e e ue e ca o e e a as o e V d q fr s f nt r g ﬂ r s ,

Q ue lagrimas S50 a agua e o n o m e amo re s . a 1 ( Stanz s 34,

’ (As in girl s thoughtless ﬁngers with ered A a e o e c e e o e e f ir whit ﬂ w r , ull d b f r its tim T lie o crush ed idly upo n breast o r head, Lo e th e ce an d co o o f e s s s nt l ur its prim , So n ow th e a e o a e e ea p l y ung m id n li th d d , Th e roses fro m h e r face a cruel crime Has a e an d th e v h ue o e b nish d , li ing is g n

With ebbing life that o nce there cl early shone .

Th e daughters of M ondego lo ng with tears h er a ea e e th e e o Of d rk d th k pt fr sh m m ry, An d a e e a ce o e th e ea , th t r m mbr n might utliv y rs , Of tears thus sh ed a cryst al spring supply ;

1 h ines o f h n s lh o in n o doub to C . t e t e s on e O o s onde re err f l t , f g t a erin a d e A a ide wh o o wever died i n 1 6 and er e ore rob C t th ( , h , 55 , th f p abl y after th e I nés e pis ode w as w ri tten )

Per fe ita for mo s ur a e m ten ra e dade Q ual ﬂo r q ue an tecipa da foi colhida M ur c a d e s d m d m r e d r a a a. a 5o a o u h t t , C o mo n5o mor re A mor d e piedade C AMOES 1 57

Th e a e e a e e e e n ow ea n m th y g v it th n v n it b rs , Th e love o f Inés the re t o signify ; How cl ear a spring th e ﬂ owe rs fro m above — a e in ea o a e o e . W t rs t rs it ﬂ ws , its n m is l v )

At th e en d of C anto 5 C amOes lam ents that poe try is e ma e ee o a and a o 6 a co h ld in s ll st m in P rtug l , in C nt V s

d a a a ea e e e e o o e e G m l v s M lind , but V ll s is int rrupt d in 1 his tale of Magr ico e as D oze de I ngla terr a by a storm ’ e e h br w d by N eptune at Bacchus requ est . At t e

e o f C a o th e a e a e at C alecut b ginning nt 7 ships rriv s f ly , an d a o da h atual V sc G am a disemba rks . T e C visits ’ th e ca a c e c e e a e pt in s ship , whi h is d k d with silk n b nn rs

representing th e hist o ry an d illu strious me n o f Po rtugal .

e occa o fo r a eco o ca a a e This giv s si n s nd hist ri l n rr tiv , ’ and a o da a a a co o e e of th e o P ul G m , V s s br th r , t lls P rtu

ues e e oe —a oo co a o L o and g h r s g dly mp ny , fr m us B n h U lysses to those o f th e ﬁfteenth ce ntury . ut ow t e Po rtug ues e s e t sail for h o me (C a nto 9)

Da parte Orie ntal para Lisboa — and V enus pre pares fo r the m an island o f delight e a n f th e th e o a e (p rh ps o e o Azo res) . There grow r ng an d a e an d e o th e c e a nd th e a e o e ppl l m n , h rry gr p , p m

a a d e e ea a n e . a gr n t , p r mulb rry Elms , b ys , myrtl s ,

e an d c e e e a e t o a of o e pin s , ypr ss s giv sh d this l nd r s s d o f an e red an d e . C a o 1 0 e lili s , whit I n nt T thys in t h e island tells o f th e S ubsequ e nt de eds o f th e Po rtu ’ ues e a of ac eco fo o d Albu uer ue g in I ndi , P h , Af ns q q ( 1 453 an d J o5o de C astro ( 1 500 an d

1 S anzas 2 - 6—th e s or o f we ve or u ues e n i s wh o w en t 4 9 t y t l P t g k ght t, e ev en b s ea Ma ri o lan d to u old th e on our of we v e adies l y , g c by , ph h t l l h i f n la at t e Englis h C our t agains t twel ve kn ght s o E g nd . 1 58 STU DIES IN PO RT UGU ESE LITE RATU RE

Ga a at e eac e L o th e oe e m l ngth r h s isb n , p m nding

(stanzas 1 46- 1 56) with an invocati o n to King S ebas f a e e h ti an . With pl ain signs o discour g m nt in t e last

ee C a o ou e ec an d o e thr nt s , thr gh illn ss , shipwr k , p v rty , C am oes thus carri e d his achievem e nt triumph a ntly t o “ M e no co c o . No o e o e h its n lusi n m r , my us , m r , e cries in stanza 1 45 :

5 a a n 5o a ue a a e o N O m is , Mus , m is q lyr t nh e e m e a a e a voz e o ec a D st p r d nr uqu id , E n5o d o ca o m as d e ver ue e o nt , q v nh ” a C antar ge nte surda e e ndurecida .

No o e M e n o o e o ce oa e ( m r , my us , m r , my v i is h rs , ’ And out of e are all e tun my lyr s strings , n ot o S a e o e o e And fr m inging , r th r fr m r m rs T f r o sing o th ose still deaf t o him wh o sings . )

a a 1 6 as one e o to th e In st nz 4 , utt rly unkn wn King , h e a t o ow n a e nd fe is f in humbly sing his pr is s , a Of rs th e King

a a e - vos a o as a a e o P r s rvir , br c rm s f it ;

- a a ca a vos e e as M a a a . P r nt r , m nt us s d d

To e e ou a a oft war a e e ( s rv y , h nds th t in h v striv n , 0 ou o to th e e T sing y , th ughts still Mus s

’ C amoes kee n se nse of reality saved him alike fr om pedantries an d excessi ve suavity in his numer oso canto e e odi a t m ua e e br d a m l and o s v an o. His unf iling 1 naturaln ess an d th e clear transparen cy of his style

1 E O rado as ﬂore s rancas e v ermel as . g . , p b h Es té s ua ve men te pres en tan d o As d oces e s oli citas abe lh as m s us r r a ra a v l v oando C o u o g d e v5. 0 ;

1 60 STU DI ES I N PO RTUGU ESE LITERATU RE warning to those w h o by night and day wear them selve s away in p ro ﬁtles s e fforts to spin webs like spiders ” 1 in o rde r t o catch ﬂies !

’ Ihr durch s tudiert die gro ss und kl e ine Welt U m e s am E nde geh e n z u l asse n ’ ’ ” aill Wi e s Gott gef t .

But co uld C amOes have known h ow impo rtant w as t o eco e e e to co h e o a e b m his b q u st his untry , w uld h v rece ived in his l ast m om e nts th e co mfort which this

e a f r pri est w as apparently unable to give . It r m in e d o him afte r a life Of misfo rtun e t o reap a lo ng harvest o f p osthumous fam e

Mas s e lh e foy fortun a e scasa em Vida N5O lh e po de tirar depois d a morte

Hum rico e mp aro de s ua fa ma e gloria .

th e ace h e e th e o e e a a e s o In ﬁrst pl , ﬁx d P rtugu s l ngu g 3 a ca ce a o h as a e e and eco h e th t s r ly w rd lt r d ; , s ndly, became (especially in 1 640) th e watchword o f Po rtu

1 Q ué cos a mas las timos a q ue ver un tan grande ingenio tan mallo d Yo 10 hi morir en un s i a en is bo a s in ener una abana gra o . ho p t l L t s con ue cob rirse d es ues d e aver riun ado en la I ndia Orien a de q , p t f t l , av er navegado 5500 l eguas p or mar ! Q ué aviso ta n grande para los ue d e noc e d ia s e cansa n e s udia nd o s in r o vec o como las q h y t p h , ” araﬁ as e n urdir e as ara cazar mos cas I t mus h e con e s s e d t l p . t f a th e d es cri io n d oes n o t s ui C amOes w e l s ince h e h ad no t th t pt t l , “ muc more an 00 e a ue s rium e d in I n dia and h ad s ailed . t ph , h th 55 l g 2 F ro m th e s on ne D i o o Ber nard e s i n rais e o f C amOe s a s t by g p , uo ed b Severim d e F aria wh o s a s o f B er n ar des I n th e as ora l q t y , y p t l s tyle h e i s un excel ed . 3 C o5o d e D e us f . J

O s Lus iadas e s t5o como n a hora Tres s e culos e nada , Nem uma le ttra unica apagada ! CAMOES 1 61

1 a Ma gues e liberty an d indepe nden ce . Oliveir rtins a a th e Lusi ads e e e o f o o n a s ys th t , writt n in l tt rs g ld

e e of a e are th e e a of o a and whit n ss m rbl , pit ph P rtug l h e f e h u i d t e e a o a o e . Ra e t e L s a s and t st m nt p pl th r , th e lyrics of Camoes are th e passport of th e Po rtu ues e eo e an d e co a e e t o e g p pl , its right n ur g m nt liv

Th e Lus iads n h and pro sp er . ot only embraces t e who l e o f Po rtuguese history fro m Luso t o JO5O de a o o e e th e a an d ca e e C str , but binds t g th r v st s tt r d e e o f o a S ce e e ca ce a o e mpir P rtug l , in th r is s r ly P rtugu se

e o e e r colony unm nti n d in its pages . In ord r t o ap p e c a e th e ea e be ac a e th e i t it fully , r d r must qu int d with histo ry of P o rtugal an d h er colonies ; h e must have live d in Portugal ; h e must have watch ed th e tranquil ﬂ w of th e a th e a a e ee a e of th e o T gus , tr nsp r nt gr n w t rs ’ M e o c mansamente ate 0 mar nd o ar am ond g , whi h p , ’ ” and fro m cool C intra s h eight have seen th e ships arriving in th e dista nce ; an d h e must be famili ar with h e a e a are Be e and A co a a o a and t m rv ls th t l m l b c , Th m r

Ba a a . C a be o e e e a oca oe t lh If m s is thus in s m s ns l l p t ,

o e oe not e e a e . this sh uld int nsify , if it d s xt nd , his f m r His poetry must live o die with his country . He h would n ot h ave ad it o the rwise .

1 amoes Os L usiadas e a Rena scen a em ortu al Lisboa C , c P g ( , C HAPTE R V I

A L M E I D A - G A R R E T T

Almeidg - t 1 4 8 lf - rs h . h ( ) duua e fi t v a n ggg 799 54 Haa s si ts _influen ce 111 He disp ersed his talents o e t oo oa a e a nd a o e e e e c v r br d fi ld , with P rtugu s t nd n y to be vagu ely prolix h e h ad little powe r of con een h a r tion . h e co ce a e t e e w s t a Wh e n did n ntr t , r sult a a e as a e F r ei Lui z de Sousa o r dmir bl , in his tr g dy , ,

lha cahid ma S e e o e of c F o s as . U his l nd r v lum lyri s , ” e a e a e e d a o a e a o e th e o e p c int ir m nt n ss t rr , wr t p t

Anto ni o Felici an o d e C astilh o ( 1 800 - 1 875) o f an oth e r ’ of a e a 0 A l a eme de Santar em and th e G rr tt s pl ys , f g , same might be said of all his works . It is o n e of his c e c a t o ea e a a o h e ca e e hi f l ims gr tn ss th t , lth ugh m und r

' th e e a e e e of th e lit eratures of E a imm di t inﬂu nc ngl nd ,

F a ce and e a h e e a e c o ce of r n , G rm ny , r m in d in his h i e e e ea e and e e e a th m s , th ir tr tm nt , his styl , ss nti lly

P o rtugue se .

o5o Ba a da a Le 5o A e a - a e J ptist Silv it lm id G rr tt ,

“ ‘ s on Bern drd O G arrett and Anna Augusta rto in F e a 1 but ue bru ry , 79 9 , his tr

‘ a e ce a e e - a h er wh O e 5 111 oSt (Ilh T r ir ) , wh r his f t , h ld n p 1 62

1 64 STU DI ES I N PO RTU GU ESE LITE RATU RE

L n He t o E a his arrival at isbon a d exil ed . went ngl nd for th e eco e an d e fo r o e a ea th e s nd tim , liv d v r y r in H a of o a a e ea E a o . e e e f mily Th m s H dl y , n r dgb st n h r co o e a o o em 0 Ma r i o e as D oze de I n la mp s d l ng p , g c g

terr a an d e e a e . a e t o , studi d English lit r tur U n bl ﬁnd e o e Lo o h e acce e a o a mpl ym nt in nd n , pt d p st in h co mm erci al h o use at H avre . In Fran ce e wrote an e e ac oe I n t e n ca o am5es e l gi p m nt s , C (publish d in an d as a e e e D ona B r anca , light r th m , “ He w as h e a all o e e a c o and , s ys , in l v with m l n h ly ﬂ r r n rom anti ci sm . t e th e amn esty g a t ed by King

o5o . e 1 8 2 J V I (Jun , 4)

‘ refused ow in t o his enter ri s mg and rey olution ary gw p ” ‘‘ ’ he h ch aracter an d unquiet Spirit . W n e return ed

‘ ( 1 826) h e vvas Sfill képt H 11119 91 9119 9 e o . e o ed cto e 1 8 2 6 9 sup rvisi n f und (O b r, ) th e e a e O Por tu uez c was e e a n wsp p r g , whi h susp nd d

few o a e . a e e w as o e m nths l t r G rr tt hims lf impris n d , L imoei r Th an d sp ent thre e m onths in th e o. e year

1 8 2 6w as e ve for s aw th e a ca o o f Dom ntful , it bdi ti n Pedro in favour of his daughte r M ari a (w h o w as to m arry Dom Migoel) an d th e granting of th e famous h C ar ta o e e Dom Mi oel was r ta. De e t e C a spit , h w v r , g declared absolute King in For G arrett this

e a to E a e e result d in third Visit ngl nd, wh r , living in o o h e e c cce o A dozinda L nd n , publish d in qui k su ssi n a collecti on o f his e a rly lyri cs entitled A Ly ra

1 SO it w a s s ung :

El - r ei c e o u el - re i c e ou h g , h g , E B l m d es e mb ar m e e co u , ” O a el n5o as s i n ou p p g . ALME I DA - GARRETT 1 65 de [ 050 Mi ni mo th e ﬁrst volume of D a E ducacd o o e e th e eco e o C aid o (N v mb r , s nd diti n Of an d Por tugal na balanca da E ur opa

e 1 8 1 e o a e at e o o In Jun , 3 , King P dr rriv d Ch rb urg fr m

B a to fo r th e of a e a a r zil ﬁght rights his d ught r , M ri

d a o a a a Mi uelis t a o . a e e Gl ri , g inst g bs lutism G rr tt l ft a Dece e an d a a 1 8 2 o e Engl nd in mb r , in J nu ry , 3 , j in d as a private soldi er a regim ent o f Chasseurs which c e e c a o and o e e o e o f in lud d H r ul n th r writ rs , supp rt rs e o He e a e th e o e an d S e King P dr . dis mb rk d in Az r s p nt o e o a o a at co ec s m m nths with his f mily , w rking h rd ll t ing popular p oetry for his Romanceir o and h elping t o

f r on 8 1 8 2 a co e o a . F a dr w up d s his p rty in lly, J uly , 3 , th e e e a e at e o and e e e o o xil s l nd d Mind ll , nt r d Op rt ’ ll co 0 o . A a e a e str ng G rr tt s p p rs , mprising

‘ M a r i o an d h e o e of D a Educa oio e e g c t e s cond v lum c , w r

e e o th e A meli a th e Mi uelis t s subs qu ntly l st in , sunk by g at th e o f h Do F o th e a e of m uth o t e uro . r m fr gm nts O Mag rico that re m ain an d fro m th e fact th at th e

oe w as co e e a o h ad a a e p m still in mpl t , lth ugh it tt in d its

e - eco ca o on e ca o e ee a e u tw nty s nd nt , nn t h lp f ling gr t f l o a th e Mi uelis t s t o a e e e s o o c t w rds g , but writ r v n pr liﬁ as G a rrett th e lo ss must h ave been discouraging . A e th e a e ea of th e Mi uelis ts a e was ft r ﬁn l d f t g , G rr tt ch arge d with th e gen eral refo rm of e ducatio n in

o a . e 1 8 h e e t o B e as P rtug l I n Jun , 34, w nt russ ls

’ ’ o e e char e d a ai res a e a a o a ce P rtugu s g ﬁ , but ft r m ny nn y n s (his s alary remaining habitually unpaid) h e returne d t o Po rtugal in During th ese years of dis coura e men t h e o e e a e th e e o o g wr t littl , but ft r r v luti n

1 He h ad b een s omewh at s ummarily repl aced at Bruss el s at th e e n d of 1 8 and w a s ﬁ rs o ffered th e os o f Minis er at o en a e n 35, t p t t C p h g , f Rio d e aneir h en a o o w i c e r e us ed . th th t J , h h f 1 66STU DI ES I N PORTUGU ESE LITE RATU RE of S epte mbe r ( 1 836) h e h ad th e ear o f th e G overn

e an d was a e t o ca ou o e o f a o e m nt , bl rry t s m his f v urit

ea c as th e o a o of a Pantheon naci onal id s , su h f und ti n

at Be e e e cof n ow e an d th e a a ( l m , wh r his ﬁn li s) in ugur

f a a ea He o e e e a tio n o n ti on al th tre . w as app int d G n r l

ec o of ea e o e e o I nsp t r Th tr s in N v mb r , With ut cea t o a e an ac e a o c a e sing t k tiv p rt in p liti s , G rr tt

a o e a e ece Um A uto de Gil Vi cente r pidly wr t his m st rpi s , D ona Philippa de Vilhena O A lfageme de S antarem F rei Luiz de S ousa A Sob r i nha do Mar quez in o rde r t o provide a r eper toir e fo r th e th eatre which h e h ad h ad great diffi culty in o A h en f 6 e f unding . t t e d o 1 83 it h ad bee n pro po s d to transform th e old building belo nging t o th e I nquisiti on th e R oci o o a ea e w as not in int th tr , but it till July , 1 8 a h 2 t e o wa a e . 4 , th t w rk s fin lly b gun In 1 842 G arrett w as in o ppositio n t o th e Gove rn m ent Of C osta C abral (first C o nde d e Th om ar) . I n th at year an infa ntry maj o r accused him of having

e th e a an d a e w as o c con insult d rmy , du l f ught , whi h sisted in both G arrett an d th e maj or ﬁring int o th e i a en na a r . I n 1 843a visit t o S antare m resulted in Vi g s minha ter ra on e o f o e an d o a eo , his m st d lightful sp nt n us 2 o w rks .

th e a e ea h e o e an a o o a a I n s m y r wr t ut bi gr phy, 3 c o o a e - a a o e e an d uri us w rk , with m ny s lf l ud t ry pith ts ,

1 He w as al so a in ed to th e a n cien o ffi ce f hronis ta M Or p p o t t o C . 2 Wr i tten wh en h e w as li vin g in th e R ua d o Alecr im : E u muitas ’ ’ ve zes n es tas s uffocadas n o ites d e s ti o v iaj o a te a mi nh a j a n ella para vér uma ne s uita d e Te o ue es a n o ﬁ m d a r ua e me e n a nar com g j q t , g uns ver des d e ar vores q ue alli vege tam s ua l ab orios a i n fan cia nos ” en ul os d o aes d o odr e t h C S . 3 I n is a u o bio ra h e mis da es h is b ir Feb ruar 1 802 th t g phy t th ( y 4 , , ins tead of

1 68 STUDI ES IN PO RTUGUESE LITE RATU RE

e e at a t o e c a ac e an d a n v r p ins disguis his h r t r, if m ny

oo a a o f nai vete a n e e a o t k dvant ge his d o p nn ss , it ls wo n f He w as n ot or a o f ea e . him h ost r l fri nds , if a ea man a ea oe wh o o e an d e e gr t , gr t p t l v d s rv d his co r unt y well . His prin poetr w as y“

oe a em to e e o e e a a p ms . I n his tt pt r viv P rtugu s dr m

‘ ' h e f ailéd for h e h ad n o o o e o of th e a e , f ll w rs w rthy n m , an d his w ar against fo re ign imitati o ns w as also only Bu inﬂ o n th e t emp o rarily successful . t his e ch aracte r of

h e romaritic l ols w as at M w sp i c Po rtut ’ ' coiiSi s f m erely in th e intro du cti o n o f a new s chool of

e and a e a a . A e a poetry . It w as de p er s n r th n th t lr dy

’ h a bes F h e in t e preface t o C m ( ebruary e writ s .

m r s ~ I a e e cl a c no ro a c , a n ith r ssi ” m nti his stay at Brussels) the gulf popular i n e e o e e lit erat ure w rds a e a subs qu nt P rtugu s , _to a _ r viv l of a oe o e a ra and ce e o e a eo p try m r n tu l sin r , m r spont n us 1 ” n M e ea h e w i n e a d a o a . e a n ti n l y ﬁx d id , rit s , m tt rs

‘ of art and lite rature in our peninsula are p opular ” 2 a a and o a ce and D ona B ranca h e e b ll ds r m n s , in writ s

1 ’ He was al s o inﬂ uenced by th e publication of Gil Vicente s wor ks in 1 8 34 . 2 “ Viagens na minha term : A minh a idéa ﬁ xa e m cois as de a r te e litterar ia n s ul x r n s ular s d a n os s a pe ni a S50 acara s e o ma ce p op es . — ALMEI DA - GA RRETT 1 69 of th e stories t old by th e lar ei r a to th e sound o f 1 crackling chestnuts .

2 e o c e a c a to a e _ digr ssi n , whi h l nds h rm _p ros w_o_rk r r a could not mar t , but his — — in D ona B ranca th e date June leads t o a hundred lin es of reﬂ ectio ns on th e m onth o f

n h f E a and o a . St . J ohn a d t e climates o ngl nd P rtug l f e t oo oe o e cut o a c a O t n , , his p try is but pr s int rtiﬁ i l o as th e o o e o th e ca o divisi ns , in f ll wing lin s fr m ﬁrst nt of Cambes N esses t empos ue e o co c a a enth us ias ta a e e Q h r i s h m O rd nt , Ba a o o h ilO SO h o e ue ao ce o rb r s p p , q rt Foram pasm osa mescla de virtudes ” E atroci dades . ( In tho se times Which th e a rdent e nthusiast calls h ero ic An d th e o o e a a o an d c ce a phil s ph r b rb r us , whi h rt inly We re a wonderful mixture of Virtu es

An d atrociti es . )

3 And in a poe m o f F lor es sem fructo h e eve n introduces h e o o e e e h t phil s ph r H obb s . It is tru th at e calls him ” ri ido a o s o ca ce e . p brit nn , but this is s r ly m ore po ti cal But at his b est h e is un excelled in lightness and grace

1 Oh magas illus Oes ! oh con to s lin do s Q ue as longas noites de comprid o h ynvern o Nos s os avOs feli zes in ter tinh ei s A O é d o ami o lar ao cre ro es a o p g , b t ll ” D a s a an e cas an a lt t t h . 2 He hims elf s ays (pr e face t o Ly rica de [ 050 Mi nimo) A s digres s Oes matam- me (Digre s s ion s are th e death o f 3 T i s con ain s earl Hora i an od es an d ran s a i on s o f Horace h t y t t l t , S a o A caeus A nacreon an imi a ion of O s s i an e tc pph , l , , t t , . 1 70 STU DI ES I N PO RTUGU ESE LITERATU RE and a a e . e oe an d o e c h e n tur ln ss His b st p ms , th s whi h 1 e r e e a re co a e F olhas cahidas . hims lf p ferr d , nt in d in

Th e o a o of e a re e a 03 Ci nco m st f m us th m , p rh ps , Sentidos an d Nd o (is tu

S50 e a bem o s ei e a e e a b ll s , , ss s str ll s Mil cOres divin aes t éem e ssas ﬂ o res ; Mas eu n 5o e o a o o o a a e a t nh , m r , lh s p r ll s Em to d a a n atureza N 5O vej o outra belleza

e 5o a a . S n ti , ti

D a ai ! e a a v oz ue afﬁna ivin , sim , s r q a o a n a a a e e a m o a S ud s r m g m d ns , u br s ; e a mas eu d o o o u a S r , r uxin l q e trin N 5O o ico a m elo dia N e m sinto o utra h arm oni a 5 ” e o a a etc . S n ti , ti ,

Fa th e e o a s et an d e ( ir in ski s I kn w st rs ris , C olours divine in all th ese ﬂ owe rs shine ; But for a an d o e o e a e no e e I st rs ﬂ w rs , l v , h v y s ’ I n N ature s m aj esty No beauty may I s ee But e o e ! thin , but nly thin

Divinely frail th e vo i ce th at in so ft wail S ounds from betwee n de nse Sh ade an d beech en gre en B ut ea not th e of a e I h r trill nighting l , NO so und of m e lody Nor oth er h armo ny But ee o ee ! th , but nly th )

E ra a m a e e o a ssi ; tinh ss lh r , A e a a a o e o ar m sm gr c , m sm ; C Orava d a mesm a cOr

1 “ I d o n ot k now w he ther th es e ver s es are g ood or b a d : I k n ow e r a n a n o ers I e w r i en — r e ace th a t I lik e th e m b tt e th y th tha t h av tt . P f

to F olhas cahida s .

1 72 STU DIES I N PORTUGU ESE LITERATU RE

’ S ee st tho u n ot in th e cloude d air How th e a a e ? ewa e l st st r is hidd n Oh b r , And furl th e sail in thy boat SO fair !)

His ﬁrst impo rt ant lo ng poem was Camoes of whi ch a Fren ch translatio n w as publish e d in 1 880 . “ a o a It is a p oe m on a p o e m (th e Lusi ds) . I kn w th t ” am th e t o be o e o t o do e I ﬁrst b ld n ugh this , writ s

‘ n G arrett in a l etter of t h e tim e . It w as indeed a o a an d a e o e e e an d a was n ot rigin l d ng r us xp rim nt , th t it wh olly unsu ccessful prove s t h e lifelike ch aracter of ’ amOe Th e oe o e n oca o t o C s work . p m p ns with a inv ti n

Saudade and C a o I e o f th e a a o f C amOes at , nt t lls rriv l

L o o th e e an e e S a e isb n fr m Indi s with mpty purs , his l v a n h h Lu d o o e a d t e MS . of t e si a s J his nly fri nd ,

Meu a e co h v r uni , h 5 i To dos O S meus t es ouros S 0 um l vro .

C a o 2 h e e e a c c and e e th e In nt nt rs hur h , m ts a oce f funer l pr ssion o N ate rci a (C aterina de Athayde) . He is e ntert ain ed by a m o nk in his cell ( C anto an d e a e e a a a th e Lusiads t lls him his dv ntur s , p r phr sing (C ant o He reads th e Lusi ads to King S ebastian at

C a o e e a e : intr , wh s nthusi sm it kindl s

Alm a te ra pequena e bem m esquinh a n 5 O portuguez q ue o m ove r t al cant o .

S oon aft e rwards th e King le aves on th e ill - fate d

ca e e o an d e of th e e ea o f A cace Afri n xp diti n , n ws d f t l r

e o to C amOes on ea - bed so a K bir is br ught his d th , th t a o are : C o w e die o e e his l st w rds untry , t g th r

a a ao e o P tri , m n s ” Juntos m o rre m os .

Th e e a o f th e o e s o far as co ce th e ﬁn st p rts p m , n rns ALMEI DA - GARRETT 1 73

e ec o are th e e e on a e c a and th e d es cri x uti n , l gy N t r i p

f E a o e e w as h e e ti on o C intra . qu lly P rtugu s t subj ct

’ of D ona B r anca a e o n old c o c e o f , b s d hr ni l s ﬁghting

u A Th e b etween Po rtug ese an d M oo rs in lga rve . ﬁrst

e o e th e o e a e an d s audades diti n , writt n in s litud , s dn ss , f ” f o e e co e o e e ca o . w as eca xil , nsist d s v n nt s It r st in t en canto s (so m e lin es) in th e seco nd editio n

w as h e h ad a e a e t o e It his wish , s id rli r , writ Po rtuguese verses in Po rtuguese and in Po rtugu ese — fash i o n fazer versos p or tuguezes emp or tuguez epor tuguez l o nger p oems con i n ually charm

o e a e a e o r e e e ce c as th e e o by s m n tiv phr s r f r n , su h m nti n in D ona B r anca o f A o e a a cac o a g ur ir s l h fr s , ’ ” O raculos d amor .

Um A uto de Gil Vi cente Ga e e a In with , rr tt b g n seriously to att empt t o found a Portuguese dram a .

ea e ea ea e th e e ace t o C a td o N rly tw nty y rs rli r , in pr f ’ a a a e a o A o C a to pl y imit t d in p rts fr m ddis n s , h e o e a h e h ad o e t o o e for ec wr t th t g n R m his subj t , h ad e e to o a and h ad o as a but r turn d P rtug l , th ught

r He n w c o e a o Portuguese fo Po rtuguese . o h s P rtu

ues e ec : th e o e ce o e e e a of g subj t l v , sin pr v d l g nd ry , Bern ardim Ribeiro

Be rn ardim q ue das musas lusitan as ’ ’ Pri mei ro obteve a c roa d alvas ro sas — for th e a a Bea a e of Ma oe . I nf nt triz , d ught r King n l I Th e play w as t o be a sto ne t owards th e building — of our th eatre uma p edr a lancada no ediﬁ ci o do nosso

1 — ri en une u 1 8 8 ac ed Au us 1 1 8 8 . W tt J J ly, 3 t g t 5, 3 1 74 STU DI ES I N PORTU GU ESE LITERATU RE

” h a r h t e t o. ce e e a e th e e ace Gil Vi nt , s id , furth r , in pr f , ” h ad a th e o a o of a a o a c oo l id f und ti n n ti n l s h l , but a o e e o a o e e e no o n e h ad lth ugh th s f und ti ns w r sur , built ’ F ea a ma up o n the m . ifty y rs fter G arrett s death this y b e a o f th e a a o a ce e an d still s id dr m in P rtug l , Gil Vi nt

a e e a h e G rr tt r m ining t o nly tw o outst anding n ames . Um A uto de Gil Vi cente h as n ot th e co n centration o f ’ e e a a e a e e e a an d int r st tt in d in G rr tt s subs qu nt pl ys ,

h e a ce e c Bern ardim e o ea o t l st s n , in whi h Rib ir l ps int th e a a e a e th e c a ac e of T gus , is littl str in d ; but h r t rs

an d a a ce e R e o a o e an d th e Gil P ul Vi nt , ib ir , King M n l ,

a a are c ea an d a an d th e a I nf nt l rly skilfully dr wn , pl y h as caught th e atm osph ere of th o se sp ac io us times o f ’ Portugal s greatn ess . I n 1 842 appeared O A lfageme de S antarem (sket ched in 1 839 ; writte n at Bemﬁ ca in Th e play is n an o e e c o e th e or ani ca do based o Old P rtugu s hr nicl , C c ndes ta bre de urtu all Lis bon an d e of th e o p g ( , t lls e e ee o a an d a c a struggl b tw n P rtug l Sp in , ulmin ting in

f h e th e Po rtuguese Victory o Aljubarrota in 1 385. T

a c a ac e are Fe 5o V az a o e o f prin cip l h r t rs rn , rm ur r

a e wh o e th e e to th e a A a th e S ant r m , giv s titl pl y ; ld ; ’ a e A a e e e a th e a o Me o C o nst bl Nun lv r s P r ir ; tr it r, nd

e e o a th e o a old e F roil5o Pa s ; his sist r , Gui m r ; j vi l pri st ,

D . Th e e e e e a o t h e e e ias int r st n v r ﬂ gs , fr m tim wh n th e cutle r e nters with th e so ng

e n5o e e n5o e e n5o e e Qu m d v , d v , t m ” E a a e lan as faz o alfa eme sp d s c g , to th e last chorus singing o f Victo ry aft e r th e battle in which Fe rn5o Vaz h as take n p art

a o e o o de a a a e e J f g inimig , r iv j tr m , h i m lf ” Q ue a ve o a ageme .

1 76ST UDI ES I N PORTUGU ESE LITERATU RE

AC T — C E NE I . GD LE GE ME I . I I . , S 4 MA A NA , JOR , RO RO

or e Sois ortu uez 7 g . p g Rom i C m os or es es er em De s e r o. o o me o u . lh , p E vin d es 7 .

R a - C ris t . Do S not Se u cr d e es u o o p l o J h . 1 E is i as d s San s - Lo ar es 3. v t tes to os o cto g

R . Nao os vis i i mor ei lavin e an n os u ri te t c mp d os . Ma d a an a b lena S c Vid a evas es om r omeiro . g . t l t ,

R . Oxala! ad eci muita ome e 1150 s of ri com acien cia P f , f p d eram- me mui os trattos e n em s em r e os evei com 0 5 o os t , p l lh ’ n aq uelle q ue alli tin ha pad ecid o tan to p or mim. Q uer ia r ezar e medi ar n os m s terios d a Sa rad a aixao ue a i s e , t y g P q ll o r ou e as aix es mun d anas e as l emb ran as d os ue s e b p o , c q c amavam meus s e un d o a carn e travavam - me d o cora ao e d o h g , c ’ es iri o ue os nao d eixavam es ar com Deus n em n a uella p t , q t , q ° terra q ue é to da s ua - Oh ! eu n ao mer ecia es tar on d e estive b em ved es q ue n ao s oub e morr er 121. f i m Deu uiz razer - vos a terra d e vos s os aes . o b e s f P s . q t p

Ar e ou r tu ues e y orge. y Po g i l i m N on e mor e s o I d evou h 0 e r . P g , tly p . An d ou come 7 . y f our L r d r om th e o Se u c re o o . P . F H ly p l h 3 An d did ou vis i all th e o aces 9 . y t H ly Pl

No I did n ot visit em. I ived ere d urin wen on P . , th l th g t ty l g years . d i rim Ma d a lena . A o i e was ours oo . g h ly l f y , g p lg I wou d it h ad een ! But I und er w en r ea un er and P . l b t g t h g s u ered it not wi a ience s or e e ill - r ea ed me and n ot ff th p t ly th y t t , always did I b ear it with my eyes ﬁ xed up on Him wh o h ad th ere mu for me I s ou to ra and to medi a e s uffered s o ch . ght p y t t on th e mys teries of th e Sacr ed Passion which was th er e enacted and w or ld ly pas s ions and th e thought of those wh o call ed ems e ves min e a er th e ﬂes es e m ear and s iri an d th l ft h b t y h t p t, w ou d not s u er em to b e wi God e ven in a and w ic is l ff th th , th t l h h — all His Oh I was unw orthy to b e wh ere I was you s ee I h ad h ur a e to d ie er e n ot t e co g th .

e . God was eas ed to rin ou to th e and of our 7 . W ll pl b g y l y ALMEI DA ‘ GA RRETT 1 77 e uan d o for s ua vontad e ir eis morr er s oce ad o n os ra os d e q , g b c v ﬁlh oss os os .

R . Eu n ao ten o ﬁ lh os adr e h , p . No s eio d a vossa ami ia f l . ’ R A min a milia n a . a mi i a. ao ten o a h f . J h f l .

M . Sem r e h a ar entes ami os p p , g

R. ar entes ! Os mai s c e ad os os ue eu me im or P h g , q p tava ac ar con tar am com a min a morte ﬁ zer am a s ua h h , e icid ad e com e a h aod e ur a u m n f l ll j r q e e ao con h ecem. M aver atam ma en e e tam vil ue tal a a ? . H g t q f g — ’ R . e i a D N ces s d d e od e muito . eus lh o erd oara s e oder p p , p M Nao fa ais uizos temer ar ios b om r omeir . o q j , . — R. Nao a o De ar en es a s ei mais d o ue ueria ami os f g . p t , j q q g ten o um e s n com s e co to . h ,

. an ao s ois tam in e iz ff J f l .

M E - . o ue eu oder azer vos tod o o am ar o e a as a ad o q p f , p g lh

ue oder d ar - vos contae commi o b om ve o e com meu q p , g , lh , marid o ue ad e o ar d e vos rote er , q h f lg p g fath er s an d w h en it is His will you will die quietly amon g your i dr en ch l .

. I ave no c i d r en a d r e P h h l , p . Amid our ami ff . y f ly I av n a M ami e o mi n ow . P. y f ly h f ly M2 T ere ar e a w a s r e ation s rien d s h l y l , f . Re ations T os e n ear es t to me t os e w om I ook ed to P . l h , h h l ﬁ nd ave coun ted u on m d eat t e ave ui t t eir a i h p y h , h y h b l h h pp i w i w ar t a n es s upon t th ey ll s e h t th ey d o n ot k now me . M C an t er e b e eo e wic ked an d vi e en ou for t at ? . h p pl l gh h

N eces sit h as r eat ow er - God wi or ive t em if He P . y g p . ll f g h ,

can .

m n o ras ud men ts ood i ri r m. M . o F h j g , g p lg I d o n ot —Of m r e ation s I k n ow mor e t an I cou d wis P . y l h l h , f ri en d s I ave on e on h im I can d e en d o f h p . T en ou ar e n ot s o mis era e ff . h y bl . M An d for w a I can d o for ou for an e an d com or . h t y , y h lp f t I can ive ou count u on me ood old man an d on m h us g y , p , g , y an d wh o wi ave eas ur e in r otec in ou b , ll h pl p t g y 1 78 STU DI ES IN PORTUGUESE LITERATU RE

R Eu a vos edi a uma cois a s en ora . J p lg , h f n d i ami o M ois er d oae s e vos o e . . P p , f , g

a of n s a v er d ad eir a s en ao as ue s e azem a Deus . R . Nao h f e q f

- edi lh e vos erd ao a E e ue vos n ao a tarad e ué. P p ll , q f l q i m aix e m m. M Nao ir mao n ao d ecer to . E E e ter a co ao d . , , ll p R era . T

o Born ve o di s es e raz r m r e corta nd o a conversa d . s t s t e u ( g ) lh , ’ - a ue aver eis mis er d e ir d s an ar ad o a es a d ama : d ae lh o e c . c t j , q h t g

m n e uer eis em rar - me u s R sorr i ndo a ma r a e t . e e tou . ( g ) Q l b q usan d o d a acien cia com ue me ern ouvid o ? izes tes b em ab p q t F , p ad re eu ia - me es quecen d o talvez me esqueces s e d e tod o d a men s agem a q ue vim estou tam velho e mud ad o d o q ue fui M Deixae d eixae n ao im or a eu o o d e vos ouvir : d ir . , , p t f lg me - eis vos s o r ecad o uand o uizer d e s o o aman am h q q l g , h Ha r es dias u n d urmo n em d es can o R o e ad e s er . e ao . H j h t q c , n ous ei es ta cab e a n em ar ar am e s tes és dia n em n oite em p g , p p , ara c e ar a ui o e ara vos d ar meu r ecado e morr er p h g q h j , p

ave I ask ed ou for au t s enh or a ? P . H y gh , r i e t en ri en d if I ave o f n u M . o ve m e d ed o . F g , h , f , h f y T ere ar e n o tr ue o en ces b ut t os e towar d s God As k P . h ff h . H s in e u u a or iven es s of im c o s r e ve si n s to b e or iven . f g , y ly h f g m M Yes r o t er as s ur e d . An d He wi ave er c on me . , b h , ly ll h y . He wi P. ll ’ br eaki n o th e conver sa tion Good old man ou s aid ou ff . ( g ﬁ ) . , y y r ou t a mes s a e to is ad : iv e it h er n ow s in ce ou w i b gh g th l y g , y ll av n eed of r es h e t .

smi i n bi tter l . You w u d r emin a I a a u in P . ( l g y) o l d me th t m b s g th e atien ce wit w ic s h e h as is ten ed to me ? Y ou d o w e p h h h l ll , pa d r e : I w as forgettin g Per hap s I migh t have q uite for gotten th e mes s age on w hich I came s o old I am an d changed r m w a I was f o h t .

M . Let b e it is n o matter I tak e eas ur e in isten in to ; . pl l g ou : ou w i ive me our messa e w en ou wi n ow y y ll g y g h y ll ,

to - morrow

t mus b to - d a h d n I e . For t r ee d a s I ave n ot a s ee or P . t y h y h l p r ep os e I h ave n ot laid my h ead to r est n or stayed my feet n ight or d a a I mi arr ive er e and ive ou m mes s a e y, th t ght h g y y g

1 80 STU DIES I N PO RTUGUESE LITERATU RE consolava s enao eu e Deus ! Ved e s e me e sq ueceriam as a a vras s u s p la .

omem aca e. if . H , b a m ffr eu mui o ffr ei ue e e t mb e s o . R . A ora aca o : s o g b , q ll t Id e a Ma d a ena i en A ui es i o as s uas a avr as : D . V a e q t p l g l lh ,

dizei - lh e q ue um homem q ue muito b em lh e quiz aqui esta ’ vivo p or s eu mal e d aqui n ao p od e s ahir n em man dar ” as s uas d e h a vin e an n os ue o rouxeram ca ivo lh e nov t q t pt . n d a d ten mis ri na ma zor a ci e e . Deus a e cor dia d e mim ! M . ( ) h

s e omem es s e omem. es us ! es s e omem era E es h , h J h ’ es se h omem ten ha sid o l evaram- n o ah i d e d on d e ! d e Africa m R. Levar a .

C a ivo ? M . pt im R . S .

or u uez ? ca tivo d a ata a d e M . P t g p b lh

- i R D e A cacer e r . . l K b id a M D u m u D M es a vor . eu e s ! e eus ! ué s e n ao a r e a ter ra . ( p ) Q b

k s I w as h i on o ran d o w n my ch ee . s ly c mfort I an d God ! You s ee th en I w ou d n ot e asi or e h is wor d s , , l ly f g t .

En d n ow ood man . , g

I mak e an en d even n ow : s uf er me for h e too r ea P . f , , , g tly — “ s uffer ed Th es e ar e h is w or d s : Go to Do na Magd al en a d e Vilh ena an d tell h er that a man w h o loved h er d ear ly i s h er e alive for h is mis for tun e and h as b een un abl e to l eave is ace or s en d h er w or d s in ce t e rou h im er e a th pl h y b ght h , !

ca tiv e w en t ears a o . p , t y y g n h a t t dis r s mer u n M i t e r e es t e s . eaven ave c o me ! . ( g ) H h y p T is man is man—O God l—t is man was h e h ad h e h , th h , een h ad e r ou h im r om w er e rom A rica b th y b ght , f h f f ica A r . P . f M A ca ive . pt Yes P . . A ortu ues e ? a M . P g captive from th e battl e of

A cacer - e ir P. l K b . M h orr ed M God m . I God th e round n ot ( iﬁ ) . y y 1 Why d oes g ALME I DA - GARRETT 1 8 1 d e aixo d os meus és ué n ao ca em estas ared es ué b p h p , q me n ao s epultam jaaqui ?

- . C allae vos D Ma a n a a is eri rdia d e Deus é in . d e : m co 7 , g l ﬁ nita es era Eu d u i eu n o creio es as 1150 350 e . v d o a ; p , t cousas ar a s e r er em d e ve Re ct e o o como or uma id ea c e . e e l p l ( ﬂ , g p que lh e acudiu d e r ep en te) Oh in s piracao divina (ch ega n d o a o romeir o m ess mem r omeir o : n ao é . C on eceis b e e o ) h h , as sim ?

R C omo a mim m mo . es .

’ Se 0 v1r ei ain d a u a n tros tra os com 7 . s q e f6r ou j — menos ann os in tad o di amos— con ece- lo - eis p , g h h ’ m Vi mi m um es e o R. o m s C om s e e s s e a m e o n p lh . ’ ’ Pr ocurae n es tes r etrattos e d izei - me s e a um d e es 7 . , lg ll od e s er p . D 05m s m r u a a d o o o a r a o tr a tto d e . . R . e oc r r e a ont n l r e ( p , p g p 7 ) E a uell q e . m n h lh a min a ﬁ lh a min a M . c Min a om u ri to es a toso . ( g p ) h , h , h ﬁlh a ! (Em tom ca vo e p r of und o) Es tou es tas p er di

op en b en eath my f eet ? Why d o th es e w alls n ot fall an d bur y me h er e n ow i n a mer f d is in ﬁ nite . S e ce Dona M d a en a : th e c o Go 7 l , g l y ; av e e ti u an n i v e t in s are h hop . I s ll d o bt I c ot b el e e th es h g n ot to b i v H consid a nd th n a s on some e e e ed i t . e ers e b l l gh ly ( , sudd en th ough t) A H eaven - s en t in s piration (a d va nci ng to th e il r im u k n w t n i i i n o . Yo o is ma w e rim s t ot s p g ) h ll , p lg a m s e . e s P W ll y lf .

. er e ou to s ee h im a ou i n di er en dr ess in o er 7 W y , lth gh ff t , th

ear s - a icture s a — ou w ou d k n ow h im y p , y y l

Ev en as if I w er e t s ee m ow n s e in a as s . P . o y lf gl Sear c amon es e or raits an d e me if it cou d b e on e 7 . h g th p t , t ll l of em th . with out s ea r chi n a nd oi nti n immedia tel to th e or tr a it o P . ( g, p g y p f

Dom od o He . 7 ) . M w h n w u cr M d au er m d au ter m . it a a l . ( f y) y ght , y gh , y d aughter ! (I n d eep a nd h ollow tones) I am you are lost dis hon our ed i n famous ! (With a noth er d eep 1 8 2 STU D I ES I N PO RTUGU ESE LITE RATU RE d as d es h onrad as 1nfame s ! (Corn outr o gr ito d o coracao) ’ Oh min a ﬁlh min a ﬁ lh a o d s d a n s te rita r a e e a vori e e . h , h (F g p g )

SC — E 1 . or e e o Romei r o ue se uia Ma d a lena com 03 olh os NA 5 7 g , , q g g , e es td a l a d o n o m z d a ca sa com a s ec o s ever o e tr emend o g e o p t . R m . o eiro r omeir o uem es tu 7 , q

‘ ‘ R ci Por a on ta n d o com o bord ci o a r a o r etr a tto cl e D . o o d e . ( p p 7 tu a l Nin u m o ca r os t a d o n o chd o com 05 bra os . e . r ei r e e r g ) g (F 7 g p , c estendid o n d c l m n te s d ea nte d a tr ibuna . 0 a n o es e en ta e . , p )

‘ cr O m d au ter m d au er ! Sh e 7l ees terr or - stri cken y ) y gh , y ght ( , s till cr i n out th es e wor ds y g . )

SC E E — Ma da l n a 1 . or e a nd th e il rim wh o h a s ollowed e N 5 7 g , P g , f g with his e es a n d s ta n ds er ct i n th e centr e o th e room with a y , e f ,

look s ever e a nd ter r i ble.

. i rim i rim wh o ar e ou 7 P lg , p lg y ’ o n o Dom od o d e Por tu P . (p i ti ng with his s taﬁ a t th e p or tr a it f 7 a l d his a r ms . N 0 on e r ei or e a lls r os tra te on th e r oun g ) . (F 7 g f p g , extend d T wl h i n d c nds slo . e . e cur ta es e y )

D ona Philipp a de Vi lhena ( 1 846) is a p owe rfully describ ed episo de in th e re volt of Po rtugal fro m Sp ain

1 6 0 a a h er tw o o fo r th e in 4 . D o n a Philipp rms s ns ﬁght o n th e night o f th e co nspiracy whi ch is t o bring A a th e a o th e th em vi ct ory o r de ath . g in pl y h lds

’ h e ce e e th e old reade r s atte ntio n fro m t ﬁrst s n , wh n p o rter appears mutt ering an d murmu ring in th e h ouse o f a e Rui a ao e of a e t o th e his m st r , G lv , fri nd C still , Th e last vi vas of t h e victo rio us Po rtuguese p eo pl e .

bri nha do Ma r uez e c th e int ere st o f A S o q , sk t hing

f h o e th e a e d e p ositio n o t e fam us Minist r , M rqu z

o a th e a a o f o é L e a P mb l , during l st d ys King J s , is qu lly

o a ear a a o ca a well sust ain e d . It w uld pp p r d xi lly th t

‘ a e as a e h ad n ot th e e to e e an d G rr tt , rul , tim writ bri ﬂy o e t o e h e e e with co n ce ntration , but fr m tim tim r tir d

C HAPTE R V I I

THREE PO ETS O F THE NI NETEENTH C ENTU RY

I N th e sixtee nth ce ntury t h e Po rtugu e se p oets h ad — ﬂocked fro m th e pro vinces to Lisbon Gil Vice nte

o o o r o Be a Ba a 8 251 de a a fr m Minh ( p ssibly ir ix ) , Mir nd l o C o a Bern ardim Al m e o o e te o . fr m imbr , Rib ir fr m j I n th e nin etee nth ce ntury Lm abs orb ed Portugu ese

a e e e to a ea e e ee oao d e De t l nt v n gr t r d gr , but J us Ramo 1 8 0 a a e o f A a e e a o e s ( 3 n tiv lg rv , p rh ps m r

a th e o e oe of e oo e ce th n th r p ts his tim withst d its inﬂu n ,

an d e a e at ea a o c a a oe of th e o . r m in d h rt pr vin i l , p t s il Bo at e e 1 8 0 h e oo e ee at rn M ssin s in 3 , t k his d gr

o a e 1 8 an d co e at C o a C imbr U niv rsity in 59 , ntinu d imbr

1 862 a e a e ﬁ ve ea Alemte o until , ft rw rds sp nding y rs in j

an d A a e c e at a o a de o ao . e lg rv , hi ﬂy Vill n v P rtim Wh n h e came p e rm an e ntly to Lisbo n h e was thirty- e ight ea old He w as e e as e fo r e y rs : r turn d d puty Silv s

a e h e oo e a o c an d th e (Alg rv ) , but t k littl p rt in p liti s , last twe nty years of his life we re occupi ed l argely in founding an d p erfecting a syste m of e du catio n thro ugh D o h out Po rtugal (Methodo j od o de eus ) . Alth ugh e

e and a a e f o F e c an d a a h e studi d tr nsl t d r m r n h It li n , did not o e t o be a e n or ee ea ne pr f ss think r d ply l r d , but

1 He w as or n at Torrﬁo a li e v i la e of l o w w i e o us es a n d b , ttl l g , h t h r w b led s ree s on il near th e ron i er of Es rema d ura nar o cob a . , t t h l f t t 1 84 TH REE N IN ETEENTH - CENTURY POETS 1 85

l m l H o e o o e a h e S p y a poet . e sh w d thr ugh ut his lif th t possessed an in exh austible fund o f lyri cal poetry and n f h a a astonishing facility o rhyming . Wheth er e w s a o a a co e o r o m king a co nventi n l birthd y mplim nt , riti ciz in a n ew oo or ea e t o o th e e e a g b k , thr t ning st p t rn l cr of th e maldi to cauteleir o th e o e e o f o e y , Lisb n s ll r l tt ry

c e an o o o a ﬁ fth - o ti k ts , with inkp t thr wn fr m st ry

o w as e e a h e o e a a wind w, it still in v rs th t wr t ; lw ys

ea a a e o e a e c a . with gr t n tur ln ss , ft n with inimit bl h rm His th eo ry of poetry w as di am etri cally o ppo sed t o that — of Ch arle s Baudelaire that poetry w as e ssenti ally not an art o e e e o a eo : a oesia , but s m thing ntir ly sp nt n us p 1 d t h e a n o em conta e medida . What e evidently valu d w s a e e c c ea e an d a u a ﬂow e e an d p rf t l rn ss n t r l in v rs , this h e o t h e o a oe of o a c h e f und in p pul r p try P rtug l , whi h f H too k or th e basis an d inspirati o n of his own . e

o e co a an d o e o f e e a e impr vis d ntinu lly , s m his unpr m dit t d ’ art shows th e fairy lightn ess an d grace o f Sh elley s

Ode to a Sk lark as of o o o a e e a y , w rds ﬂ wing fr m p r nni l l l S cr s t al c ea . a l o e e n e pring , y y l r In his w rk th r is o lin f h f o rheto ri c. If t e th em e o his verses is sometim es co o ace an d th e o n on - e e e e mm npl th ught xist nt , th r is

an n a e e e e th e e e be still u f iling fr shn ss , wh th r v rs

a o a e an d e e ‘ r a He o p ssi n t int ns o lightly s tiri cal . w uld t ell yo unge r poets wh o sent th eir wo rks to him that h e w as n o c c but th at / time o o e riti , w uld sh w wh th e r th eir i T poe ms we re go ld o r ft n s el . h e secret an d value of his ow n poetry li es l n th e fact th at h e did n ot seek to

e o t o an c oo w as co e t o be n b l ng y s h l , but nt nt direct a d simpl e with th e directne ss an d simpli city o f th e po pular ca ntigas

1 oao de D eus rosas coordenadas or Th eo hi lo B ra a isboa 1 8 8 J , P p p g . L . 9 . 1 86STU DIES I N PO RTUGU ESE LITERATU RE

Qu ando vej o a minh a amada Parece q ue o s ol n asceu C ant ae can t ae a o a a , lv r d ” in Oh aves h as d o ceo .

(Whe n I s ee my love It see ms th e sun doth rise to th e a Sing, sing d wn ,

th e e . Sing , birds in ski s )

So o e oe E nlevo o f c e e in his l ng r p m , whi h th s ﬁrst tw o o f eight ve rses

N 510 brilh a o s ol Nem po de a lua Brilhar n a s ua ’ Pre s en ca d ella ! N enhum a estrella Brilha d ea nte Da minh a amante Da minha amada !

A m adrugada Qua nto n ao perde O ca mpo verde Qu a nto e smorece Quanto parece A voz d a ave M en o s suave Q ue a s ua falla

(Wh e n s h e doth app ear Th e s u n e hid s its light , Th e m oo n n o lo nge r bright ’ Shin e s wh e n s h e is n ear I n th e heave ns above No t a sta r may shin e e e ce o f o e I n pr s n my l v , Befo re h er wh o is mine !

1 8 8 STU DI ES I N PORTUGUESE LITE RATU RE

( Life is this day w e live L e a a cr if is w iling y, A a o e sh d w fugitiv , A cloud th at ﬂ oats on high Life is but ﬂ eeting sho w Fa as a e th e o ding f d s sn w , And swift as smoke is thinn ed L e a o one e ight r th n th ught , bri f a s et e e Inst nt in r li f, Life is a falling l eaf Born e o n wings of th e wind

Life is a ﬂ ower by stream Bo e o a e rn nw rd , z phyr light , a a t h e ea Of f lling st r gl m , ’ Swifter th an bird s swift ﬂight As c o on c o ea e l ud l ud in h v n ,

a e o n a e - e As w v w v wind driv n , e e o e e With v r m r b hind , As feath e r falls fro m wound o n t o th e o Of bird wing gr und, Life fro m val e t o vale is bound h f h On t e wings o t e wind . )

J oao d e Deus is th e m o st P o rtugu ese of th e m o dern

oe a a a . oe an e ce e p ts , unf ilingly n tur l His p try is x ll nt

’ proo f o f th e value o f Wo rdswo rth s prece pt th at o n e should turn to commo n rustic sp eech in o rde r to o btain w a p oetic di ction . H is ﬁrst publishe d wo rk s rath e r

o e a c a a oe o f a a e o e of th e m r rtiﬁ i l , p m sixty st nz s lik th s

Lusi ads : A L a ta C oimbra 1 868 a ea e ( , In pp r d

F lores do Cam o Li s boa a o e on c p ( ) , slight v lum whi h his

6 ta or t a e c e e an d 1 8 F olhas sol s P o . f m hi ﬂy r sts , in 7 ( ) In 1 8 ee ea e o e ea h e e 93, thr y rs b f r his d th , publish d , with th e e of e o eo o B a a a co e e e o h lp S nh r Th phil r g , mpl t diti n TH REE N INETEENTH - CENTU RY POETS 1 89

1 of oe a 1n 1e o e co a c his p ms in s g v lum , nt ining mu h occa o a e e si n l v rs . A oe f e o a p t o a very different o rd er is his cont mp r ry , Thom az Ant o nio RW Q 83I I n his p oetry th e lightn ess an d airy grace o f Algarve is replaced by a ce rt ain solidity and heavin ess bel onging to Be a H o e o eo e a e o ce . e e ir , his n tiv pr vin b l ng d , m r v r , t o th e o a c c oo an d c of oe r m nti s h l , mu h his p try is

o a n o e - o e e are pr b bly w little read . His b st kn wn v rs s th e a a A Por tu al c e o st nz s g , with whi h Op ns his ﬁrst l ng

oe ca me o th e o a ce D . a o e p ti l r m n , j y w v n r und e o o f o u a a 1 60 o n th e ca r v lt P rt g l from Sp in in 4 , publi tion of which h e awo ke t o ﬁnd himself famous

a d a o a a e a - mar a a o J rdim Eur p , b ir pl nt d De o o e acac a o o o a l ir s i s l r s s , D e o e e de a o o e ea o f nt s rr i s s rp d , Rasgado p o r to rre nte s alte ro sas ; Onde n um cerro e rguido e requeimado S e casam em fes toes j asmins e rosas : B a a e e de e e a m a a ls vir nt t rn l gi ,

Onde as ave s go rgeiam n oit e e dia .

o e t e a e o e as a a P rqu mir s trist s br gu s , — ’ ’ Pobre d aquem e d ale m mar senh o ra E t e co nso m e s n as candentes fragoas ’ Das saudades crueis q ue te ns d outro ra ? Po r tanto s lo iro s q ué t e de ram M agoas F o ste mal paga e mal j ulgada Embora Has - d e cingir o t eu di adem a augusto ” Sa ﬁlh l e é 2 o e os ea s e e o . t us , D us just

a e of o e a e th e s ea (G rd n Eur p , pl nt d by , ’ a an d e a ea e ﬂ w With , mid springs str ms m nd ring o ,

1 am d F l r L ri c m l i b a 8 o e o es . a s co e as L s o 1 C p y p t . , 9 3. 2 T es e are Ver s es an d 6out of ﬁ een h 3 ft . 1 9 0 STU DIES I N PO RTUGU ESE LITE RATU RE

Th e ce o f a e and acac a - ee s nt l ur l i tr ,

o f o a - o e a e e o And rush m unt in t rr nts d sh d b l w , J essamine an d ro ses inextr icably High in thy sun - kissed hills at ra ndo m grow ; Fou a o f a c e e e nt in m gi v r fr shly springing , Whe re still in night an d d ay - tim e birds are S inging

th e a e o o o an d oo Why by w t rs d st th u m urn br d , oo — e o o f a e o th e s ea P r mistr ss th u l nds b y nd , Dreaming for eve r in s ad wistful m oo d Of days that we re ? Thy victo ries to th ee a e o o w o e e Wh t gu rd n br ught but , misund rstood And e a e e let be unr w rd d still W ll , it Yet a o a e c o o out th e sh lt th u r is thy r wn fr m dust , ce o a are o and God Sin l y l thy s ns , is just !)

A D el na do M al a o e o oe ca o a ce ﬁ is n th r l ng p ti l r m n , ' D me en c s imilar to . a t a o . Bo co a o e j y , in nt s th nt in s m

ﬁ n e o e a fe e m e e and a few p ms , in m ny dif r nt tr s , striking He a o e o f ce e . e o S o e oe s n s ls , publish d v lum s h rt r p ms S ons ue assa m Ves er as Por to Disson q p p ( , — unci as Por to 1 8 0 an d o e ece fo r th e ea e ( , 9 ) wr t pi s th tr , — besides p oliti cal treatises His tor i a da legis lacd o liberal

a f n d O E m r e tirno de i l t uez M oe . p or ug (o a p s D . g Bo at a a a d e o a Ton della 1 8 1 h e oo rn P r d G nt ( ) in 3 , t k

e ee 1 8 at o a an d ac e a s an his d gr m 55 C imbr , pr tis d

1 86 h e f advo cate at Vizeu . In 2 w as electe d deputy o r

T o n d ella and 1 8 0 eca e ec e a to th e Ad , in 7 b m S r t ry i H o ministratio n o f I nd a . e return ed t o Po rtugal tw

e a a e an d ecame o e o of o o and y rs l t r , b Civil G v rn r Op rt

‘ o f B a a a e o f a e 1 8 8 a Re enerador r g nz , M inist r M rin in 7 (in g m e o f t h e e io 1 88 1 an d of inistry) , Minist r I nt r r in ,

1 0 He w as c ea e a ee o f th e Public Wo rks in 89 . r t d p r

’ He a s a h e e dito r of a o realm in 1 88 2 . w lso t v ri us ll e n ee h e e of oe n ewspap ers . A this do s ot s m t lif a p t ;

1 9 2 STUD I ES I N PORTUGU ESE LITE RATU RE

o a R e o and o e ce e a e a e e a Th m z ib ir , th rs l br t d l t r in lit r — ture and p olitics th e C oimbra to which h e refers in 1 872 as aquella e ncantada e quasi p h an tas t ica C o a He o o e ee imbr of t e n years ago . t k his d gr in 1 8 l 64 . His was th e m o st restle ss Spirit o f a l th e se e and 1 86 a am o e e t o A o o stud nts , in 5, in f us l tt r nt ni

Feliciano de a o e e B orn s enso e bom os to C stilh ntitl d g , h e voi ced th eir re vo lt fro m th e inﬂue n ce o f Castilho an d th e ro m antic schoo l in favour of Germanismo

oe e n Th e a e wa e o . ( G th a d H egel) . b ttl s str nu us Quental himself beca m e invo lve d in a du el with

Ra a r i a h e ame ea a ea e m lho O t g o . I n t s y r pp r d his

Odes Moder nas o ea a e o e Sonetos , f ur y rs ft r his ﬁrst v lum , de A n ther o C oimbra La e a o o e ( , t r , with , m ng th rs, 1 2 a oe d e A a a and eo o B a a h e e M n l rri g Th phil r g , dr w up a programm e o f C onfer enci as democr a ti cas (dem o cratic ec e c e e o e e e e o e o f l tur s) , whi h w r , h w v r , suppr ss d by rd r th e a H e e F a ce an d a o e . e a uth riti s tr v ll d in r n Sp in , an d Re visited th e United State s o f Am erica . turning t o o a h e e for o e e at V a d o o e P rtug l , liv d s m tim ill C nd , th e o e o e e ro ce in n rth . His deep p ssimism , h w v r (p du d a an o c tem e a e a p rtly by inhe rit ed n eur ti p r m nt , p rtly by th e o f e o o o c h e h ad study G rm a n phil s phy) , fr m whi h see m ed during so m e years t o have su cceeded in freeing

e c o e a a an d h e e hims lf, l s d in upo n him g in , di d by his ow n He w as e e hand at Po nta D elgada in 1 89 1 . ss n tiall a man H d h e e th e ee y of action . a liv d in thirt nth ce a h e an d o a e a a ntury , s ys t critic hist ri n Oliv ir M rtins

( 1 835 h e would h ave bee n a foll owe r o f St . F a c o f A a h e a e o e e r n is ssisi . Perh ps might h v f und v n

1 h r u ues e Re ublic Firs t Pr e s ide n t o f t e Po t g p . 2 i h e r ov is ion al R e u lic Pr es den t of t P p b . TH REE N INETEENTH - CENTU RY POETS 1 93

“ H e o t oo eace . e t a a a this p ful wish d f ll r di ntly , Shrouded in th e gleam of swo rds

C ah ira a o o a o a a o r di s , m rt lh d l i ” 1 Na fulva luz dos g ad os reluze ntes .

2 An d indee d his fam ous so nn ets are as gleaming

r m t t a a rd te o . e a e e e e r en an d sw rds Th y writt n ,

e ea a S e e as a f a o f r v l pirit int ns th t o D ante . M ny

- e e a S e a e cr . o a th m ring lik pl ndid b ttl y His w rk , s ys e o eo o B a a a e a c o o ca S nh r Th phil r g , is r th r psy h l gi l ” 3 oc e a an ae e c o c . o e o d um nt th n sth ti pr du t I n th r w rds ,

1 Fro m th e s on ne uanto outros combatem t q . 2 Os S onetos com letas de A nth ero de uental u icados or p Q , p bl p J . P . iveira M ar i ns Se und a e di o au mentad com um a en i O . a a d ce l t g c , g pp

’ n en d o tr a d uc es e m alle mao r an ce z i alia n o e h e s anh o l orto co O . t c , f , t p P , 1 8 0 Th e G er man t r a n s la i on s a r e rom A nth ero de uental : A us e 9 . t f Q g

’ wci hlte S onette aus d em Por t u ie s ISch en ver de u s c v on i l e lm S orc g t ht W h t k . ’ un t r me o f eutal s onne v been rans la e d i n M s e 1 88 . So u s s a e o , 7 Q t h t t t

E n lis M r Ed ar re s a e S i xt - our S onnets E n lis ed b g h by . g P t g ( y f . g h y D a i N u t h E d ar r es a e ondon : v d t 1 8 a n d t e a e D r . Ric ard g P t g L , 94) l t h e Th e w or s o f A n th er o de ue n al are : S onetos de A nth ero G ar n tt . k Q t oi mbra B eatri ce oi mbra 1 86 0 F i at Lux oi mbra (C , (C , 5 ; 4 (C , 1 8 6 1 6 Odes M odernas C ounbra rimaveras Romanticas 4 ; pp . ) ( , P V e rs o s d o s vin e an n o s or to 1 8 1 S onetos orto 1 8 8 1 Os S onetos ( t ) (P , 7 ) (P , ) com letas ﬁrs e di i o n Porto I n th e e ar a e r h is dea p ( t t ; , y ft th a ear e d Raios de exti ncta l uz o e s ia s i n e d1ta s 1 8 —1 86 ub pp . P ( 59 3) p licad as e p r ece d 1d as d e um e s cor s o b i ograp h ico p or Th eophilo Braga i sboa (L , “ 3 A cri ic al e rn a in w i a m s ic s aid O iv eira M ar ins of t t t g th y t , l t ’ ta llus trada Ann o 1 : I n E a d e u Q ue n tal (R evi s I . c Q eiroz N otas Contem or aneas 1 0 ere is a s ud of A nth ero d e ue n al p ( 9 9 ) th t y Q t ,

- Th e w ri er re cor d s h i s c ar m th e b rilli an ce o f h is 0 . pp . 349 4 4 t h , n v ers a ion h is unaffec ed s im lici c ari an d oodn e s s : Por co t , t p ty , h ty, g m1m p en s o e com gra tidao q ue e m A n th ero d e Q uen tal me foi d ado ’ e cer n e s e mun d o de eccado e de e s cur id ad e al ue m ﬁ lh conh , t p , g , o

e ido d e D eus ue mui o adeceu or ue mui o ens ou ue mui qu r , q t p p q t p , q to a mo u or ue mui o co m r e h end e u e ue s im es en r e os s i m les p q t p , q , pl t p , n d o a s ua vas a a lma e m cur os v er s o s era um Gen io e er po t t , a um “ San o O n th e o er an d th e remar a A a ma d e An th ero t . th h , k th t l 1 3 1 94 STU DI ES I N PORTUGU ESE LITERATU RE his p oems were th e almost sere n e an d e ffo rtle ss

o c of a e ao a e e o e pr du ts spirit xtr rdin rily int ns , t rtur d in ea a e — S a o an ﬁ a vain s rch ft r truth p rks fr m inn e r re .

I n a lette r addressed t o Dr . Wilhelm Sto rck in 1 887 h e says : Writing ve rse s with me w as always perfectly

o a th e a a a e at ea a e r inv lunt ry ; with dv nt g , l st , th t th y a e ” 1 h always p erfectly sin cere . In t e so nn ets th ere is clear evide nce of his progress fro m e mpty p essimism and desp air t o a ce rtain m easure o f p eace

a s oce a e o de a a lucta J g d p is t nt , a n m z J me d e s ca ca e p a o co racao .

So Solemnia Ver ba a o e of t h e a e o e h e in , n th r l t r s nn ts , says ’ D e sta altura vej o o Am o r Vivir n ao foi em vao s e é isto a vida ” Nem fo I de al o e e a m s d s ng no e a dor .

( Lo ve fro m this h e ight I s ee e e e w a s n o t a If this is lif , th n lif in v in , No r all u o me a n d a its disill si n nt p in . )

e ffe e th e S A d ami cos o n e o f th V ry di r nt is pirit in , e so nne ts writte n betwe e n 1 8 60 a n d 1 862

Em veto luct amos . C o mo n evoa baca n cer e a d as co a n os e o e A i t z us s nv lv , ‘ o a a m a e m ua o c a em a o o e N ss l q nt ri , qu nt v lv ’ ” r ria e m N as suas p op s r des s e e baraca .

a o ur e . Fo r e a low (In v in strif still , lik mist , Th e un ce rtainty o f all things he ms us in ; foi s empr e s uper ior men te e lega n te s ee ms to re v eal E ca d e Q ue iro z n l rath er th a n An th er o d e Q ue ta . 1 F a zer v er s o s foi s e mpr e e m mim co us a pe r fe ita men te i n vo l un tar ia ; pel o men o s gan h ei corn i s s o fa zel - os s empr e p er fe itamen te ” s in cer os . 3 Transcendentalismo.

1 96STU D I ES IN PORTUGU ESE LITERATU RE

Yes ! w e a c o a e e o ( must m r h still f rw rd , v r g e o e e e a th e ea of ea With r s lut f t p ssing str m t rs , And as t o on e a e e a ea , in d rk min b nt pp rs ’ a ea s o a c fo r o A dist nt gl m , w t h light s dim gl w) — until th e future o pe ns its doors of gold

A - s e co o a e o a d e o o brir , m gr nd s p rt s ur , ” I mm n AS e s as auro ras do Futuro .

ea was e e o f r adi ante luz luz lori osa His dr m v r light , , g , wh eth er it w as of th e h eave ns and inﬁnite sp ace

La or o e s e e e a a a a p nd p rd ph nt si , No so nho d a bell eza ; la ao nde A noit e te rn m ais luz q ue o n osso dia

(Th ere wh e re in dreams of beauty th o ught is lo st An d night m or e lumino us th an is our d ay) — o r of so m e earthly p aradise

o o - me as e e rei a a a S nh v z s , n lgum ilh , M o o e n os a e d o e e uit l ng , m r s Ori nt , Onde a noite é balsami ca e fulgent e ” E a lua ch e ia sobre as aguas brilha .

(In som e far island o f th e Eastern seas a e a e e a a I dre m mys lf king , wh r fr gr nt night e ea a nd th e o S e Resple nd nt gl ms , full m o n hin s bright

U p o n th e waters . )

And light is th e domin ant impressio n l eft by his work . Th e life of this man of action w as sp ent fo r th e m ost p art in a mysti c fo re st of dreams

Na ﬂo res ta dos sonh os dia a dia

Se I nt e rna meu do rIdo p e nsam e nto . ” m e o a a Ne s mpre o s nho é cous V .

1 2 A I deia . Sonh o TH REE N I NETEENTH~ C E NTU RY POETS 1 9 7

e a e of ea was n ot e fec a n ot a C rt inly his lif dr ms in f tu l ,

e 1n action o f and t o om e lif Of , but striving , striving s e He can e e o e ace amo th e purp os . n v r l s his pl ng greate r European po ets o f th e ninetee nth ce ntury . His epitaph by J oao de D eus does hon our t o both poets Aqui jaz p o eu nao eu s ou quem fu1 a o a a o d e u ma ce e e R i nim d luz l st , A a a m o r e as a a e e qu l t lm s r stitu , 6 R e stituindo a te rra 0 p q ue as vest e . — (H e re li eth dust ; but I I as before n ow a ra o f e Am , living y light divin , T o c ea co o th e o e o e whi h d th ming d th s ul r st r , e And unto arth its outward dust co nsign . ) CH APTE R V I I I

TWO M O D E RN NO VE LI STS

D U RI NG th e l ast h alf - ce nt ury th e n o ve l h as attained a

e o e ace a e a e c v ry pr min nt pl in Sp nish lit r tur , in whi h it fascin ate s by its regio n al an d indige n ous characte r an d f P ee e o o e an d ea . o al by its k n impr ssi n lif r lity In rtug , althOugh th e nove l w as revive d th ere by C amillo ( 1 8 2 at ec e th e a e m m m 5 pr is ly s m

e as Fe a C a a e o 1 6- 1 8 a tim by rn n b ll r ( 79 77) in Sp in , it h as n ot o e e t o th e a e e e and a e pr sp r d s m xt nt , Alg rv still a a a e a o E a a o Ba a w its its V l r , Minh its mili P rd z n ,

e B Beira Baixa its P e reda . C amillo C ast ll o ran co “ o a o h as ee fortwo e e a o an d ( C mill b n g n r ti ns , will o o e a a a o e o e a o pr bably l ng r m in , f v urit n v list m ng Portugu ese reade rs It is easy t o unde rstand t e e a o o e th e a ea a ce of o e nthusi sm pr v k d by pp r n his n v ls , w as for th e m o st art co t o indiffe re nt t rans la

R a it al o f a - OS - o e an d a e a e ew p Tr z M nt s , l t r with sist r

’ 1 His ﬁ rs t n o ve l appea red two years after Fernan C aball ero s La

Gavi ota . 1 9 8

2 00 STU DIES IN PORTUGU ESE LITERATU RE

o ce e a e of n daﬂ erdi dm 862 m st l br t d his w n c u ) , - ’ “ and t h e o e c He hims elf e e e Li vr o de C on n v l whi h pr f rr d , s ola d o c , is t hat th e t

a to o forei n d q s s b a th s l f s id , sh w g gzéaa ﬁ atsgs s t t e la ss literature h ad bee n wro ngly att ri

“ ? bute d t o poverty6111119118 911 1111151111119 ? ' ' — straine d fatalities th rori g h is pages sudde n reve rsals of

o e brazilei r os e c o e co o e f rtun , r turning ri h t th ir untry , n bl men e as a lmocreves a e e e a n d disguis d , m sk d ﬁgur s , plum s o an d a o ee th e e o f e Mo n sw rds g ll ping st ds, f uds p tty t a ues an d C a e o f L e a an d Mi uelis t s g pul ts , ib r ls g , mid e ca fo ca e co e a night murd rs , s f lds , s l d nv nt w lls

’ L e n levement en o e a ec e c e a o p st v d ux h v ux , tr is ,

a e c . Qu tr , inq ’ L enlevemen t S e aux e d es éc a inistr lu urs l irs , A ec a e d e e co a d e e a e v pp ls pi d , mb t , bruit f rr ill ,

a ea a a e o a ea co u e a e . Ch p ux l rg s b rds , m nt ux l ur mur ill

1 I n a le er t o th e oe T omaz Rib ei r o h e co m ains a w i e tt p t h , pl th t , h l a. s econd edi ion o f th e eas or din ar of h is w or s i vro de Consola d o t l t y k , L g , was no t ca ed for un i ir een ear s a er th e ﬁ r s of h is more ll t l th t y ft t ,

‘ common ace n ove l s Os M sterios de i sboa and A mor de Perdi cio pl , y L c , s even e di ion s ere n e s r in un de r ten ear s O f A mor de erdi ao t w ec s a y y . P g “ h e s ays in th e preface to th e ﬁ fth edi tion ( 1 8 79 ) th at un der th e elec ric i o f mo dern cri ici s m i t i s a r o man ic de c ama or n ove t l ght t t , l t y l with many lyrical d e fects an d cr imi nal ideas which r each th e limit o f s en imen alis m t t . 2 D es affron tar a litteratur a patria d e inj urias co rn q ue es tr an ge ir os e nacion aes a de s co ncei ua m d es air an do - a co mo ob r e d e r omances t , p el n p a s ua i n ca pacidad e i n ve ti va . TWO MODERN NOVELISTS 2 0 1

of D on Q uixote. ” 13132 65512132 1213171 2111 5 9 m o st fant astic episo de s were e a e ea t o en d l gitim t m ns this . ﬂown ro m

’ de Per digci o w ’ sce ne th e fa rri er s cottage might h ave co m e out o f o n e of ’ Fe a a a e o Relaci ones a f S o o e rn n C b ll r s . M ny o his h rt st ri s ,

as Morr er or ca ri cho S cenas contem or aneas are evi p p in p , d ently sketch e s of his ow n e xperi e n ces an d adventures ;

a n d e e r i l wn d m e uo us a o e ent s h s o t g n r lly his n v ls ep res p ,

a mo e ca e o o an d are o l S ce e . l st hyst ri l m ti ns , thor ugh y in r ” h ” 1 W s tyﬁ as been 9 911951 the voice of a Spirit . ’ d o n ot e o h e o e t o ou r o I b l ng , wr t , w rd

“ m m “ ” a w , m z m f a , ! m M w ' ” a l fr m h HI b u pure m rb e o f e n atio nal q uh rry . S voca

C astello Bran co may still be read with pleasure o n account of his style an d o n account of his

o a a o f e at o o a a ce a o o r of e p rtr y l lif Op rt h lf ntury g , lif

in so me village o f Minh o o r Traz - os - M o nte s ruled by t h e a o th e e an d th e a o eca o e m y r , pri st, p th ry , with w lv s — co ming down in wint er fro m th e hills so m e village in which th e mo re pro spero us peasants hid th eir savings

’ 1 Fialh o d Almeida i n th e Revis ta I llus trada 2 N50 er ten o a e s cola d os n os s os l a idari os de alavr as p c p p . cenas contem oraneas Uma ain b S . da em em r a ( p p p egad ) . 3 By M anuel Pin h eir o Chagas 2 0 2 STU DI ES I N PO RTU GU ESE LITERATU RE

e th e ﬂa n e o f lar ei r a o ce of und r gs to s th eir . I n his ch i Portugue se th em es an d in th e purity of his pro s e h e — s et an admirabl e example an example unh appily not a a lw ys followe d by subseque nt Po rtugue se n ovelists . Totally differe nt in n early e very w ay w as his j unio r

o e e ea E a . d e e o 1 8 by s m tw nty y rs , c Qu ir z ( 43 Th e two we re alike destructive rathe r th an l c ea e an d e o e o f a e o e e ec r tiv , in th ir l v s tir , but in th r r sp ts

~ s carcely seem t o belo ng t o th e sam e n ati o n . J o sé Mari a Eca d e Qu eiroz w as bo rn at Povoa d e Varzim

e H o e ee ( ntre D ouro e Minho) in 1 843. e t o k his d gr

at o a 1 866 a n d a ea ca e t o a at C imbr in , in th t y r m st y

L o e e a e a a a e e e a isb n , wh r his f th r , m gistr t , th n liv d (in

o e h e R ocio D u 1 866 n 1 86 h e h us in t ) . ring a d 7 contri

e F olhetins h ze de Por u al h ﬁ r e . but d to t e Ga ta t g . T s t a of 1 86 h e e Alemt e o an d 1 86 h e h lf 7 sp nt in j , in 9 “

a e n La e h e eca e tr v lled in Egypt a d Pale stin e . t r b m

o e e C o at a a a at e ca e - o n - e P rtugu s nsul H v nn , N w stl Tyn ,

and a e e h e e Au 1 00 . in P ris , wh r di d in gust , 9 H is ﬁrst o e th e F olhetins e e o e o a e st ri s ( ) , r print d in v lum f rm ft r ea Pr osas B ar bar as h ad a ac e o e a e his d th ( ) , ttr t d s m tt n o f e are e ti n an d a certain amount o ridi cule . Th y v ry

a o c a ac e acco as t h e e ce o f v ri us in h r t r , rding inﬂu n Poe V c o o c e e e e Ba e a e or E . A . i t r Hug , Mi h l t , H in , ud l ir , ’ e He a to (in Baudelaire s translati on) prevail d . is s id e e at e e e e fac e ea hav writt n this tim with xtr m ility, wh r s l at er h e e rase d and emended with a care th at would Th e o f o e o f e e h ave co ntented Boileau . e titl s s m th s stories in themselve s indi cate a striving afte r th e — a h e e th e o a c O Senhor D ia bo unusu l , t sinist r , r m nti , ’ O Mi lha r e Th e e Memori as d uma F orca Remi n is f ( Kit ) , ( e are e oo cen ce s o f a G allows) . Oth rs in simpl r m d ;

2 04 STU DI ES I N PORTUGU ESE LITERATU RE

” 1 th e sh adow of an old Portugue se provinci al cath edral . ’ Th e a o o e Bris tol an uar 1 1 880 t o th e eco uth r s n t ( , J y , ) s nd e o o e mo eo e a a th e c c m a th e diti n pr t sts , r v r , g inst riti is th t

’ ’ ’ m f o a La F aute de l A bbe M our ei n ove l is an i it atio n o Z l s , Since th e fo rm e r w as writte n in 1 87 1 an d publish e d in h 1 8 ere a th e a e w as e 1 8 . T e 74, wh s l tt r publish d in 75 ( ’ a e a e to e o o o A a La Re enta a o of s m ppli s L p ld l s g , ls

0 rime do Padre A mar o a e a e . e e e e C l t r d t ) N v rth l ss , gives th e impressi o n o f a Fre n ch n aturalistic st o ry sup erimp ose d up o n th e delightful old cath e dral t own o f e a e e e a oo L iri , lying in its wid , f rtil pl in , with its l k ” f a e an d o f o a ea o m any w t rs full light . It w uld pp r fro m this n ovel th at t h e C ano ns o f Le iri a h ad sadly degen erat ed sin ce th e days wh en fear of th e S arrazin 2 w as in th eir hearts . It is o f small importan ce wh ethe r Eca d e Queiroz

a e o r a o e th e e ce of th e imit t d this th t n v l , but inﬂu n

F e c a a c c c e a e e w as a r n h n tur listi s h ool is l r . N v r th t e ce o e a o fo r E a d e e o inﬂu n m r dis str us , c Qu ir z , with o e a e e o e as his und ubt d gifts , might h v writt n n v ls

1 I n triga d e cl erigos e beatas tramad a e murmur ad a a s o mbra d e ! um v l é d e r vin i u a e h a S p o c a por t gue z a . 2 I n th e Ch r onzcas B reves ub lis ed i n ortu alia M onumenta His , p h P g torica w e re ad a O ca s e llo d e l e re a e ra d os s ar raziis e corri am , th t t y , a e rra a aa c oimb r a E a zi m m ch r i s e m s o ra t t . f a uyto mal a o s s taao y e e m omb a E o arcedi a o d om ello e men d o s e ue a s s o p l . g t , t q y odiam azer ao s cooni os re i ios os ma nd o u a zer h uum muro p f g l g , f e m cara man ch es a r ed or d a i re r Th e a s le of b g j a e claus t o . ( C t eiria w as i n th e a n d s of th e Sar r a z in s a n d e o verr a n th e and L h , th y l as far as o imb ra A nd e d id ri us a rm to th e r is ia n s C . th y g evo h Ch t i n So re n o m A n d th A r m Te o ea r i n a a d b a . e c deacon D o y P l h ll , f g th t e mi s o d o to th e an on s o rdered a or iﬁ e d w all to b e b ui th y ght C , f t lt ’ r o und th e c urc and cloi s er F ll th e Ar c deacon s or es i h h t . ) o r a h f ght , l a e r comes th e n e w s acon ic an d u ub r io us a th e M oo r s h ad t , l l g , th t ca rr i ed o ff a anon at e i r i a C L . Tw o MO DERN NOVELISTS 2 9 5

essenti ally Po rtuguese as Sp ain possesse s novels e ssen

tiall a ea o f o c F e c a o . y Sp nish , inst d pr du ing r n h imit ti ns It is ch aracte ristic of th e mutu al igno ran ce in lite rary

a e e e ee a an d o a a m tt rs xisting b tw n Sp in P rtug l th t ,

wh e n J osé M ari a d e Pe reda ( 1 833- 1 9 06) w as writing his

ma e ece n ot far o th e o e e o e st rpi s fr m P rtugu s fr nti r , E a d e e o co e e o o a com c Qu ir z , mpl t ly ign ring , pr b bly

let el o a o f o S o a e o e to a p y ign r nt , his w rk , h uld h v g n P ris

for Y e e a h e a e his lite rary models . et in P r d would h v

o a e ea ea e e o of ea an d f und tru r r lism , gr t r impr ssi n r lity , o w rk imm ensely powerful with out being s o rdid . 1 r i B zi i o His n ext novel w as O P mo a l o . It is a s rdid

o o o S e of all ﬁ n e o st ry s rdidly t ld , in pit its ir ny ; but

it is redeem ed by its re markable ch aracter sketch es .

Th e e a a a—th e e a e e e o s rv nt Juli n sinist r , sn k lik , nvi us , a c o e c e a a a e a a m li i us , m r il ss Juli n , ﬁgur th t in Spanish n ove l wo uld see m a grotesque exaggeratio n h Be h a and o a e e oo . e er o e d min t s t b k sid J rg , Luiz ,

B a o are a e and co o e . e e are o e e zili v gu l url ss Th r , h w v r , m any seco ndary ch aracte rs drawn with eq ual skill u ao Z uz art e wh o efe e at L o t o J li , pr rs p nury isb n comfort in th e provinces (Toda a p r ovi nci a o a ter r a va)

o a F e c a e de o o a th e o e o o A ccacio D n li id d N r nh s l mn f l , o C onselhei ro c o e e a e to th e e e a e of , l s ly r l t d imm ns t l nt Jos e J oaquim Alves P ach eco in A C orresp ondenci a de Fr adi ue Mendes th e co e Re a o wh o con q Vis nd yn ld , siders th e heat of Lisbo n vulg ar (Q ue a bjeccd o de paiz

1 O rimo B azi li o E is odi o d ome s ico or to 1 8 8 ri e n r om P ( p t ) . P , 7 . (W tt f S e emb er 1 8 6 to S e emb er M on iz Barr e o in A i ttera pt , 7 , pt , t , L tur a ortu ueza c ntem ra nea Revi s ta de or tu a l Por to 1 8 8 1 o o . p g p ( P g ; , 9 pp ! d e s crib es O r i mo B azili o a s a ma s erl a lmo s er e c b oo — l i vro P t y , t p f t k “ a is tral e ua e He cons idered E a de ueir o z a maior m g q si p erf ito . c Q ’ voca ao d tis t u ern s ur ido e m or u a d es de Gar re c ar a q e t g P t g l tt . 2 0 6STU DI ES I N PORTUGU ESE LITE RATU RE

And w e a e L o as th e ac o th e S o h v isb n b kgr und , with l w

o of ee at th e a o ti oias th e rum ur its str ts night , dil t ry p ,

- - of ox ca th e c e of th e ee e e . rumbling rts , ri s str t s ll rs

But o th e e e a a o e e o f th e oo o th e fr m g n r l tm sph r b k , fr m e e o a e a a eac o u On mpty lif p rtr y d , with its n tur l r ti n p those whom t h e C onselheir o would call pessoas de baixa ” extr ac d o th e ea e e ca e e e to occa o a c , r d r s p s with r li f si n l glimpses o f a differe nt o rder

e ao e a o a e e c a a e a a a n o Ou nt s ri utr xist n i m is r g l d , ’ e conv nto pacat o d um a boa provin ci a p ortugu eza . Alli O S ec to s ao a o a s a e e ca a a a ca m ao s ol t s b ix s , p r d s i d s f is , co m as suas g rades inh as de votas ; O S sin o s repi cam n o ’ vo ar a e m o a n os ca o d oliveiras ue dao vi zul ; r d , mp s q a e e ao co e o a a a a e a a aze itun a can z it nv nt , r p rig s v r j m ’ tando ; n o pateo l ageado d um a p e dra mi udinh a as a d o a oc e e ac o a o ca a e com a mul s lm r v , s udind m s , b t m ferradura ; m atro nas cochich am ao p é da roda ; um carro chi a n a estrada e mpoeirada e branca ; gallos ’ caca e a a do ao s ol e e a ordinh as d olh o r j m , brilh n ; fr ir s g ,

e o ch alram n e co co e o e . n gr , os fr s s rr d r s

o e e of o e co o th e eace con (An th r lif , m r mf rt , in p ful _ e f e e e th e v nt o so me pleasant Po rtuguese provin c . Th r oo a re low and th e e a e a ea th e r fs , whit w sh d w lls gl m in e e o e a th e e sun , with th ir d v ut littl gr tings ; b lls ring out th e c ea air h e o o e - a in l r blu e ; in t surr unding liv y rds , c o e th e co e oil are ea whi h pr vid nv nt with , girls b ting o th e o e n th e co a a e d wn liv s , singi g ; in urty rd , p v d with ’ a co e t h e ca e e are a as e sm ll bbl s , rri r s mul s st mping th y Sh ake off th e ﬂi es m atro ns whisp er by th e sto re - roo m a cart creaks al o ng th e white an d dusty road ; cocks c o th e e and ac - e e r w in bright sunshin ; plump , bl k y d sist ers ch atter in th e cool gall eri e s . )

1 88 a e A R eli uia an e a I n 7 w s publish d q , xtr o a oo — a e e a e o fa n rdin ry b k vulg r, r pulsiv , bl sph m us ,

2 0 8 STU DIES I N PO RTUGUESE LITERATU RE

e e th e a e o a Steinb ro ken Th r is in n dipl m tist , with his ’ ’ ” e e ua e a e c e e ce e e a e p rp t l C st gr v , st x ssiv m nt gr v ; th e Ma r uez e e at e a ter ror es cath oli cos q , s iz d int rv ls by “ ’ ” th e lis boeta ﬁ no murmuring E s te e um p ai z per dido th e e a s ad o f th e o e Old s rv nt with his shrug sh uld rs , ” h a as if to imply th at nothing in t e wo rld w s go ing well . ’ So far as o a w as co ce e was th e a o P rtug l n rn d , it uth r s w o e e A fo o d obj ect t o Sho th at n thing w nt w ll . f ns a ’ “ a a a ce t o t h e o c a Le e a M i s dvi p liti i ns is , ss lib r lism ” “ and o e c a ac e t o th e men of e e Le m r h r t r ; l tt rs , ss e o e ce an d o e ea t o th e c e e e a l qu n m r id s itiz ns in g n r l , ” n a Less progress a d m o re m orality . Po rtug l is but ” h a little wax a a e o . o as n o o w iting impr ssi n Lisb n s ul , ’ ” and th e a e o f o covei ra d almas . Lis boa is gr v s uls ( , Lisbon is a city translated from th e Fren ch d ci a d u e H into slang (A Cor respon en de F r a iq e Mend s) . e “ protested against th e uni versal modernisacd o that destroyed th e Simple r cust o ms o f Portugal . I n o rde r not t o ee ac a e ca o h e a o a s m b kw rd in du ti n , s ys , P rtug l

ce o th e c oo - e a a o e a c introdu s int s h l x min ti ns m t physi s ,

a o o o o E o o and th e - a e str n my , phil l gy, gypt l gy ; it is s m in all ranks and professi ons of Portuguese life . o a a e o a ea e o e and e P rtug l , imp ti nt t pp r v ry m d rn v ry c e o e o e o a oa — o e o f ea iviliz d , rd rs m d ls fr m br d m d ls id s , of c o e o f a of art of coo e Sh e exa l th s , l ws , , k ry but g erates th e o e dis ﬁ ures and o o ca g m d l , g dist rts it int ri ’ n r n e e cature . Eqa de Que iroz ow no vels a e a xampl im n e e e a of . w a a a e e this If it s his , by unr li v d pr s nt

o o f ce and a t o e ce e to th e a ti n vi vulg rity , r du th m bsurd , h e o nly succeeded at th e cost o f reality in his work . Zola betraye d h ow far re m oved from reality w as th e n aturalism of his sch ool by occasionally introducing TWO MODE RN NOVELISTS 2 9 9 episo des m o re improbable th an th e wildest imaginings of th e E a d e e o e e t o e a e e rom antics . q Qu ir z t nd d x gg rat e Os M a ias an d 0 C r ime do Padre this , speci ally in

A mar o. ea e ca ca u e a ea o a His w kn ss is ri t r , l ning t w rds

foo e an d th e e e an d om e of c a ac e buf n ry burl squ , s his h r t rs are o e t o S o th e o a ce grotesqu ely unreal . I n rd r h w ign r n

e a o a h e o ce t o a L o pr v iling in P rtug l , intr du s us isb n

a e to th e S onata athéti ue an d a l dy list ning p q , sking if ’ that m elancho ly thing w as th e player s ow n composi

o an d t o a f a th e e ar e f ti n , high O ﬁci l in D p tm nt o Educa 1 o e e a o e e a e a e ti n inquiring wh th r Engl nd p ss ss s lit r tur .

o e e ec o e of th e e o c o u ec An th r d f t is his l v x ti , b th in s bj t an d e c a e co e ac e th e a e of in styl , whi h l rg ly unt r t d v lu his s ervice in intro ducing th e realistic novel into

Po rtugal . It cann ot b e deni ed th at his art is ofte n Man uelin e e e h e h ad a o e o f e o an d ; ind d , th t l v spl nd ur ’ n I ew ac e e a o . things which ch ar t riz d King M n el S re ign . Just a s King M a no el gave his courtiers th e Sh ow o f an e e a a oce o E a de e o e e l ph nt ﬁghting rhin r s , q Qu ir z pr s nts his readers with a b attle betwee n a pl e sio sa urus an d an icth os aurus a e a e c th e y , ft r thus luxuri ntly d s ribing a e o f e A ddo e E va no Parai zo C ontos G rd n Ed n ( , in )

’ AO fundo d essa e ncosta o nde parara resplandecem vastas campinas (s e as Tradiqbes nao exaggeram) m r m co e o e a a e o a a a c a . e a e e d s rd n d s mb i bund n i L nt nt , ’ at ravez rio co e e ea o d ilh as e o a o em , um rr s m d , ns p nd fecundo s e es p raiados remanso s as verduras o nde ja talvez cresce a l e ntilha e s e alastra o arrozal . Roch as a m d e m armo re rosado rebrilh m co um rubo r que nte .

1 I n o ne o f h i s artas de I n laterra h e w r o e 1 8 80 a w ile a b a e C g t ( ) th t , h l of mer c an di s e w en r om on d o n to i s b on i n o ur d a s th e names h t f L L f y , O f Tenn s on B r own in and Swinb urne h ad no t r eac ed or u al in y , g , h P t g s for ty y ear . 2 1 0 STU DI ES I N PO RTU GU ESE LITERATURE

’ D e e o e d e a o oe o a co co o c e a ntr b squ s lg d ir s , br n s m r sp ’ e a o em o e ro co e o d e m a o a spum , s b ut i s b rt s gn li s , d um é a e e co rOa um espl e ndor ainda m ais bran co . Al m n v a e a com a a e m o de a a e e e co e s rr um r di nt ni b s ntid d , s rr , r e e os flancos d es eda ado s em fi n as a a ue p o ntr p g , fr nj s q l m o m o e a e am a a a e a refu ge . Outr s nt s d rd j mud s l b r d s . Da o a d e r i idas e ca a e e e a e e b rd g s rp s p nd m p rdid m nt , m ir e o u a e al e ae s e e a o . e a Sobr pr f ndid d s , p d sgr nh d s P l s lago a s a bruma a rra stra a lu minosa moll eza d as su as m r n on fi n d e a . E 0 a os c s o o a ca o r nd s , mund , f is nd , ’ ”

e ce a co o aro o o . tudo n rr , m um d ir

(At th e foot o f th e Slop e o n which h e stood vast pl ains (if w e may trust t h e traditi o ns) gleam in a dark an d ri ot ous luxuriance . Slowly acro ss th e m a rive r e o e a e c e ac glid s , d tt d with isl nds , dr n hing in wid b k a e th e ee a n d e e e e e e a w t rs gr n f rtil ﬁ lds , wh r p rh ps h e e n ri ﬁ l already grows t l ntil a d ce e d s ripe n . Rocks o f o e - co o e a e a a o f r s l ur d m rbl blush in w rm gl w o light .

F o oo of co o - ee e as th e oa of th e r m w ds tt n tr s , whit f m s ea e co e e a o a of a e , ris hills v r d with m gn li s , still whit r

- S e o . Be o o c o a o a a e pl nd ur y nd , sn w r wns m unt in r ng a a a c o of o e an d o n th with r di nt r wn h lin ss , thins e

o e ou a - e o e e f br k n m nt in sid s int sl nd r fringes o light . e e an d a e S e ce h e Oth r h ights glint ﬂ m in il n . On t e e o f th e ee ec e a e e a e a o e dg st p d liviti s h ng d sp r t ly, b v

- ec ce e e e a oo . e t h e a e pr ipi s , dish v ll d p lm w ds Ov r l k s m f h e e a o u o ace o . And t e s ea o n xt nds s ft , l in us l mist th e o a o f th e o a e th e o e b und ry w rld , ﬂ shing , h ms in wh l as with a ho op o f go ld . )

0 Mandarim Por to 1 8 1 88 0 1 88 as In ( , 79 , , 9 , e e e e E a d e e o S o e a h e co com ls wh r , c Qu ir z h w d th t uld e ea m a n d o e e a a a a c bin r lis s bri ty with xtr v g nt f n y . His

u a a a o art a e e o ce lux ri nt im gin ti n , his th t vid ntly rej i s

th e c a e o f th e a an d e e e o e in ri h im g ry E st , r s mbl s s m ea o ame e c a e e and e e a ace h vily rn nt d h p l , with h er th r sp

e o o co e e c o o f A a and Of pur g ld , f und s p in d s ripti ns si

2 1 2 STU DI ES I N PORTUGU ESE LITE RATU RE

a a th e o ce e e e an d singing Old b ll ds in s ft , s nt d v nings ; ,

o e a e o f th e S ee an d ec o o e o m r r r ly , l k sp i us Civil G v rn r of th e c é a a e o o r o f co distri t , Andr C v ll ir , his usin ,

a e o a e e o e a o a o o f th e M ari M nd nc , v n pr ud r th n G nc l

Th e e a a o e e f Ram e . o H o us o ir s v r nd , v rgr wn with

o e c e oo o ut o o rc a an d e and h n ysu kl , l ks up n h rds vin s

- e e an d th e o e ce th e e ce orange tr s Old t w r , sin t nth ntury

h e solar of th e Ra e . Be o c of e t mir s y nd , lumps lms , co - ee an d e an d e of co e c a a to rk tr s , pin s , ﬁ lds rn str t h w y

h e . ee ea c o e a e t hills Sluggish , r dy str ms , h k d with w t r

e an d e e of o e c e and ac e e lili s , h dg s h n ysu kl bl kb rry divid th e l and ; sm oke goes up fro m a n isolate d farm h e re a nd the re ; coveys of p artridges ﬂy up fro m th e stubble h c e a o o a t e co . hildr n p ss with l ng g ds , driving ws With th e m ode rn sto ry is inte rwo ven th e o lde r chro nicl e of th e o e of Ra e an d th e acco o f th e e ea ce H us mir s , unt v ng n ’ a e o ne Gon alo s a ce o e 0 D e unto t k n by Of g n st rs is , lik f , o n e Of th e m ost grim an d weirdly h orrible e pisodes

e e e . o a o a a fa e e o e v r writt n G nc l is v in , f bl , kindly, irr s lut , o e e ca a e of co o an with n bl impuls s , but in p bl nfr nting

ac e co a e ca o r o a o r s o h e Obst l with ur g , physi l m r l ;

a ea at . But c a ac e e e o eco pp rs ﬁrst his h r t r d v l ps , b ming

e e ec a an d h e a ea e th e e e o f a l ss in ff tu l , ﬁn lly l v s idl lif deputy at Lisbo n t o go fa rming in Africa . O n e o f his frie nds thus sums up his ch aracte r and th e character o f Po rtugal

A uelle o o d e Go n alo a a e a a d o ura a q t d q , fr nqu z , q , o a e a e a o a e ue o o o S n r a e b nd d , imm ns b nd d , q n t u . P dr f h h i m u Su eiro . O s ogac o s e e nt us as o s q e acabam logo e m o e a e e a e rs is ten cia o a e o fum , junt m nt muit p , muit f rr ﬁl a o s e a a s ua e a . e e o a e o e e o qu nd id i A g n r sid d , d sl ix , a co a e a a a a n os e oc o e e e o de nst nt tr p lh d n g i s , s ntim nt s l a o a es cr u ulos uas I ue rI S n ao é e a e ? mu t h nr , uns p q p , v rd d TWO MODERN NOVELISTS 2 1 3

A ima ina ao ue o e a e e a exa erar até 2 g g q l v s mpr gg , e a e ao e o em o um e o a co e e m ntir , m sm t p spirit pr ti , s mpr m a e o 2 ea a e . e a a ac a e e tt nt r lid d util A viv z , f ilid d m m a e co e e e e a a a . A e e a a co pr h nd r, p nh r sp r nc nst nt ’ ’ a m a e n o e o a e d O uri ue ue a a a n lgu mil gr , v lh mil gr q q s n r o a as difﬁ culdad es . a a e o o o de s e a e t d s A v id d , g st rr ca d e e uma S c ad e t ao a e ue ( 151 bi r, luzir , impli id gr nd q

na r ua o a o a me o . m o de e a co a br g um ndig U fund m l n li , ﬁ an a a e a d e tao a a o tao s ociabel . des con p s r p lr d r , A c t errivel d e e mo u e o aco a a o e co e até si m s , q b rd , n lh , q ue um dia s e decide e ap p arece um h e roe q ue tudo a a a . Até a ue a a a e de a a a e a a rr s q ll ntiguid d r c , qui p g d 2 s ua e h mil n n A a o a a u elle v lh a T o rre a a o s . t é g r q a m co m 0 a e a a a ca . m o o c o e o rr nqu p r Afri Assi t d pl t , be m co m 0 m al a e o ce e e e m e em a ? , , s b m v s qu m ll l br — — ” Quem Po rtugal .

o a o as a o e a e e e e and (G nc l wh l , his fr nkn ss , g ntl n ss , o o a e t h e mm e e oo a u e c a e g d n tur , i ns g d n t r whi h P dr Th ﬁ r n d m c a o Sue iro n oti ce d . e e a e nthusi as whi h n n e nd mo e an d e e e e a rea e ac an d in s k , , n v rth l ss , l t n ity

e e ce e a n ea a e o o f h im . e e o p rsist n wh n id t k s h ld G n r sity , e e ce co a co u o e an d a o n glig n , nst nt nf si n in busin ss , str ng e e o f o o c e a a re a m o s ntim nt h n ur , with s rupl s th t l st h im childish . An imaginati o n that is always carrying o e a e a o an d e e a e oo an d at t h e a e int x gg r ti n v n f ls h d , s m e a a a e e a e e t o ac ca tim utilit ri n spirit , v r tt ntiv pr ti l n reality . A natural qu ickn e ss a n d readin ess in re alizi g an d e a . e e a o e o f o e ac e und rst nding P rp tu l h p s m mir l , e th e old m ac e of th e e o f e c lik ir l fi ld Ouriqu , whi h will ll for c ea a f cu e . a a o e e h l di fi lti s V nity, f ndn ss d king e out a e e to e and a c s o ea hims lf , d sir shin , simpli ity gr t that h e will give his arm t o a beggar in th e street . An e e a e a c o e o f a a e and ss nti l m l n h ly, in spit his t lk tiv m e soc iable n ature . A t e rrible diffid e n ce which inti idat s an d ma on e da h e a e u m dis ys him , until y m k s p his ind , e an d app ea rs as a h e ro carrying all befo re him . Ev n his anci ent h ouse attached t o its old Torr e during a 2 1 4 STU DI ES I N PORTUGU ESE LITERATU RE

E e e r e o f A ca . thousand years . ven this nt pris his in fri a e all a o e e t h e oo an d th e bad T k n thus lt g th r , with g d , — d o you kno w who m h e re minds me of Wh o ?

Portugal . )

Th e scene of th e ﬁrst p art o f A Cidade e as S er r as is B in h a th e ecca o f c o e e . ut ac t o P ris , M ri h P rtugu s J , th e e - c e e e m e t o o n e th e a sup r iviliz d , d t r in s visit Of v st estat e s own e d by his family in Po rtugal since th e days “ o f D a o h e co e ea o e King iniz, lth ugh nsid rs l ving Eur p

o h aci o zul a ve ry serious m atte r . S on t e m a of th e

o e e a ea an d e th e a o a e P rtugu s sky pp rs , wh n st ti nm st r addresse s J acinth o an d his fri end Zé F e rn ande s as “ ” o th e ea e ee a h e ee my s ns , r d r f ls th t is ind d in dem ocratic Portugal . Th e descripti ons of th e country

e ee Do o an d M o of th e e to t h e a ce a b tw n ur inh , rid up n str l

o e th e s olar t h e of t h e ui nta co h us , , in hills , q ( untry

o e ca e F lor da Malva o f th e sebas ti anista ea a h us ) , ll d , p s nt , old oao o a o are all e ce e J T rr d , x ll nt

E e o re atin h os f a o com O S e o sp rt s g ugi m rind s ix s , ’ d entre a s p at as d a e gu a e d o burro gro sso s r ibeiro s agodado s saltava m com frago r d e p edra e m pedra fi os dire ito s e luzidios co m o co rdas d e prata vibravam e a ca a d as a a aos a a co e a fo e f is v m ltur s b rr n s ; muit nt , o a 2 e a de e e a o a a or uma ca e e p st b ir v r d s , j rr v p bi , b n 2 fi camente e e a do s o e e dos a o . o o , sp r h m ns g d s T d ca e o or e e e ra um a cea a o e um a o um b c p v z s r , nd v st ca a o a ce a o a o o a a com o s eu e o rv lh n str l , s lit ri , d min v s nh r m r e s eu guarda . E socalco s ve rdej avam la anjaes re s cen dentes . C a minh o s d e l age s soltas circundavam a o a o com ca e o e acoa reto u a n o o u f rt s pr d s rn ir s v s c d ; , a e e o e e a a s ob a a a d e a a es m is str it s , p n tr v m r m d s p rr ’ T r p e ssa n um a p e numbra de re pouso e frescura . e avamos e ao a m a ruas inh a d e a e a dez ou o e p nt lgu ld i , d z ca e e o e e fi ueiras o e s e es a ava s br s sumid s ntr g , nd g g ,

2 1 6STUDI ES I N PORTUGU ESE LITE RATU RE escap ed through th e wall an d across th e bran ch es of a

e o - ee th e o co o th e oo of l m n tr , nly light ming fr m d r ch estnut - wood o r fro m th e ﬁ re gleaming up o n vessels o f co e and o th e o th e o co a e pp r ir n ; tin f rks , r ugh , rs c o — i t o l th t w as all ve ry diffe re nt from Pa ris . (Owing a a e e a e ec e an d e mist k , th ir arriv l w as un xp t d , th ir a e n h Bu lugg g a d servants h ad bee n lost o n t e w ay . ) t “ ” a good sm e ll Of h ealth an d fre shn ess w as eve ry

e e and o th e o e a e o ca e wh r , thr ugh p n , gl ssl ss wind ws m th e air of h e ser r a e a w o f o a ea t . Th ir m e l as br d b ns an d ce th e o a a e f h - e a a comi ri , rdin ry f r o t e farm s rv nts ( dinha dos mo os da ui nta a lour o r an o oa e o n th e r q ) , f g r st d

an d th e h er r a e a e spit , light win e of t e s . I mm di t ly

e ea th e o was a a e of e e a e a b n th wind ws g rd n v g t bl s ,

o a a o c o e a c e - ee a e f unt in m ng limbing r s s , h rry tr l d n with c e e and o n th e o e e e e o a co e of h rri s , th r sid , nv l ping rn r

h h a an l B e t e o e t e o a e o r l r a . e o h us , r ng ry j y nd , pin

oo an d an d a1 e - ﬁ elds mi lhei raes a e w ds hills m z ( ) , riv r

a e and e r a h e a co e v ll y purpl e s r s . I n t e ev ning mist m s

o th e a e e e a e of ee th e up fr m v ll y, th r is whisp ring tr s ,

o of a a e an d th e o o o ce o f a s und m ny w t rs , f rl rn v i

S e e : E 12 e a o do s a e a h ph rd singing d b ix , v ll s , subi de sgarrada e m el ancoli ca uma voz d e p egureiro can ” ’ f Pereda s Peii as tando . S om e o th e scen e s recall A r ri ba an d th e the mes o f both books are th e in h n e at o e same . J ac t o leave s Paris a d arriv s T rm s exactly as Marcelo l eave s Madrid an d rides across th e o a t o Tablanco are e e e at m unt ins ; both r p ll d ﬁrst , but both en d by m arrying and settling h appily in th e

c e o a - F e co a o un iviliz d m unt in country . urth r mp ris n can o S o th e e o a o e all th e e a e nly h w sup ri rity, b v gr t r

ce o f e e h a o w as sin rity, P r da ; but whethe r t e imit ti n Tw o MODERN NOVELISTS 2 1 7

’ ec or n ot E a de e o A Ci dade e as Ser r as was dir t , q Qu ir z a oo of oo o e fo r th e e th e a o b k g d pr mis futur , uth r dying ,

o u a e e o e h e h ad e e e co ec unf rt n t ly , b f r v n ﬁnish d rr ting th e proofs . A Cor r espondenci a de F r adique Mendes (M e mo ri as e o a n ot a o e co a o e E a de n t s) is n v l , but nt ins s m Of c ’ Qu eiroz m ost de lightful an d m o st ﬁnish ed wo rk . C arlo s F radiq ue M e ndes h ad app eared already in

O M ster i o da E s tr ada de Cintr a as an ex - a e oe y pir t , p t , an d m c a th e e of Ba e a e an d n ow usi i n , fri nd ud l ir , is

S ow e t o be th e e o f c o o to a e h n furth r fri nd Vi t r Hug , h v o e a e a t o a e acco a e f ught und r N pi r in Abyssini , h v mp ni d

a a on c a e e o an d t o a e co e G rib ldi his Si ili n xp diti n , h v rr

n e e o a h e com s p o ded with M azzini . His l tt rs Sh w th t bin ed a tru e lo ve o f Po rtugal with appreci ati on o f wh at 1 n o f e is co nve nti o nally called civilizati o n . O e th m — describes life in a Minh o quinta th e p ateo with its onte de boa a ua t h e e a e and o e e f g , j ss min r s s , vin

e and o e th e hor ta e o e th e tr llis liv s , brimm d with ﬂ w rs ,

a e e - ﬂoor an d a a th e c ea and gr nit thr shing gr n ry , l r

e o th e a co th e an d ea duski r g lds Of w ving rn , hills str ms l a an d matto ﬂor ido. Life th e re is all pleasantn ess (des is com i ncom ar avel do ur a o th e c o of th e p g ) , fr m ﬁrst r wing coc e th e S e e a e a and th e ks , wh n h ph rd t k s up his st ff, wo rk begins

Esse t rabalho q ue em Po rtugal p arece a m ais e a das a e a e a e a em e in can s avel o e s gur l gri s f st s pr , p rqu m a a é o o e o a ca a . o e ve a a e e a t d f it nt r As v z s lt s d sg rr d s , ’ ’ no ﬁ n o S e c o a é e e o s o o u d o ca o il n i , d l m , d ntr trig s mp ’ e m ac a o e a e a as ca i a d e o c rII e 0 5 s h , nd lv j m m s s linh le ncos d e largas fra nj as verm elh ejam m ais q ue p apoulas

1 The y app ear e d origin ally i n A Revis ta de Portugal ( 1 889 2 1 8 STU DI ES IN PORTUGU ESE LITERATU RE

( Wo rk whi ch in Po rtug al seems th e sure st o f pleasures a n d a n o a ce e e acco m a e untiring h lid y , sin it is v r p ni d o Th e o ce co e o ea th e e with s ng . v i s m l ud , br king d li

! ca e e ce o e o a o th e co o r o a t sil n , fr m b y nd , m ng rn , fr m e a e oe e e th e of eac e ﬁ ld th t is b ing h d , wh r shirts unbl h d lin e n gleam white an d th e l o ng - fringed ke rchi efs Sh ow re dde r th an poppie s) — to th e return at eve ning

No pi ar velado e curto do s passaros h a um reco i n E m ﬁl lh me to e co c e c a de o e . a a ns i n i ninh f liz , o a a o a d o s a o can ada e a a e vai a a b i d v lt p st s , g f rt , ind e e a n o a e o e o o e a da a u a s ob a c b b r r t nqu , nd g t j r g ruz

m r i - a e u . A a é is p g cos o Toca o sino a ve M ri a . Em todo s o s casae s s e esta murmurando O n o me de N o sso

e o . ca o e a a o e a o de a o e e S nh r U m rr r t rd d , p s d m tt , g m ” p ela sombra d a azinh aga .

(Th e n ot es of th e birds a re bri ef an d qui e t as th ey think o f th e she lt er o f th e ir happy n e sts . Th e o xe n e e file e o t h e a e a fed r turn in singl tir d fr m p stur , h ving e an d o fo r o n e a o th e a e e th ir fill , g l st drink fr m t nk wh r h e h e t e wate r fl ows m o re Sluggishly b e n ath t cross . Th e A e an d all th e a e ng lus rings , in f rms is murmur d f h A e a e ca ea th e a e o t e Lo . n m rd b l t d rt , with h vy l oad o f b rushwood gro ans along th e path in sh adow . )

Th e othe r p osthumous wo rks o f Eca de Qu eiroz are

ontos Porto Pr osas B a r bar as Por to C ( , ( , C ar tas de I nglater r a E chos de Paris ( 1 90 Car tas

F a mili ares e Bi lhetes de Paris 1 8 - 1 8 6 Por to ( 93 9 ; ,

N otas C ontern or aneas Por to and Ultimas Pa inas p ( , g

Por to ( , I n Contos w e h ave so m e o f his m ost ch aracteristi c

o an d e a e o f ec a co a o f w rk , x mpl s his p uli r mbin ti n o realism a nd fantasy (F r ei Genebro 0 Thesoir o ; A A i a 0 D efunto A s Singularidades de uma r ap ar iga loura ; Um

2 2 0 STU DI ES I N PO RTUGUESE LITE RATU RE

He e e ce e as h e ee e n ot as d scrib s things sin r ly s s th m , e co o a ea an d th e c c e of e th y mm nly pp r , in ru ibl his styl o n um th ey are tra nsfo rm ed a n d m ade mo re real . A c s

a e a a o e F a ce O r u a e F a e o m t rtist , An t l r n G st v l ub rt , w uld

e f O Pr imo B azi li o o r Os Mai as and take th e th me o ,

o a a e o a n e a et o th e with ut pp r ntly mitting y d t il , y thr ugh m agic o f his styl e e ntire ly ch a nge th e atm o sph ere . ’ Passages h e re an d th e re in Eca de Qu eiroz works

ee t o S o a h ad h e e h e o a e s uc s m h w th t , liv d , w uld h v ceeded ee e o a e e an d a o in fr ing hims lf fr m f ls n ss imit ti ns , an d would h ave take n his pl ace am o ng th e greatest o f A h o e e . S e a a e h e m d rn writ rs it is , must r nk r th r with t Palacio Valdés o f M aximina th an with th e Palaci o

Valdés o f Mar ta M ar i a an d a ea as t h e au y , pp rs tho r o f a e and o e c a ac e S e c e striking fr gm nts p w rful h r t r k t h s , still feeling his way t owards wo rk m o re sin cere an d enduring . C HAPTE R IX

PO RTU GU E SE POETS O F TO - DAY

WI TH th e ninet ee nth ce ntury disappeared several cele

r f Th b at ed poets o Po rtugal . e unquie t Spirit of

An th ero d e e a o e 1 8 1 F a c co Qu nt l f und its r st in 9 , r n is om e d e o m e th e o o ea oao d e G s Am ri di d in f ll wing y r , J

1 8 6 o a e 1 0 1 R e o . e o w as D us in 9 , Th m z Rib ir in 9 ib ir t h e o e of e e oe an d h e w as e e a ld st th s p ts , but s v nty t th e e o f ea et e of e e o e tim his d th ; y in spit th s l ss s , Po rtuguese lite rature co ntinu es at th e prese nt day t o e a liv princip lly in its poets . Its nove lists cannot com

a e fo r c a o r o a o e of a p r h rm rigin lity with th s Sp in , but

oe are o n a e e e an d c e o its p ts high r l v l , it is hi ﬂy wing t o e e a a a c c D on e de th ir m rits th t Sp nish riti , Migu l

am o h as ee e m o e e t o ca th e e e U n un , b n b ld n d ll pr s nt h a f t e golde n ge o Po rtugu ese lite rature . It is wo rth whil e to examin e th e wo rk of some of these poets o f t o - da for a o o e b e o s o e i e y , lth ugh n n will f und xquis t as oao d e e n o r s o a o a e a e as e a J D us p ssi n t ly rd nt Qu nt l , a study o f th eir p oetry a mply pro ves that th e vein of lyri cism whi ch ru ns through Po rtuguese lite rature fro m t h e thirt eenth century is by no m eans exh auste d at th e prese nt day . ’ Th e ﬁrst place am ong Po rtugal s co ntemp orary poets e e a acco e t o o e a e o is g n r lly rd d Abili Gu rr Junqu ir , 2 2 2 STU DI ES I N PORTUGU ESE LITE RATU RE wh o o 1 0 He m e th e w as b rn in 85 . ay be call d H h Po rtugue se Victor Hugo . e as not o nly m any Of th e ea e e of th e ea F e c oe a o a w kn ss s gr t r n h p t , but ls fracti on of his ge nius . Too Often h e h as allowed his p oliti cal revo luti on ary ide as to drown his ge nuine gift H of lyricism in a yawning pit of rh eto ric . e decl aims “ a a th e a ca e th e Law a a th e g inst brig nd ll d , g inst “ ” bour eoisi e a e n c a a a d . At c r ss g , g inst pri st King su h

e n o o o r e e o too t o a to tim s w rd xpr ssi n is ugly , o vulg r, be admitted by his undiscerning Muse . Umfr a k (a frock coa um b e a ee ea debochado e a c e t) , if ( b fst k) , (d b u h d) th e se an d similar wo rds are th e dreadful Signs o f th e f a o o o c . But e ea e ec e e inv si n p liti s , wh n l st xp t d , tru

oe ea o ce a a o e as a o e p try br ks n g in int b ing , ﬂ w ring a o - ee a e F cca o a lm nd tr in gr y ebruary . O si n lly this is s o e e a o a e c as A Velhi ce do Padr e v n in l ng s tir , su h

E terno an d th e oo o ca a Patri a w e a e , in gl my p liti l pl y h v sudde nly a n obl e descripti o n of Portugal

C ampo s claro s d e milho m o go e trigo loiro ’ o a a ve r e is o a o em fructa o o H rt s rir , g n iv nd d ir , T rilos d e rouxin o es e o a a de a o a , r v d nd rinh s , N inh m a n e ermi inh os v edo s o b es os o d as etc . p , m nt s ,

B e a e an d e o co ( right ﬁ lds Of springing m iz y ll w rn , And a a e o c a of o e h ppy g rd ns , r h rds g ld n fruit , T h e o o f a e t h e o f a o s ng nighting l s , ﬂight sw ll ws ,

o e th e e e a e o n th e . D v s in vin s , h rmit g s hills )

Esp eci ally frequ e nt are th e se gleams of poetry in F i nis

Pa riw f r ll a o t o a e e c o . , its st rn d nun i ti ns This sh rt vo lum e is in fact th e real claim o f th e auth o r to b e co e e ea a o o e o e —A Mus a em nsid r d gr t , lth ugh th r v lum s

F eri as A Mar te de D om olio Os Sim les—co a e e a , f , p nt in s v r l e ce e x ll nt lyri cs .

2 2 4 STU DI ES I N PORTUGU ESE LITE RATU RE

All e o e e e c o e their myst ri us gold n y lids l s . Slowly fro m out th e night Acro ss th e sky th e hu e s o f dawn now creep ; An d s oo n fro m p ale t o ro se ’ Blushes at h eave n s kiss ’ Th e blue se re ne s unfath o mabl e abyss ; Whil e gleaming th ere afar h e m a Still Shin es t orning st r . Th e a e a l rk , its sist r f ir , ’ F e o ea e e o far li s up thr ugh h v n s blu , its s ng ringing , So c ea s o air l r, high in , h h a t e ee t e o a . Th t in sky , it s ms , m rning st r is singing )

Th e grim weirdn e ss of th e introdu cto ry lin e s o f

Fi nis Pa tr i ce ec e e a oe of th e a e o r urs in s v r l p ms s m w rk , ’ like th e old garde n e r s bell am o ng t h e m el o ns at mid

in Les Miser ables an d o a n o o e night , pr b bly th r living p oe t can convey s o p oignant a no te o f mise ry an d h f h e e a e a . w e a e t e e o t a d sp ir Thus h v lif p s nts , with

ﬁ reles s ea old a e e an d ac c oa h rths , m ttr ss s , bl k upb rds o ea s o a with ut br d , th t

and o to th e ea e are Old y ung rth th y bringing , An d th e e o o an d th e e o b lls t ll , t ll b lls t ll , ” And th e grave - digger is singing :

Na e e a a e e a a nx rg fri tr m m z s , No lar e o a a a a xtint f lt m br z s , a Nas arcas n egras n ao h a p o . E e a e o e e o nt rr m v lh s m nin s , Do a o s o o a o s o br m sin s , d br m sin s , ” C anta o cove iro .

’ Th e descripti o n o f th e workmen s l ot fo llows

A o m e e o a dor e a a f O fri , usur , O v1c10 e 0 ca m e IgnObI l sorte ! Oh vida n egra Oh v1da dura ! PORTU GU ESE POETS O F TO - DAY 2 2 5

De e co o a a e e a ? us , qu m ns l d sv ntur ” A M orte .

(In hunger an d co ld an d usury an d gri ef

And vice an d crime th ey sadly draw th e ir breath . T o life thus bl ack an d h ard beyo nd belief Is the re n o happiness t o bring reli e f ?

Death . )

Th at o f t h e ﬁshe rm e n give s an impressio n almost of t erro r th e angry s ea an d cries of distraught so rrow surge an d sway and mingle in th e rhythm o f th e ve rses

Mar de o e a m ar ue e e a t rm nt , q r b nt , Co nvulso m ar ! o e e a o e e a N it s int ir s , n it s int ir s , Nas praias tristes h a lareiras ” a r C o m m e s e n oivas a res a .

Sea o f e s ea o - o e e ( unr st , st rm ppr ss d , U nqui et s ea a e a e N ight ft r night , night ft r night , I n h om e s on thy sh o res be re ft of light

The re are m oth ers an d wives praying ceaselessly . )

’ E e o d e C a o oe e a of e a ug ni str s p try , unlik th t Gu rr e o M d a c a far e o e o Junqu ir , is rtiﬁ i l , r m v d fr m o f h e oe questions t present d ay . His ﬁrst p ms were ’ e 1 88 C an ées d A bril and C r stallisacées da publish d in 4, g y

Mor te and ce e ea e e ea h as ee th e , sin th n n rly v ry y r s n a e of a o e of e e co a o e dv nt tiny v lum his v rs s , nt ining m r

a a e a s o a th e ca a o e o f bl nk p g s th n print , th t full t l gu his 1 He e e wo rks is imp osing . began t o writ v rses alm o st

1 j esus cle N azareth Per umbr am Horas Tris tes Oaris tos Hor as S lva I nter luni o an d r os e B elkiss y , , (p ) Ti resi as an d S agramor S alome e outros p oemas and A N ereide de Har lem 0 Rei Galaor S audades do C eo C ons tanga D ep ois da Ceifa Poesi as escolhidas O melhor retrato de 1 5 2 2 6STUDI ES I N PO RTUGUESE LITERATU RE

e o h f h e an 6es b f re e could sp ell . S o m e o t p oe ms in C ! ’ d A bril a e 1 88 2 1 88 and 1 88 e e e at (d t d , 3, 4) w r writt n th e age o f ﬁfteen (a l ette r fro m J o ao d e Deus appeared as e ace and o e e e e ea oe oe pr f ) , s m tim s in th s rly p ms p try and rhyme and Sp elling are thrown to th e winds, as in th e lin es

o eis ue os a o e es bo o de Wateau sic Nist q l bi s s us , q [ ], ” 1 i l Um so rr so gent l d e m anso lh es p ol s on .

Euge nio de C astro is th e chief of th e Po rtuguese

Deca e a o ca e o h e - ea e d nts , ls ll d in P rtugal t cloud tr d rs ” ne heliba tas . e e are e e o a p His v rs s Oft n s nsu us , vibr ting

a o ut e are o e at h e a e e with p ssi n , th y ft n t s m tim clear cut c e e th e ec o of a eo e a , his ll d with pr isi n Th phil G uti e r . I n their Greek purity Of form and cold perfectio n th ey are

De narcis s os d e e e c e o o fes tao n v um h ir s ,

’ “ a a e of Salome e outr os oemas h a e e but , in phr s p , n v — q ue ince ndei a th e sn ow is so m etime s aﬁ re . We are not surprised whe n w e ﬁnd th at Euge nio d e C astro translates Gree k epigra ms an d also m a ny p oems of ns tan a Poema h e ea h en G oethe . In C o c ( ) t h vy deca a c e e o o o o e e th e syll bi lin s, with th ir m n t n us ndings , lik ’ o of a e co a eca o e of oe e t lling b ll , ntinu lly r ll th s G th s

I hi eni e p g ,

’ U nd auf dem U fe r st eh ich lange Tage Das La d e r ec e d er ee e c e nd Gri h n mit S l su h nd , j odo de Deus an d A S ombra do Q uadrante O A nnel de Poly cr ates A F onte do S aty ra e outros p oemas Poes ias de Goethe O F i lha Prodigo 1 ‘ “ A nth ero d e Q uen tal h ad i n th e s ixties r hymed ro ndO (r ondeau) with Watteau (A Carlos B audelai re in Pr i maveras Romanticas ) .

2 2 8 STU DIES I N PORTUGUESE LITERATU RE

Ao s ol a a co o s e a a a e brilh v , m rr st ss Ful idas co a d e a e a a a g t s rg ntin m lh , E do s eu crystal p uro e marulh a nt e a a a no ar d e a o em a o O S e S lt v m qu nd qu nd p ixe s , ’ Fa ca e o co o lin oas a o is nt s , viv s m g d g a Zumbi am ves p es sobre a s l aranj eiras C arrega das d e ﬂor as borboletas Eram pétal as soltas procurando A n cios is s imamente O S caules ve rdes ’ D o nde a brisa in co nst ante as arrancara Nas altas ram as pe rpassavam echo s ’ D embalado r ocea o e o ao o n , muit l nge O s om das ﬂaut as p as toraes uni a - s e ” a a s r irin h Ao b l r infantil d o co de os .

Ac o th e a A o e e a e e ( r ss gr ss , with pril fl w rs n m ll d , Fro m tim e t o tim e bl ue shadows lightly sp e d e o e Of birds r turning fr m th ir winte r exile . Be o th e e o a e l w , riv r fl wing pl intiv ly S o e th e as ea e ea S e h n in sun , sh th d in gl ming ilv r , o c a face e ea And fr m its ryst l sur fish s l pt , h e air as o e f Glittering in t living t ngu s o wate r .

a e a o e th e o e e o a e - t ee W sps humm d b v ﬂ w r d r ng r s , e e a e a o o And butt rﬂi s , str y p t ls , s ught l ngingly Th e gree n st e ms when ce t h e inconstant wind h ad

to rn the m . In th e high popl ar bran che s cam e an d we nt c oe o f ea an d a E h s murmuring s s , dist ntly ’ a e o ea a an d e e C m s und Of bl ting l mbs sh ph rds pip es . )

I n th e pre face t o Oaristos ( 1 890) C astro deplo red th e co o ace of o e o e e oe th e mm npl s m d rn P rtugu s p try , thin “ ” e o f e e th e F a c ca o e of n ss its th m s , r n is n p v rty its H h e . e was e e e e a to e c a e rhym s d t rmin d , s id , x h ng vulgarity fo r o rigin ality : Mo n verre e s t p etit mais je m n H h e bois dans o verre . e claim ed t o be t ﬁrst in P o rtugal t o free th e Alexandrin e fro m t h e tyranny o f PORTUG U ESE POETS O F TO - DAY 2 2 9

h ae a t o a a th e F e c r ondeau and t o o t e c sur , d pt r n h , intr duce alliterati o n and ra re rhym es rimas raras ruti ” n o a o Oar is tos e e e a n ot la tes . His inn v ti ns in w r p rh ps

o e of e a e th e ea e very happy . S m his lin s m k r d r wish

a e a o h ad ec o e th e o e e o e th t allit r ti n r r ss d P rtugu s fr nti r , while th e following tour de for ce is rather cleve r th an p oetical

Aco a F o meu co a ao e e em a e e rd , l r , r c fr m rd nt s De o liri s , ao- s e e s t rellando OS ceo azues a ﬂorentes V s , j rdins ” De l rios etc . y ,

Oth er poe ms in Oaristos are evidently due to th e

e ce of Ba e a e as ce a o e a o inﬂu n ud l ir , rt in th rs m ng his oe — c th e o e A S ombra do uadrante p ms g , s nn t in Q beginning :

Nao p eeo para mim Fo ram baldadas ” F a vas a s lic o u as e o . r m minh s p p , S nh r

Not for e as k : e e an d a ( mys lf I us l ss v in , e ll o e e a a e . L rd , th n w r my pr y r )

Th ere are lines in Oar is tos which are pure Baudelaire

‘ ’ o o uma ca a a ca 2 e a a oa S nh s br n b ir d g , um p almo De e e o o e eu cam es t remen t e ca o t rr n nd , p lm , a e rozaes e com oz es s e id lliO S Cultiv ss p y , C elebrando em abril O S alado s co ncili o s Das e a n o es t ellar a ca o das o e v sp s V ti n ﬂ r s , S ob um irideo ceo co lm ado d e fulgores ; o o co o 6 o e e a a a S nh ntig , n br p llid insubmiss , a a e e co o uma e a n ovi a P llid trist m ing nu q , S o nh o O grande t o rm ento am argo e delicio so ’ ’ De e o a e o o o o n um v rs imit r, n um v rs gl ri s , tua e a voz de acce n t o s o o e o A l nt , l ng s , l nt s , Voz s omn olen ta e a e c e a de a e o , l nt , h i l m nt s , 2 30 STU DI ES I N PORTUGUESE LITERATU RE

Voz s omn ole n ta ue é o e a ue m e en n ervas q , m r n q , ” C o mo O S lam entos dos arro Ios s ob as h e rva s .

’ (Of white h o use by th e wat e r s edge I drea m o o f a e e ca ca m And pl t l nd wh r , rusti lly l , m o e o an d r e I ight my r s s gr w idylls w it , ’ Singing in April o f th e wa sps winge d counc ils H eld in the ir sta r ry V ati ca n o f ﬂ o we rs

Be n eath a blu e sky ﬁlle d an d thrille d with light . ee eam o e an d a e a n d c e Of th I dr , n bl p l ru l , e e an d a e a s an e o o ce P nsiv p l ing nu us n vi , An d o f th e to rme nt bitte r - swe et I dream T o a e e e o o e e imit t in v rs , in w ndr us v rs , Th e o o acce o f a o ce l ng , sl w nts thy tr iling v i , o o e o o ce o f a e Thy s mn l nt , sl w v i full l m nts , o o e o ce a o n e a t ortu res t me S mn l nt v i , f ir th t ,

As pla intive vo ice of stre a ms b e n eath th e grass . )

But e Ba e a e o e e e o c e e ea e whil ud l ir , h w v r x ti , v r w v s his

e e as e e a o co o e o f o a an d v rs s it w r in s ft , ntinu us v il p l , ca o e e a oo a c of o s o a sts v r th m s thing m gi pium , th t e a e e a o k e th y vibr t gr yly in min r y ,

’ ” Le v o o é co e un c oe o afﬂi e i l n fr mit mm ur qu n g , th e rare wo rds in th e ve rse s of C astro som etim es seem to a out a e c e th e e ec o st nd littl lumsily, lik hug pr i us

o e o n e a e a —th e o o e fo r st n s so m n ci nt miss l f ll wing lin s , a ce of a o e e at B a 1 88 inst n , s nn t writt n i rritz in 9

Na e stufa l e ndo um livro d e bot ani ca Uma d as mao s a faga uma b egoni a C om a outra l ace ra um a tacsonia ”

e o a e e frI Ida t ramca e t c . N rv s m nt g , y ,

D e ois da C ei a an a e a of oe e e ee p f , ft rm th p ms writt n b tw n

1 8 an d 1 8 6 and e 1 0 1 and Sa ra mor 94 9 , publish d in 9 , g

C oimbr a 1 8 co a o e ﬁ n e oe . We ee ( , 9 5) nt in s m p try f l that in t h e int ensity o f these poe ms th e author h as

2 32 STUDI ES I N PO RTUGUESE LITERATU RE

th e e e are a e - e and of th e o ac as y s sh n gr y, f urth bl k , e e o f e Th f h are o e of y s gipsi s . e flowe rs o t e first r s h ue th e eco h as ca e e th e o e o f th e , s nd s rl t fl ow rs ; fl w rs a re o o e o f o o f th e o th e third bl wn fl w rs g ld , f urth o e ar An all f a a e fl w rs e silver . d o th em from h nds f ir r

a e o e o ca e a a and o e . th n th ir ﬂ w rs g s tt ring st rs , st rs l v )

Sa ramo r e o e and o a e a e g striv s , in l v g ld , in tr v ls , f m , o e e a o e a e to e ca e e e kn wl dg , f ith , l v Of N tur , s p his n my E nnui , but

0 Tedio cobre t odas as cousas . Nem s equ er uma s e n s acao nova ! ” Julgo ter Vl s to tudo O q ue vej o .

Th e a o o f a a a a o o o C a a ph nt ms S rd n p lus , S l m n , ligul , Ba e a e and a o e co th e ud l ir , m ny th rs , nﬁrm him in

o a a of a e all a an d a Opini n th t v nity v niti s , is v nity , th t Tedi o cannot be evaded ; an d the p oe m ends with th e offers of many vo ices

e e os a a o oce a e e P d m is r r s , d s pr z r s , e e s e r e e a e e s er rei ? Qu r s str ll , qu r s

a o e o e e o ue e e . V m s r sp nd , diz , q qu r s ” kne dar ss . S a r amor . a i a i en e and N o s e n o s e . S il c g , ( )

As k o fo r ea e th e a e e ( th u pl sur s r r st , divin st , W ouldst thou be king o r a star in th e Sky in o e a e e for a e o es t . C m , nsw r , t ll us , wh t th n th u p a r a m S o . r o n ot o n ot . g I kn w , kn w , I )

C o all a e c ea th e o h e uri usly, in his tt mpts t o h t h urs made no tri al o f tw o ve ry simpl e exp edi e nts : a sp ell o f

a a a a o o r a e to o a e h rd m nu l l b ur, r turn his rigin l sh p ’ h erd s st ate .

o e e oe e a not e e o A P rtugu s p t p rh ps v ry wid ly kn wn , ce a at ea out o f o a e e a d rt inly l st P rtug l , is T ix ir e PORTUGU ESE POETS O F TO - DAY 2 33

1 Pas coaes . He h as th e immense distinction in modern times of being a p oet wh o I S cont e nt t o feel th e poetry o f E arth an d H eave n without being haunted by th e fear that h e will be found deﬁc i ent in rhym e s an d m etres

f c e e e e H n su ﬁ i ntly clev r to xpr ss it . e do es ot strain at

o a for e oe an d e ce oe rigin lity ; him lif is p try , h n his p try

is living . Tho se w h o demand of p oets th at th eir works Sh ould be of polish e d m arble or a - glitt er with ge ms Sh ould beware of reading Te ixeira de Pas coaes tho se

wh o can a ec a e e oe th e oe of o ppr i t tru p try , p try W rds o and a Ba e of th e I mi tati o and th e w rth Willi m rn s ,

Fi oretti o a ea o e and e o , will pr b bly r d his p ms r turn t e th m with delight . I n his sadn ess an d saudade h e is

e o e e of o e a n d o o and ea v ry P rtugu s , singing l v s rr w d th , th e chi e f theme s of Portugu ese poetry sin ce th e time of King Diniz O Amor E ao d a D r e M a O a o e d a . irm , rt é irm a Vid

(For Love

o e o f o ow and Dea t o L e e . Is br th r S rr , th if is sist r )

In th e perfecti o n of fo rm in which this s adn ess at

e a e a e e e o h e e ca eo a tim s , lb it r r ly , ﬁnds xpr ssi n r lls L p rdi in his qui et lo ve of N ature an d of animals h e resembles h e S an I h H t p S poet G abri el y G alan . e live s in rem ote

a - O S - o e th e a e o f th e Ta e a far o Tr z M nt s , in v ll y m g , fr m cities an d Essa v1d a d e cega malq ao Entre as turbas v1v1da e n a C I dad e

1 oa uim ereir a Teixe ira e V con ell Hi s ﬁ rs b oo o f oems J q P d as c os . t k p w as S emp re foll ow ed by Terra p rohi bida j esus e Pan Para a Luz Vida E therea A s S ombra s A S enh ora da N oite M arci nos R egresso ao Paraiso 2 34 STU DI ES I N PO RTUGU ESE LITERATU RE an d th e qui et ch arm of streams and woods and misty o m untain Space s h as e ntere d into his soul . He h as woven a m agic w eb o f mists an d Sh adows till each Of his poe ms becom es

id llio d e o a o a é U m y s mbr s , muit l m , Nas distantes ﬂores t as

( An idyll m ade Of Shadows the re afar a o e I n dist nt f r sts) , and e e o e n o a a a a o v n l v is r di nt pp riti n , but

Amor q ue tudo vae an n uvian do . ’ h h (Love that in mist all things o ers adow et .)

His ow n spirit beco m es a sh adow in a world o f sh adows

S ombras q ue vej o em mim ” I E em tudo qu anto ex St e . em r e (S p . )

T e His philosophy is vaguely panth eistic . h Kingdom of ea e th e ea o f man and SO too th e H v n is in h rt , , , is o of E a G d e e and e e . o Kingd m rth is in v rything , v ry thing is one an d on e is everything

Por o s e e o ver- te iss , qu r , o as a e e as e e a Olh v s str ll s , As o a a e os oc e o m nt nh s r h d s , a ” C oraq o .

(To s ee my h eart I l ook o th e and a U p n birds st rs ,

U p on th e hills and rocks . )

(A s Sombras . )

man can a th e a nd a e co e In spirit st y sun st rs in th ir urs s , and transfo rm a sto n e into a se nti e nt thing :

2 36STU DIES I N PORTUGUESE LITERATU RE

Am u De o é a o a em a O te us ; ist , d r ti ” A creatura I deal q ue co n cebest e .

od our ow n c ea e and a o e (Our G is r tur , l n In my ow n wo rks can I believe : each man C an be a o e e e and God w rld Of t nd rn ss , I h e a e a o S S t e te rn l ﬂow r th t fr m it prings , o an d ee e and e to th e a Uph lds sw t ns , guid s it st rs ; e ec e e e o o Its p rf t d xpr ssi n , undying f rm

Proj ect ed thence int o inﬁnity . Lo e e God a a o e ee v th n thy , th t is , d r in th

Th e creature of thy dreams an d thy ideals . )

Th e chief de fect of Teixeira de Pas coaes is a co nstant Th tenden cy to diffuse ness . e philosophy whi ch see s no c o e ee o e and e Ea an d distin ti n b tw n st n ﬂ sh , rth

ea e ee to a e a ec e oe e H v n , s ms h v ff t d his p try , d priving

f a a it o Sharp divisi o ns and de ﬁnite shap e . It is ch r c teris tic that a so nnet in A s S ombr as ( Uma A ve e o Poeta)

- e e t o a o e of o o e ﬁft e . xt nds p m f ur s nn ts , y six lin s His o oe e ee ca o Mardnos ma be l ng p m in ight n nt s , y

' e e t o a e S a o a a mountain e lik n d gr y h d wl nd , mist , Oft n to e ea a e o of o e e e lifting r v l f ir r gi ns n bl v rs ,

altas serras coroadas De ne ve e de Sl len c10

( High m ountain - range s crowne d with Sil en ce and o with sn w) , an d o e do ceo ind eﬁ n ivel Os l ng s , Onde em s egredo e so mbra o s astros n as ce m

Va e a ce o f e e ec e and ( gu dist n s sky , wh r in s r t in S a o a are o h d w st rs b rn) , o r c a o e e e e now ryst llizing int xquisit singl lin s , limpidly c ea as a e now ea as a - l r running w t rs , gl ming sun glint PORTUGU ESE POETS O F TO - DAY 2 37

h e through t e mist . Th n his poetry is as in A s S ombras are th e so ngs of birds Meu canto é luz do s ol e m mi ﬁ lt rada V ou a a a e ca a c nt r nt a luz do ceo .

( My so ng is light of th e sun in me distilled ’ ’ o e and lo My s ng b gins tis heaven s light singing . )

e w e ea th e to th e Th n h r birds singing sun ,

O S ca co ao s ol dos a a o nti s p ss rinh s , and th e o a - a a e e a s ng Of h lf w k n d l rks , 6 C an9 e s d e cotovi as a do rmecidas .

o ce o a as th e o ce of h A v i s unds dist ntly , misty is v i t e s ea ,

e oe a co o a voz ue t em 0 mar N v nt m q , or e e th e e sh ph rds sing in whisp ring dusk,

As can cOes dos p egureiros ” E o s o o e e do cre us culo sussurr s d rm nt s p ,

’ e th e e e a e o wh n sh ph rd s st r brings in myst ri us night ,

A tarde qu ando a e strell a d o past o r e o m e m s erio Surge traze ndo a N o it c s us y t s .

th e at a ea e o f o Or mist d wn is thr d d with rifts g ld ,

’ e oa a e - a a o a a en o o N v d nt m nh m lh d ir ,

o o an d ee o o e till h riz n tr s gr w g ld n , e O h orizonte ’ ’

Uma o a a d oI rO e d o I rO as a o e . m nt nh , rv r s

e th e c o e a a e e th e e e Th n mist l s s in g in , r nd ring sh ph rds invisible E ra tao densa a n evoa e tao cerrada m l 1am Q ue os pasto res fall ando a s e v . 2 38 STU DIES I N PORTU G U ESE LITERATU RE

’ Th e poet h as Wo rdsworth s powe r o f giving vivid

e e t o a n d e an d e e th e o r li f things v gue a gr y ind ﬁnit , sl w m oti o n o f clouds h eavy with rain And with wh at ’ m oti o n m oved th e o r night s imm easurable Silence Q ue solidao q ue n o it e ! q ue Sile ncio

D o rmia sobre o s p in caros O vento . E ra quasi s en s ivel O gemido

DO luar sobre as arestas d os roch edos . Quasi s e ouvi a a no it e caminh ar ’ N um murmurio de so mbras e d e medos .

a o e a e ce of th e (Wh t s litud , wh t sil n night

Th - e wind upo n th e m o unt ain t o ps w as sleeping . An d o n e might alm o st feel upo n th e rocks ’ Th e oo a a ce an d ea m nlight s pl aintive r di n , h r m N ight o ving in a murmur o f fears an d Sh adows . )

’ Maranos th e a e of F a c co de e o a e is, in phr s r n is M ll , qui t ” oe o o th e oe th e p m p oem a qui et o . Thr ugh ut p m

ea e e e o f th e w a c o r d r is r mind d y in whi h , in W rds ’ o Pr elude o e ea u o - a e o r o w rth s , s m b utif l w rd im g th ught continu ally occurs t o beli e any feeling of wearin ess . I n s eve ral beautiful p assages (as in S emp r e an d A s S ombras ) th e p oet sings his h o m e a n d th e vall ey o f th e

Tam ega an d th e m o untains o f Traz - o s - M ontes

O a e das a a e o e a e a v ll s ud d s , nd t rr Idyllica d o Minh o s e t ra nsfo rma NO a cet o a co d a e a s ism gr niti s rr , No e legiaco drama transm ontan o th e - e e mist whit riv r , RIO Tam ega o a o e m a co n evoeI rO Tud mud d br n ,

a nd th e o e - e o of a - O S - o e br nz hu d s il Tr z M nt s ,

I N DEX To Q U OTATI O N S

A DORAE mon tan has ( Gil V ice n te) ’ A formos ura d es ta fres ca s er ra (C amoes ) A o ra e re ri n o v a o e rran e amoes g , p g , g t ( C ) A lma min ha gen til q ue te pa r tis t e ( C amoes ) ’ A mad é meu a migo ( K i n g D in i z ) A mai s fre mos a de quan tas v ej o A noite é fria e es c ur a ( E ugen io d e C as tro)

' m aAo fun do d es ta e ncos ta (Ega d e Q ueir o z) A quella cativa (Camoe s ) A que lla tris te e leda madr ugad a (Camoes ) 7 Aq uelle tod o d e Gon calo (Eca de Q ue iroz) A qui ja z p é (19 29 de D eus ) A ui s im o i n verno é i nv er n o T o ma z Rib eiro q , ( h ) A s s im como a b on in a q ue cor tad a (C a mbes ) A vida é 0 dia d e h oje (19 99 d e De us )

Baile mos a ora or D eus a ve lid as oh am orro g p , y (J Z ) B a le mos n OS a odas od as a ami as A r a s N un es y j t , t , y g ( y )

Cerra a serp ente os ouvid o s ( SA d e Mi r anda) C onhecias tu a D eos ? (Gil V i cen te )

D eixa me v er es te ceo (8 51 d e Mir an da ) Del r os a v en o mi mad re Gil V ice n e l g , ( t ) Di ades fi lh a min a fi lh a v e id a e ro M eo o g , h l (P g ) Di zia l a fremo s inh a (Affon s o Sanch e s ) Donde in de s fi lh a bra nca e color i d a ? Gil Vicen e V , ( t )

’ E IS a noite co m nuven s S es c urece (Camoes ) E m nome d e D eus q ue h e fon te e padre d amot (I nfan te Ped ro) E n lixb oa s o re 10 mar oh am orr o , b (J Z ) E r a as s im tin ha e s s e Olhar (Almeid a - Gar re tt) E re s por tug uez (Almeida - Garr e tt) 2 40 I N DEX To Q U OTATIONS 2 4 1 — E s pertos r egatinh os fugi am rindo (Eca de Q ueiroz ) E s torea mu excel en e R e Ru d e ina , y l t y ( y P )

Fi o oma es ffor o n o meu cora om lh , t c c

’ Homem d um SO par ecer (s é de Miranda) Hum amigo q ue eu h avi a (Gil V icen te) Hun tal ome s e eu 6b em a ada Kin Diniz h y , t lh ( g )

I nd a h oj e vemos q ue em Franca ( 8 51 de M iranda)

12 a vis ta p ouco a pouco s e d es terra (C amoes ) n o O e n n ve v es Jé. o l ar g c a o a ga am (Camo ) J ardim d a Europ a 2 beira - mar plantado (Th omaz Ribeiro)

Los mis tris tes oj os (8 a de Miranda)

’ ’ M adre c e ou meu ami O a ui tevam Fernandes , h g g j q (S ) M ar de ormen a mar ue r eb en a Guerr a un ueiro t t , q t ( J q ) M as nunca d eixara de s er formo s a (Diogo Bernard es ) Mas se o s eren o ceo me conced er a (C amoes) Mb a madre velyd a (K ing Din i z ) Muit os tamb em d o v ulgo vi l s em nome (C ambes )

N a enxerga fria t r emem a zas (Guerra J unqueir o)

' N50 br ilh a 0 s o] (J ozi o de D e us ) - N o p I ar v el ad o e cur t o dos p as s ar os (Eca d e Q ueir oz) ’ Nom c e ou mad r 0 meu ami o K in Di ni z h g , , g ( g ) Nom p od ee s s ervyr a D eus e ao mamon a

O cavalleiros d e Deus (Gil Vicen t e) O nos s o D eus é nos s a creatura (Tei xeira de Pas coaes) O prad o as ﬂores b ran cas e vermelh as (C amoes) O rio Le ca (Fran cis co de 52 de M enezes ) O s mais d os dias b em cedo (K ing Duar te) O s mogos d e b oa lynh agem (K ing D uar te) ” O u entao s eria outra exi s tencia ( Eca d e Q ueiroz)

Parou a ven tani a (Guerra J unqueiro) Pela rel va (E ugenio de C as tr o) Por es tes camp os s e m ﬁ m (8 51 d e Miran d a) Por is s o quer o fazer (Gil Vi cen te) Poys nos s as madres vam a Sam Simom (Pero Gomes Barr os o)

Q uando as almas s ao nov as (E ugenio de C as tro) Q uando vej o a mi nh a amada (19 59 de Deus) 2 42 I N DEX TO QU OTATI ON S

R emando vao remad ores (Gil Vi cente)

Sao e as b em s ei e s s as es rellas A meida - Garre b ll , O , t ( l tt) S en h or fremos a v ej o - v os que i xar (K ing Di n i z) S on h o uma cas a b ranca (E ugeni o de C as tro )

U n h a p as t or s e queixava

Ve o - v os ﬁ lh a tam d e cora om edro de V eer j , , c (P ) V ern alta noi te d e and ar (Gil Vicen te)

2 44 I N DEX

\ anch o A ras I F . C as p ( y ) , 5 as an eira onde de 8 ’ C t h , C , 5 l C h ris tovam V I I Fa cao ( ) , , 5 ll B ran co C amIllo C as te o ( ) , 57, ria M an oel Se v er im d e 1 1 W Fa ( ) , 4 , 1 2 1 8 - 2 0 2 3 , 9 1 1 1 1 1 1 1 6O 5, 7 , 4 , A n onio Fe ician o de C as tilho ( t ) , F ria e So us a M an oe 1 1 1 1 6 l a ( l) , 5, ,

E u en io d e 2 2 - 2 as r o ) , 5 3 in s 1 1 See C t ( g D o m o . ( g ) , 7 0 1 C as tro I n és d e 108 , 1 5 , 55, ( ) , E LV AS nd e Stevam 1 F ern a z ( ) , 7 \ as r o 9 59 d e vii ix 1 2 2 ! t (1 ) , , , F ern an do I n ante , f , 53 eles ti na L a 62 C , , r reira An onio 8 1 00 Fe ( t ) , 55, 9 , , ervan es Mi ue de 1 1 1 1 C t ( g l ) , 4 , 3 , 1 34 euill et O c ave 1 ( t ) , 99 M anoe in eiro 2 0 1 Ch a as h ) , e o Fideli no d e 1 g ( l P iguer d ( ) , 99 aucer Geo re 1 1 0 Ch ( ff y) , F I t zmaurice - K el ames X ly (J ) , VIII , h roni cas B reves 1 2 0 C , 4 , 4 N S ee S RE E LH Gl oelh o . S C b r G us ave 2 2 0 OA O O Flau e t ( t ) , 10001 An e o (30 ( g ) , 37 F rance A na o e 2 2 0 l ( t l ) , o on n a F amil o 8 C . y f , 5 n G us tav 2 0 l F r ens s e ) , 7 n an a I n anta 2 2 C o s t c , f , 7 r lli Mari e 2 0 C o e ( ) , 7 G nica do ondestabre 1 Cora C , 74 Gab riel Ga an os é Mar a 2 y ( l ) , 33 rre M anoe 1 1 1 1 1 1 l J C o a ( ) , 4 , 7 , 9 , l Gaia oh am d e (J ) , 9 1 43 Gama F amil o 1 1 8 , y f , in o Gon a o 8 2 Cout h ( c ) , l Gama au o d a 1 2 1 (P l ) , 5 , 57 ou o Dio o de 1 33 1 41 C t ( g ) , , 1 2 8 1 1 Gama V as co da) , , 44 , 53, s eeck ouren o 1 ( Cra b (L c ) , 43 C rawfurd 82 1 1 0 , edro An onio orrea ( P t C ) , D . L A meid B da 8 . . a ( . . l 1 0 1 J D an e , 9 2 , , t 5 93 1x 1 1 1 0 1 62 - 8 1 1 , 4 , 55, , 3, 9 D ar mea ed ro 2 0 (P ) , autier T eo i e 2 2 6 2 ( h ph l ) , , 39 D eni s S ee D Z . INI il V aas co 2 8 ‘ ( ) , D eus ozto d e 1 6 1 60 1 8 - (J ) , 4 , , 4 9 , D mi o de 1 2 2 oes ( a a ) , 54 , th o ann o an von oe e (J h W lfg g ) , i z K in o ortu al 1 1 Q u g f P g , 9 , 3, 5, 2 0 2 2 6 2 2 8 - 8 0 1 I , 5, , 7 , 3 , 4 , 4 , 1 0 2 , 4

D n is See D I NI z o . liO 2 2 - ) , 1 5 D uar e K in o ortu al viii 0 t , g f P g , , 3 , an de 1 2 1 8 2 0 (J oh ) , , , 6 - 3 . 4354 H . E .

Bann es d e A zurara Gomez Heine Heinric 2 02 ( ) , 54 ( h) , Eb rar d A mer ic 2 8 Henr i ue ardinal K in o ortu ( y q , C , g f P d e ueiro z os é M aria ix al 1 M Q (J ) , , g . 43 1 1 2 0 2 - 2 0 He nri ue I n ante 9 3, 9 4 , q , f , 9 7

Ed uar te See D U RTE Henri ues Aﬂo n s o . See A F F . A q ( ) ON Eli zab e S ain 2 8 I o or tu al th , t , SO . , f P g Elvas Stevam Fernandes 1 Henr ount 1 2 ( 7 y , C , , E ncina u l 66 r V o E n land an de 61 Hen . (J ) , , y , f g , 44 I N DEX 2 45

Henr rince the N avi ator 8 M a a da ueen 2 y , P , g , 4 f l , Q , eracli us 1 00 M anoe I o ortu al 0 H t , l . , f P g , 4 , 53, 57 , Hercul ano Alexan dre ix 1 6 8 60 6 8 1 02 1 0 1 2 1 V ( ) , , 5, 5 , 59 , , 3, 4 , , 3, , 1 8 1 3 2 4 - 1 55 Her edia Os é M aria d e 1 M an ri ue or e 62 1 02 (J ) , 95 q (J g ) , , Hob es T omas 1 6 M arcab rus 2 b ( h ) , 9 , Home r 88 1 0 M aria I n anta , , 5 , f , 59 Horace 8 8 1 2 1 1 0 1 6 M ari a ueen onsort o Manoel I , , 9 , 9 , , 9 , Q , C f Hu o Vi c or 1 8 2 2 2 8 g ( t ) , 7, , 5 M ari z edro d e 1 1 1 1 1 1 8 (P ) , 4 , 7 , Humb o d A exander von 1 l t ( l ) , 53 Mello Fr an cis co M anoe de vi i1 ( l ) , , I . i x 0 1 2 2 2 8 , 5 , , 3 M en d e z lv R dri o 2 de Si a ( o g ) , 5 I s a el ueen onsort o K in b , Q , C f g M en en dez ela o M arcel I n o Di ni z 2 y P y ( ) , , 8 I s ab el ueen onsor t o M ane I , Q , C f M eo o ero 1 2 g ) , 58 (P t Michaeh s d e V a s concellos (C aro . J a v i vii xii 2 6 8 1 ) , , , , 3, 39 , 3, , eanro A red 6 2 J y ( lf ) , , 9 , 7 oao I n ante 8 1 02 1 1 2 1 2 M ic ele ul es 2 02 J , f , 9 , 99 , , , 3, h t (J ) , 1 2 6 Mi 1 2 0 ckl e (W .

oao I . o ortu al 0 M on aci E rn es o 2 8 J , f P g , 4 , 47 , 49 ( t ) , 5, 5, 3

oao I I I . o ortu al 8 6 66 M on eb ell o M ar uez de J , f P g , 5 , 5, , t , q , 9 7 8 86 8 1 0 M on ema or or e d e 8 2 8 5, , 7 , 9 7 , 4 t y (J g ) , , 9 oh am o rar M o raes C h ris tovam Alao de 6 J , J g , 35 ( ) , 5 M usse A red de 1 t ( lf ) , 95

K . N K ausler E von . ( . K. ) , 33 N a o eon 1 6 p , 3 L l . Noron a An onio de 1 2 1 2 h ( t ) , 3, 4 , La F ontain e ean d e 1 1 0 (J ) , n 1 Lamar ine Al ons e de 1 Nu es A ras , 2 , 2 2 t ( ph ) , 9 1 ( y ) an e H Nunes D uar e 1 L ( . 5 ( t ) , 37 , 4 ' Lazari llo de Tormes , 79

Leonor ueen onsort o K in O . , Q , C f g Duarte , 43, 44 ' cem Manoe ereira de 1 2 O ( ) , 4 Leonor ueen onsort o o l P , Q , C do I I f j liveira M ar ins 1 61 1 2 O t ( . , 9 , 58 J 1 93 Le o ardi Giacomo ount p ( ) , C , 2 33 r GarcI a a 1 2 O a d ) , 3 o es Fer nao t ( L p ( ) , 54 Lo es de M oura ae ano p (C t ) , 38 Louren o o rar 1 1 P . g , j g , Luiz I n ante , f , 9 7 a aci o V aldés Armando 2 2 0 P l ( ) , ’ ardo Razatn Emili a 1 8 M P ( ), 9 . Pas coaes Teixeira d e S ee ( ) , M acedo Anna de 1 1 1 1 8 1 1 TE XE R DE V C C E LL ( ) , 7 , , 9 , I I A AS ON OS 1 2 0 Pedro onde de B arcellos 6 , C , 7 , 3 M ac ado d e A zevedo Manoe 2 h ( l) , 4 , 43 edro onstable o ortu al P , C f P g , 4 2 46 I N DEX

edro I n ante Sa u osa onde de 6 P , f , 49 b g , C , 5 ereda os é Maria d e 1 8 2 0 S anc es Affons o 1 (J ) , 9 , 5, h ) , 4 “P “ 2 16 S an c ez Tomas An onio 2 h l t ) , 5 ereira An onio 1 0 8 1 0 Sanc o I I I o ortu al 2 P ( t ) , , 9 h . , f P g , 7 ’ ereira Nun Alv ares 1 San nazaro aco o 8 P ( ) , 9 7 , 74 (J p ) , 5 e rarca F r ances co 1 S an arem Vi sconde de P t ( ) 45 t , , 43 ili I I o S ain 1 0 1 San i an a Mar ui s de x 111 2 Ph p . , f p , 4 , 44 t ll , q , , 4 , 5, ili a ueen onsort o oao I Ph pp , Q , C f j 8 S e as ian K in o ortu al 102 4 b t , g f P g , , i n a R u d e 8 P ( y ) . 44 . 47. 4 . 53. 54 ’ PI res d e amoes Vas co 1 1 ev11h a Pedr Ami o d e 1 C ( ) , 9 ( g ) , 5 Poe E d ar A an 2 0 2 Silva E i h anio d a ( g ll ) , ( p p ) , 5 o mb al Mar uez de 1 8 2 S oares oel o oh am 1 16 P , q , C h (J ) , 9 , 5, on e er o d a I O oar es M ar im 2 P t (P ) , 7 , ( t ) , 3 ’ or u a M an oel de V I I x 8 So az Ped r A nes 8 P t g l ( ) , , , 9 , l ( ) , 1 4 7 res a e Ed ar i x xii xiii S or c il elm 8 1 1 1 1 6 P t g ( g ) , , , , 57 , t k (W h ) , , 5, , 1 6 1 1 2 1 1 3. 75, 9 3.

S uar ar es Q . t t (Ch l ) , 37

uen a Anth ero de 1 1 - 2 2 1 \/ t l ( ) , 9 7, , Q T . 2 2 uixote Don 8 2 0 1 Tare a I n anta 1 Q , , , j , f , T as s o Tor ua o 1 2 1 ( q t ) , 5 , 53 R Teixeira de V as concello s oa . (J r i ra Pa ' quim er ei a Tei xe de s Rama o O rti o o s é Duar e P ) [ lh ga (J t ) , coaes x 2 - ], , 339 Ten Mem R dri ues o ro o g , 19 R a mond ount 1 y ( ) y C , , To s oi eo 2 0 t ( L ) , 3 R ed on do onde de 1 1 1 2 l , C , 3 , 3 T rne l Nuno Fernandez 1 o o ) , 3 Res ende André Fa cao de 6 ( ( l ) , 5, s U Res ende Garcia d e 6 66 ' ( ) , 33, 5, , 8 1 0 Ulh oa oh am Lo es de 1 0 (J p ) ,

1 8 73, 4 rraca I n anta 1 1 U , f , T omaz 1 8 - 1 2 00 M e sa ( h ) . 3. 9 9 . .

2 2 1 V . Rodrigues Lobo (Fr ancis co v 11 alera uan 1 8 Ruiz uan A rch ri es t o Hita (J ) , 34 , 9 (J ) , p , V ar n a en F 8 h g ( . 37, 3 47 1 79 V az de C amoes Antao 18 S ( ) , I . V az d e C ambe s (19 39 ) 1 1 8 m e s é Anna d e 1 1 6 1 1 1 2 0 1 0 V az de a o s ui s de . See ( ) , , 9 , , 4 C (L ) Sir Go n a o M en d es d e 1 0 1 MOE U DE ( c l ) , CA S ( L IS ) s e Hi eron mo d e 8 V a z de amoe s Simao 1 16 1 1 8 ( y ) , 9 C ( ) , , s é M e m d e 8 8 1 0 1 1 0 V a z d e Gama Guio mar 1 1 8 ( ) , , 4 , ( ) , Sat de M enezes Fran cisco d e xi V e er ed ro d e 1 ( ) , (P ) , 7 V S a d e M iran d a Fran cis co d e V e a Garci as o d e la 8 8 8 ( ) , g , ( l ) , , 9 , vi i x xiii 6 0 6 . 35. 3 , 5 5. 8 1 - 1 1 1 1 1 1 8 V e a Lo e Félix d e 2 1 1 1 3, 4, 9 , 4 g ( p ) , 5, 79 , 4

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