Page:Encyclopædia Britannica, Ninth Edition, v. 19.djvu/579

Rh LITERATURE.] PORTUGAL 557 by Coelho Rebello in A Musa cntretenida dc varies Entrcmescs (Coimbra, 1658). R In prose the imitations of Amadis of Gaul were followed by the m.ces, school of the Palmeirims, which originated in the romance of m chivalry Palmeirim d Inglaterra. The tirst and second parts of this work were probably by the Spaniard Hurtado, and were only trans lated by Francisco de Moraes (d. 1572) ; the third and fourth parts were written by Diogo Fernand.es (c. 1580), and the fifth and sixth by Balthasar Gonjalves Lobato (c. 1600). But Moraes, though thus missing the honour of being an originator, was probably the author of the scarcely less celebrated Palmeirim de Oliva. The Livro de Cavallaria by Ferniio Lopes da Castanheda (d. 1559), the Chronica do Emperador Clarimundo by Joao de Barros (1496-1570), several works by Francisco Rodrigues Lobo (c. 1600), and the Chronica do famoso Principe, D. Clarisol de Bretanha (1602) by B. G. Lobato are of a similar character. The pastoral novel originated in the Menina e Moc/t by Bernardim Ribeiro, a composition in prose and verse which gave rise through its imitation in Spanish by Jorge de Monte Mor (d. 1561) to the school of the Dianas. This style was in its turn imitated in Portuguese by Fernao Alvares do Oriente (I). 1540) ie Lusitania Transformada, and among other examples maybe noted the Ribciras do Mondcgo (1623) by Eloi de Sa Sotomaior, and the Primavera, Pastor Peregrino, and Dcsenganado (1601) by F. R. Lobo. The last-named was also the author of the more meritorious Cortcna Aldea, a sort of Friends in Council, which was afterwards imitated in the Scrdo -politico by Felix da Costanheira Turacem, the nom-dc-plume of Lucas de St Catherina (1660-1740). To the pastoral novel succeeded the allegories, of which Grand Cyprus, Clelia, and Astrea are the best examples. The Inquisition, how ever, laid its ban upon them when they showed mystical tendencies, as in the Pe dc JKosa Fragrante, Cerva Branca, &c. ; but an adapta tion of the Pilgrim s Progress was published by the inquisitor Alexandra de Gusniao (1629-1724), with a view to proving the efficacy of infant baptism, which was certainly not the intention of Buiiyan. The Dccamcronic tales took the form in this period of the Contos e Historias de Proveito e Exemplo (1589) by Gonealo Fernandes Trancoso, the Infortunios tragicos da constante Florinda (1625) by Caspar Pires de Rebello, and the Allivio de Tristcs (1672), Retiro de Cuidados (1681), a,&amp;lt;.Roda da For tuna (1 69 2) l&amp;gt;y Mattheus Hbry. Ribeiro. Tli3 pride in the national greatness which found poetical expression in the epic also caused the rise of a great school of historians. The older royal chroniclers were followed by Garcia de Resende (1470-1554), Christovao Rodrigues Acenheiro (b. 1474), and Dainiao de Goes (1 501-1573). Their chronicles are graphic and interesting, though inferior in style to the works of their successor, who was the most brilliant early historian Portugal can boast. This was Joao de Barros (1496-1570), author of the Conquest of the Indies, which was afterwards continued in the Asia Portugueza by Manuel de Faria e Sousa (1590-1649), a learned and facile writer, from whose pen are also the Europa, Africa, and America Portugueza, a Commentary on Camoens, and numerous other works. The style of Barros is both elegant and energetic, and the criticism and accuracy which he displays make him still an authority of the first rank. The next greatest historian after Barros was the monk Bernardo de Brito (1569-1617), author of Monarchia Lusitana, of which there is a continuation by Antonio Brandao (1584-1637), and of the Chronicles of the Cistercians and of D. Sebastido. The elegant Latinist and best antiquary of the 16th century, Andre de Resende (1498-1573), whose talents were recognized by Erasmus, produced the De antiquitatibus Lusitanise and the Life of the Infante D. Duarte ; and the History of the Discovery and Conquest of India by Fernao Lopes de Castanheda (d. 1559), the Chronicles of D. Sebastido by Bernardo da Cruz (1530-1586) and by Manuel de Menezes (d. 1628), the Life of D. Joao de Castro by Jacinto Freire de Andrade (1597- 1657), which is still the type of perfect biography, the Chronicles of Scanderbeg and D. John III. by Francisco de Andrade (1540-1614), the Commentaries of Affonso d Albuquerque (1500-1580), compiled by his son, and the works of Diogo do Couto (1542-1616) and Duarte Nunes do Leao (d. 1608) supply a mass of interesting historical material. To Antonio Barbosa Bacellar (1610-1663) is due an account of the Siege and Capture of Recife ; and the True Account of Prestcr John (1540) by Francisco Alvares, the Travels in China, Tartary, &c., of Fernao Mendes Pinto (1509-1580), and in Persia (1610) of Pedro Teixeira, the account of the Mission of Aleixo de Menezes to the Christians of S. Thomas by Antonio de Gouvea (d. 1628), and the History of Tangier by Fernando de Menezes (1614-1699) are all classical works and full of interest. Among tehous religious works may be mentioned those of Diogo de Paiva de A01 *. Andrade (1528-1575) and of Diogo de Gouvea (d. 1576), the Com mentaries of the Hebrew scholar Jeronymo de Azambuja (1520-1565), the Life of S. Francis Xavier by Joao de Lucena (1550-1600), the Commentaries on the Minor Prophets by Bernardo de Brito (1569- 1617), the Lives of S. Dominic and other saints by Luis de Sousa (1555-1632), the Agiologio Lusitano by Jorge Cardoso (1616-1669), the Sermons of the great preachers Caspar Pires de Rebello (c. 1625) and Antonio Vieira (1608-1697), the Clavis Prophetarum of the last-named, and the works of Bartholomeu do Quental (1626-1698), founder of the Portuguese branch of the Oratorians. The scientific Scientific writers of the period are not numerous, being represented chiefly by writers, the cosmographer Pedro Nunes (1492-1577), one of the greatest ma thematicians of his time, Estevao Rodrigues de Castro (1559-1637), author of a Commentary on Hippocrates and various other medical works, and the astronomer Manuel Boccarro Francez (1588-1662). 18th Century. During the preceding century there had been Eight- founded in imitation of the Italians numerous &quot; arcadias &quot; or literary eenth clubs under fantastic titles, such as &quot; Ambientes,&quot; &quot; Solitaries,&quot; &c. century. Their influence was insignificant, and their existence would call for no remark were they not the forerunners of the academies, which during the 18th century saved Portuguese literature from total extinction. In the year 1714 was founded the Lisbon Royal Academy of Sciences, which was succeeded by the Portuguese Academy, whose first president was the learned historian Francisco Xavier de Menezes, count of Ericeira (1673-1743), author of the epic Hcnriqucida. His numerous translations of the works of Boileau and other French writers had considerable influence on Portuguese literature, and the founding in 1757 of the &quot;Arcadia dc Lisboa,&quot; in which the great minister the marquis of Pombal was supreme, led to a wider spread of the teachings of the Encyclo paedists. The arcadia ceased to exist in 1774, but was followed in 1779 by the Royal Academy of Sciences, founded by the duke of Lafoes, and by the &quot;Nova Arcadia,&quot; which flourished between 1790 and 1806. As regards poetry these academies were little more than manufactories of verse, the only lyric poets of the early part of the century being Thomas Pinto Brandao (1664-1743) and Antonio de Lima Barros Pereira (b. 1687) ; but their members, though wanting in poetical originality, showed considerable industry in historical research. The Bibliotheca Lusitana by Diogo Barbosa Machado (1682-1772) is a complete biographical dictionary of the Peninsula, and the Life of the Infante D. Henrique by Francisco Jose Freire (1719-1773) and the General History of Portugal by Dainiao Antonio de Lemos (1715-1789) are standard works, while the Mcmorias dc Littcratura of the Royal Academy of Sciences contains much infor mation about the literature of the 16th and 17th centuries. But the real founder of scientific history in Portugal, as opposed to mere collections of legends and traditions, was Joao Pedro Ribeiro (1759- 1839), whose Researches in Portuguese Chronology show an historical scepticism far in advance of his age. To the same group of workers for the academy in the historical department belong Francisco de St Luis, cardinal-archbishop of Lisbon (1766-1845), Francisco Manuel Trigoso (1777-1838), and Jose Francisco Correa da Serra (1750-1823), who edited the Early Portuguese Chronicles. In the latter half of this century a revival in poetry also took place, and the works of Antonio Diniz da Cruz e Silva (1731-1800), author of Hysso]&amp;gt;e, acquired for him the title of the Portuguese Boileau. &quot;With him were associated Pedro Antonio Correa Gai^ao (1724-1772), author of the comedy Asscmblea and the Cantata de Dido, Domingos dos Reis Quita (1728-1770), the best pastoral poet of the period, and the Brazilian Claudio Manuel da Costa (1729-1789). But to Francisco Manuel do Nascimento (1734-1819), who wrote under the nom-de- plume of Filinto Elysio, must be assigned the honour of being the reviver of letters in Portugal, not only by his elegant lyric poems but more especially by his miscellaneous writings and by his opposition to foreign imitations. His school of &quot; Filintists &quot; found rivals in the &quot;Elmanists&quot; led by Manuel Maria de Barbosa du Bocage (1766-1806), who, though less original than Nascimento, had perhaps greater influence. His poetical works are numerous, and he was, besides, the author of three tragedies, Viriatus, Affonso Henriques, and Vasco de Gama, which had some success. The poems of Antonio Ribeiro dos Sanctos (1745-1818), the satires of Nicolau Tolentino de Almeida (1741-1811), and the sonnets of Paulino Antonio Cabral de Vasconcellos (b. 1720) are all reckoned among the good work of the 18th century. But the best as well as the last work of this school is the epic Oriente (1814) by Jose Agostinho de Macedo (1761-1831), whose contemporary, Jose Anastasio da Cunha, was condemned by the Inquisition for the heresy contained in his Orac,do Universal. The tragedies Osmia, by Catharina de Sousa, countess of Vimieiro (1749-1824), and Nova Castro, by Joao Baptista Gomes (d. 1803), call for especial notice, as do the vaude villes Don Quixote and Esopaida by Antonio Jose da Silva (1705- 1739), while the national taste further showed itself in the favourable reception given to the comedies of his successor, Alexandre Antonio de Lima (b. 1699). 19th Century. The political troubles of 1820 led to the expatria- Modern tion of Joao Baptista de Almeida Garrett (Jonio Duriense) (1799- verse. 1854) and Alexandre Herculano (1810-1879), and the retreat to a monastery of Antonio Feliciano de Castilho (Memnide Egynense) (1800-1875). The first two were followers of Nascimento, the last of Bocage ; but, while the enforced studies of Castilho only increased his classicist proclivities, the exile of Garrett and Herculano brought them into contact with romanticism. The effects are seen in Garrett s D. Branca, Joao Mini-mo, and Flores sem Fructo, and later on in his most famous work, the Folhas Cahidas. R. A. de Bulhao Pato, F. Gomes de Amorim, and E. Vidal have also written in the same style, but their poems have a less truthful ring than