Chapter D: JOANA DA GAMA (†1568), a nun of noble birth who directed a small (3)

The best-known work of the learned son of a Lisbon blacksmith who became the first Bishop of Beja and Archbishop of Evora, MANUEL DO CENACULO VILLAS-BOAS (1724-1814), is his _Cuidados Litterarios_ (1791). THEODORO DE ALMEIDA (1722-1804), an erudite and voluminous writer, one of the original members of the Academy of Sciences, was more ambitious. In _O Feliz Independente do Mundo e da Fortuna_ in twenty-four books (3 vols., 1779), he took Fénelon’s _Télémaque_ for his model and sought to combine the gall of instruction with the honey of entertainment. He wrote it first (_uma boa parte_) in rhyme, then turned to blank verse, but, still dissatisfied, finally adopted prose, taking care, however, he says, that it should not degenerate into a novel. The book had a wide vogue, but is quite unreadable. One may be thankful that it was not written in verse like that of his _Lisboa Destruida_ (1803), an account of the earthquake of 1755, with sundry moralizings in six cantos of _oitavas_, of which a Portuguese critic has said that the author, in an excess of Christian humility, resolved to mortify his pride of learning by making himself ridiculous to posterity in verse. A flickering interest enlivens the _Cartas Familiares_ (1741, 2) of FRANCISCO XAVIER DE OLIVEIRA (1702-83). Their subjects are various: love, literature, witchcraft, and even the relation of a man’s character to the ribbon on his hat. The author gave up a diplomatic career, perhaps on account of his Protestant tendencies, and went to Holland (1740) and England (1744), where he publicly abjured Roman Catholicism (1746). After the Lisbon earthquake of 1755 he addressed a pamphlet in French to the King of Portugal, exhorting him to mend his ways; to become Protestant with all his subjects and abolish the Inquisition. He was duly burnt in effigy at Lisbon (1761), but died quietly at Hackney twenty-two years later. The letters of ALEXANDRE DE GUSMÃO (1695-1753), born at Santos in Brazil, have not been collected; those of the remarkable Portuguese Jew of Penamacor, ANTONIO NUNES RIBEIRO SANCHES (1699-1783), physician to the Empress Catherine II of Russia, _Cartas sobre a Educação da Mocidade_, appeared in 1760 at Cologne. The _Cartas Curiosas_ (1878) of the Abbade ANTONIO DA COSTA (1714-_c._ 1780) consist of thirteen letters written from Rome and Vienna from 1750 to 1780, mainly on the subject of music. The century was not rich in memoirs. The _Miscellaneas_ of D. JOÃO DE S. JOSEPH QUEIROZ (1711-64) contain some interesting and amusing anecdotes. He speaks of the _Memorias Genealogicas_ of Alão de Moraes and of the general discredit of genealogists, and attributes Mello’s imprisonment to his polite acquiescence in the suggestions of the Condessa de Villa Nova, made at the instigation of King João IV: _para lisongea-la disse que seguiria o partido de Castella_. But without seeing the manuscript it is impossible not to suspect that there is as much of Camillo Castello Branco as of the Bishop of Grão-Para in the _Memorias_ (1868), which he was the first to publish.

FOOTNOTES:

[629] _Lettere Familiari_, No. 30.

[630] Or _Arcadia Lusitana_. For a list of its members see T. Braga, _A Arcadia Lusitana_ (1899), pp. 210-29; for its statutes, ibid., pp. 189-205.

[631] Debt might seem a more probable cause, were it not for the apparent rigour of his confinement.

[632] _A sua alma conversava com Bernardes e Ferreira_, says his friend Tolentino, who advises another _cabelleireiro_ poet to cease writing verses, since _vale mais que cem sonetos a peior penteadura_. The _Arte de Furtar_ mentions a barber who sank still lower, since he left his profession in order to cut purses. The modern writer Antonio Francisco Barata (1836-1910) likewise began life as a poor hairdresser at Coimbra.

[633] Cf. _Ecloga_ 1. Dorindo to Alcino (_Alcino Mycenio_ was Quita’s Arcadian name):

E tu és dos pastores mais famosos
No cantar de improviso o verso brando.

[634] i. e. the military governor of a district, with rank next to that of _Capitão Môr_.

[635] This Arcadian name was given to him by the Marquesa de Alorna, although he did not properly belong to the _Arcadia_, being, like Tolentino, one of the _dissidentes_.

[636] = fishwife; literally ‘woman of Ovar’, a small sea-town between Aveiro and Oporto.

[637] Sá do Miranda, he says, _em quem das doces quintilhas Sómente a rima aprendi.... Falta-me arte e natureza, Mas pude delle imitar A verdadeira singeleza._

[638] The sky is _a estellifera morada_ (the starry abode), birds _o plumoso aereo bando_, bees _mordazes enxames voadores_, &c.

[639] Menéndez y Pelayo (_Antología_, tom. xiii (1908), p. 377) calls him _el poeta de más condiciones nativas que ha producido Portugal después de Camoens_, ‘the most indigenous Portuguese poet since Camões’, and elsewhere gives the highest praise to his sonnets.

[640] His modern editor, Visconde (Julio) de Castilho, has shown that the additional surname de Vasconcellos was bestowed on him gratuitously.

[641] The _Couvade_ (ii. 62) is also described by Henrique Diaz, _Naufragio da Nao S. Paulo_, 1904 ed., p. 25, and Pero de Magalhães Gandavo, _Historia da Provincia Sancta Cruz_ (1576), cap. 10.

[642] His works in the _Dicc. Bibliog._ go from J. 2163 to J. 2475. Many are, however, single odes, sermons, &c. Other eighteenth-century sermons worth reading are those of the learned Franciscan Frei Sebastião de Santo Antonio: _Sermões_, 2 vols. (1779, 84).

[643] Superficially, at least, more than Manuel Caetano de Sousa (1658-1734) he deserves to be called a _varão encyclopedico_.

[644] He admires Cicero--not only as philosopher and orator but as a ‘sublime poet’! (_O Homem_ (1815), p. 98)--and Seneca, calls Petrarca immortal, Tasso incomparable, and is generous in his appreciation of English writers. At about the same time John Keats, as Petrarca five centuries earlier, was also reading Homer in translation, but in a somewhat different spirit.

[645] _Newton, Proemio._

[646] In the second edition (1827) he says that this poem, in twelve cantos and about 1,000 _oitavas_, written with ‘more fire and a purer light’ than those of Camões, had cost him ‘nine years of assiduous application’.

[647] Macedo called Bocage _fanfarrão glosador_, and much abuse of the same kind varied the monotony of _elogio mutuo_.

[648] Such woodenness was unlikely to appreciate El Greco’s pictures. In the preface to his _Agriparia_ (_Theatro_, vol. v, 1804) he speaks of _a extravagancia do vaidoso Domenico_, herein following Faria e Sousa, who calls Theotocopuli the Góngora of painters and adds: _Pero vale más una llaneza del Ticiano que todas sus extravagancias juntas por mas que ingeniosas_ (_Fuente de Aganipe Prólogo_, § 37).

[649] Arnaldo Gama, _Um motim ha cem annos_, 3ᵃ ed. (1896), p. 35.

[650] _Theatro Comico Portuguez_, 4 vols. (1759-90), vol. iii.

[651] Ibid., vol. i.

[652] Ibid., vol. ii.

[653] Innocencio da Silva, _Dicc. Bibliog._ vi. 275-85; xvii. 91-3, gives 217 titles.

[654] Now _Academia das Sciencias de Lisboa_, but it is found convenient to retain the original title in order to distinguish it from a more recent (private) institution, the _Academia das Sciencias de Portugal_.

VI

1816-1910

§ 1

_The Romantic School_

In Portugal the first quarter of the nineteenth century was filled with violence and unrest. The French invasion and years of fighting on Portuguese soil were followed by a series of revolutions and civil wars. It seemed as if a more general earthquake had come to complete the ruin of 1755, against which Lisbon had so finely re-acted. The historian who attempts to record the conflicts between Miguelists and Constitutionalists, and the miserable political intrigues which accompanied the ultimate victory of the latter, must waver disconsolately between tragedy and farce. But horrible and pitiful as were many of these events, they succeeded in awakening what had seemed a dead nation to a new life. The introduction of the parliamentary system called into being eloquent orators, and, more valuable than much eloquence, the conviction sprang up, partly under foreign influence, partly through love of the soil, deepened by persecution and banishment, that literature might have a closer relation to earth and life than a philological Filintian ode. Returning exiles brought fresh ideas into the country, and the two men who dominated Portuguese literature in the first half of the century had both learnt much from their enforced sojourn abroad. ALMEIDA GARRETT (1799-1854), one of the strangest and most picturesque figures in literature, was born at Oporto, but spent his boyhood in the Azores (Ilha Terceira), where his uncles, especially the Bishop of Angra, gave him a classical education and destined him for the priesthood. He, however, preferred to study law at Coimbra (1816-21). Here politics were in the air and he soon made himself conspicuous as a Liberal. The fall of the Constitution drove him into exile (1823) in England (near Edgbaston and in London), and France (Havre and Paris), and for the next thirty years politics remained one of his ruling passions. His first great opportunity for rhetorical display was his defence in the law-courts against the charge of impiety incurred by the publication of his poem _O Retrato de Venus_ (1821), although even before going to Coimbra he is said to have preached to a church full of people. He was able to return to Portugal in 1826, and edited _O Chronista_ and _O Portuguez_, which evoked Macedo’s wrath and ended in Garrett’s imprisonment. When Dom Miguel returned from Brazil and, instead of ‘signing the paper’ (the famous _Carta_ of 1826), had himself declared absolute king (1828) Garrett again became an exile, chiefly in London, and did not return to his country till July 1832, when he landed as a private soldier at Mindello, one of the famous 7,500 who fought for King Pedro and his daughter, Maria da Gloria. His zeal and outspokenness rendering him an uncomfortable colleague at Lisbon, he fared rather badly in the ignoble scramble for office which followed the triumph of the cause. He was sent first on a mission to London and then as _chargé d’affaires_ to Brussels (1834-6). The diplomatic service was in many ways congenial to his character, but his enemies made the mistake of slighting and neglecting him, and, refusing the post of Minister at Copenhagen, he returned to Portugal and helped to bring about the Revolution of September 1836. But his life is the whole history of the time: enough to say that for the next fifteen years his activities in politics and literature were unceasing. In a hundred ways he showed his versatility and energy. He served on many commissions, was appointed Inspector of Theatres (1836), _Cronista Môr_ (1838), elected deputy (1837), raised to the House of Peers (1852). As journalist, founder and editor of several short-lived newspapers, as a stylist and master of prose, his country’s chief lyric poet in the first half of the nineteenth century (coming as a fire to light the dry sticks of the eighteenth-century poetry) and greatest dramatist since the sixteenth; as politician and one of the most eloquent of all Portugal’s orators, an enthusiastic if unscientific folk-lorist,[655] a novelist, critic, diplomatist, soldier, jurist and judge, Garrett played many parts and with success. This patriot who did not despair of his country, this marvellous dandy who seemed to bestow as much thought on the cut of a coat as on the fashioning of a constitution, and who refused to grow old, preferring to incur ridicule as a _velho namorado_ (his love intrigues ended only with his life and he wrote his most passionate lyrics when he was over fifty), this artist in life and literature, lover of old furniture and old traditions, this lovable, ridiculous, human Garrett, whom his countrymen called divine, can still alternately charm and repel us as he scandalized and fascinated his contemporaries. His motives were often curiously mixed. His immeasurable peacock vanity as well as his generosity prompted him to champion weak causes and assist obscure persons. A man of high ideals and an essential honesty, he only rarely deviated into truth in matters concerning himself. When past fifty he was still ‘forty-six’ and he wrote an anonymous autobiography and filled it with his own praise. He often gave his time and talent ungrudgingly to the service of the State and then cried out that his disinterestedness went unrewarded. Fond of money but fonder of show and honours, he died almost poor but a viscount. Although of scarcely more than plebeian birth he liked to believe that the name Garrett, which he only assumed in 1818, was the Irish for Gerald and that he was descended from Garrt, first Earl of Desmond,[656] and through the Geraldines from Troy.[657] At the mercy of many moods, easily angered but never vindictive, capable occasionally of half-unconscious duplicity but never of hypocrisy, he remained to the last changing and sensitive as a child. His faults were mostly on the surface and injured principally himself, offering a hundred points of attack to critics incapable of understanding his greatness. That he did not play a more fruitfully effective part in politics was less his fault than that of the politics of the day; but the twofold incentive of serving his country by useful legislation and of a personal triumph in the Chamber prevented this ingenuous victim of political intrigue from ever devoting himself exclusively to literature. In politics he was an opportunist in the best sense of the word and a Liberal who detested the art of the demagogue. His few months as Minister in 1852 gave no scope for his real power of organization and of stimulating others. In the life and literature of his country he was a great civilizing and renovating force. He taught his countrymen to read and what to read, and, having freed them from the trammels of pseudo-classicism, did his utmost to prevent them from merely exchanging pedantry for insipidity. _Adozinda_, based on the _romance_ _Sylvaninha_ and originally published in London in 1828 and reviewed in the _Foreign Quarterly Review_, October 1832) or by others, e. g. Balthasar Diaz’ _O Marques de Mantua_, or popular _romances_ revised and polished by their collector. His own compositions (vol. i) often have great charm, as _Miragaia_, _Rosalinda_, _Bernal Francez_.]

His early verses, many of the poems published or reprinted in _Lyrica de João Minimo_ (1829), _Flores sem Fructo_ (1845), and _Fabulas e Contos_ (1853), were written under the influence of Filinto Elysio and the eighteenth century, but, fired by romanticism during his first exile in France, he introduced it into Portugal in his epic poems _Camões_ (1825) and _Dona Branca_ (1826),[658] in which prosaic passages alternate with others of fervent poetic beauty and glimpses of popular customs which in themselves spell poetry in Portugal. But Garrett was no super-romantic, in fact he deprecated ‘the extravagances and exaggerations of the ephemeral romanticism which is now coming to an end in Europe’.[659] At Brussels he learnt German, and the poetry, and especially the plays, of Goethe cast a steadying influence over his work. Garrett had early been attracted towards the theatre. His _Merope_, in its subject derived from Alfieri, and _Catão_ (1821) were both written in his student days. Neither of them can be called dramatic. In vain a glow of liberty[660] and rhetoric strives to melt the ice of _Catão_: its parliamentary debates still leave the reader cold. When fifteen years later, in the tercentenary year of Vicente’s last comedy, he was able definitely to undertake his favourite scheme of providing Portugal with a national drama, he found difficulties. He had to provide not only theatre, actors, and audience, but also the plays. He succeeded in instilling his keenness into some of his more lethargic countrymen, but, not content with translating from the French, Italian, or Spanish, himself wrote a series of plays to pave the way. His themes, unlike those of his earlier efforts, were now entirely national: the legendary love of the poet Bernardim Ribeiro for the daughter of King Manuel in _Um Auto de Gil Vicente_ (1838);[661] the patriotism of the Condessa de Athouguia in arming her two sons on the morning of December 1, 1640, to throw off the Spanish yoke, in _Dona Philippa de Vilhena_ (1840); an early incident in the life of one of the most chivalrous soldiers that the world has seen, the Constable Nun’ Alvarez, in _O Alfageme de Santarem_ (1842); the fall of Pombal in _A Sobrinha do Marquez_ (1848);[662] two famous episodes in the life of Manuel de Sousa Coutinho, the first of which, the setting fire to his palace rather than entertain the Spanish Governors, preserves the national atmosphere, in _Frei Luiz de Sousa_ (1844). These plays, with the exception perhaps of the hastily improvised _D. Philippa de Vilhena_, are all remarkable, although their merit is unequal. The characters, and especially the epoch in which they are presented, lend their chief interest to the first and third. The fifth, overpraised by some critics but praised by all--Menéndez y Pelayo called it ‘incomparable’--_Frei Luiz de Sousa_, far excels the others by reason of the concentration of interest and the really dramatic character of the plot (or at least of the anagnorisis of Act II) and by its intensity and deliberately simple execution. The intensity may be almost too unrelieved, but the conception of the play showed a fine dramatic instinct. Like most of Garrett’s work it was composed in a white heat, and the effect is enhanced by its excellently clear and restrained style, which brings out every shade and symptom of tragedy without distracting the attention by any extraneous ornaments. But all these plays are written in admirable prose. Indeed, a value is given even to Garrett’s slighter pieces--_Tio Simplicio_ (1844), _Fallar Verdade a Mentir_ (1845)[663]--apart from their indigenous character, by his pliant, transparent, glowing prose, to which perhaps even more than to his poetry he owes his foremost place in Portuguese literature. Although essentially a poet, his poems of enduring worth are a mere handful of beautiful episodes and graceful lyrics--in _Folhas Cahidas_ (1853) and vol. 1 (1843) of his _Romanceiro_--but his prose stamps with individuality works so diverse as his historical novel _O Arco de Santa Anna_ (2 vols., 1845, 51),[664] his charming miscellaneous _Viagens na minha terra_ (1846) with its famous episode of Joaninha of the nightingales, his treatises _Da Educação_ (1829), _Portugal na balança da Europa_ (1830), _Bosquejo da Litteratura Portuguesa_ (1826), as well as his plays. All his work was thoroughly national, and when he died a group of younger writers was at hand ready to continue it.

Garrett intended as _Cronista Môr_ to write the history of his own time. More serious historians existed in the Canon of Evora, ANTONIO CAETANO DO AMARAL (1747-1819); his fellow-academician the Canon JOÃO PEDRO RIBEIRO (†1839); LUZ SORIANO (1802-99), author of a _Historia da Guerra Civil_ (1866-90) in seventeen volumes; the VISCONDE DE SANTAREM (1791-1856), whose able and persistent researches were of inestimable service to the history and incidentally to the literature of his country; and the patient investigator CUNHA RIVARA (1809-79).

While scientific research work was accumulating the bones of history a creator arose in the person of ALEXANDRE HERCULANO (1810-77). He had emigrated to France and England in 1831, lived for a time at Rennes, and from the Azores in 1832 with Garrett accompanied the Liberal army to Oporto as a private soldier. In the following year he obtained work as a librarian. His _A Voz do Propheta_ (1836) (Castilho in this year translated Lamennais’ _Paroles d’un Croyant_), written in the impressive style of a Hebrew prophet, although it appeared anonymously, brought its author fame, and in 1839 the King Consort D. Fernando appointed him librarian of the Royal Library of Ajuda. The salary was not large, under £200 a year, but the post gave him the two necessaries of literary work, quiet and books. From that year to 1867 his life was taken up with his work, with which politics only occasionally interfered. He edited _O Panorama_ from 1837 to 1844 and joined in founding _O Paiz_. Although he was elected deputy to the Cortes in 1840 he rarely attended the sittings. His friendship with D. Fernando and King Pedro V continued unbroken till their death. In 1867 with characteristic abruptness he left Lisbon and literature and gave his last ten years almost entirely to agriculture on the estate of Val de Lobos, near Santarem.[665] The call of the land was combined with disgust at the politics of the capital and probably a natural disinclination to a sedentary mode of life. His retirement was greeted as a betrayal, and attacks formerly directed against his historical work were now directed against him for abandoning it. But since he had no intention of continuing his history, his literary work was really ended. It has three main aspects, poetry, the historical novel, and history. From the prosaic height of forty-six he informed Soares de Passos in a letter that he had been a poet till he was twenty-five. Some of the poems of _A Harpa do Crente_ (1838),[666] especially _A Tempestade_ and _A Cruz Mutilada_, rise to noble heights by reason of a fine conviction and a rugged grandeur, as of blocks of granite. Herculano had returned to Portugal imbued with profound admiration for the historical novels of Sir Walter Scott, ‘immortal Scott’ as he called him, and Victor Hugo, and in his remarkable stories and sketches contributed to _O Panorama_ and published as _Lendas e Narrativas_ (1851), as well as in the more elaborate _O Monasticon_, consisting of two separate parts _Eurico o Presbytero_ (1844) and _O Monge de Cister_ (1848), he wrote romance based upon scrupulous historical research. A slight leaning towards melodrama is as a rule successfully withstood, and his intense and powerful style enchains the attention. _Eurico_ is really a splendid prose poem,[667] in which the eighth-century priest Eurico is Herculano brooding over the degeneracy of Portugal in the nineteenth century. His glowing patriotism unifies the action and raises the style to an impassioned eloquence. The Middle Ages were well suited to him in their mixture of passion and ingenuousness and their scope for violent contrasts of evil and virtue, light and shadow. Most of the _Lendas e Narrativas_ and _O Bobo_ belong to that period, and his _Historia de Portugal_ (4 vols., 1846-53) ends with the year 1279. That he should have stopped there when the character and achievements of King Dinis must have offered him a powerful incentive to proceed shows how deeply he had felt the controversial attacks levelled at his work; but with the Renaissance and the subsequent history of Portugal he was too intensely national to have great sympathy. As a historian he has been compared with Hallam, Thierry, and Niebuhr, and he stands any such comparison well. A passion for truth drove him to the original sources and documents, and, since _alle Gelehrsamkeit ist noch kein Urteil_, he brought the same patience and impartial sincerity to their interpretation. The results obtained he imposed on thousands of readers by his impressive and living style.[668] In his case the style was the man. Beneath coldness or roughness he concealed an affectionate, impetuous nature, a hatred of meanness and injustice. In his personal relations austere and difficult, sometimes no doubt unfair and undiscerning in the severity of his judgements, he was a perfect contrast to Almeida Garrett, compared with whom he was as granite to chalk or as the rock to the stream that flows past it. His strong will was fortunately directed by the Marquesa de Alorna in his youth to the thoroughness of German writers. Thoroughness marked all his work. When the Academy of Sciences entrusted him with the task of collecting documents on the early history of Portugal he threw himself into the labour with a fervour which produced the splendid _Portvgaliae Monvmenta Historica_, a series of historical works and documents of the first importance which began to appear in 1856. From 1867 to 1877 he undertook agriculture not as an amateur’s pastime but as the work of his life, with the result that he achieved another great success scarcely inferior to his success as a writer. The same thoroughness is evident in the Cyclopean fragment of his history and in his shorter writings, the _Opusculos_ (1873-76). His _Da Origem e Estabelecimento da Inquisição em Portugal_ (3 vols., 1854-9), a deeply interesting account of the negotiations and intrigues at the Vatican, in ceasing to be dispassionate may suffer as a purely historical work, but its vigour brooks no denial and its literary excellence is acknowledged even by those who dispute its fairness. Great as scholar and man, too great to be always understood during his life, his memory received a tribute from men so different as Döllinger and Núñez del Arce, and it is probable that his reputation will only increase with time.

In the historical novel Herculano had many followers. ANTONIO DE OLIVEIRA MARRECA (1805-89) wrote two laborious fragments in _O Panorama: Manoel Sousa de Sepulveda_ (1843) and _O Conde Soberano de Castella_ (1844, 53). JOÃO DE ANDRADE CORVO (1824-90), poet and dramatist,[669] author of a novel of contemporary politics, _O Sentimentalismo_ (1871), which contains excellent descriptions of Bussaco, wrote a long historical novel, _Um Anno na Corte_ (1850), in which interest in the actors at the Court of Afonso VI, in incidents such as a bullfight or a boarhunt, in witchcraft or the Inquisition, is skilfully maintained. His style in its sober restraint is superior to that of ARNALDO DA GAMA (1828-69), whose historical episodes of the French invasion of 1809 (_O Sargento Môr de Villar_ and _O Segredo do Abbade_), or of Oporto in the fifteenth century in _A Ultima Dona de S. Nicolau_, or in the eighteenth in _Um Motim ha cem annos_ (1861), are of considerable interest despite their author’s excessive fondness for Latin quotations. Perhaps the influence of Camillo Castello Branco may be traced in his novel _O Genio do Mal_ (4 vols., 1857). GUILHERMINO AUGUSTO DE BARROS (1835-1900) is the author of a novel of the fifteenth century, _O Castello de Monsanto_ (2 vols., 1879), of great length and dullness. Its chief interest is for the student of the Portuguese language, owing to its large vocabulary. BERNARDINO PEREIRA PINHEIRO (born in 1837) in _Sombras e Luz_ (1863) described scenes from the reign of King Manuel, and drew a strange portrait of King João III in _Amores de um Visionario_ (2 vols., 1874). But the mantle of Herculano, as historical novelist, fell especially upon LUIZ AUGUSTO REBELLO DA SILVA (1822-71), politician and journalist. His _Rausso por Homizio_, a short novel of the time of King Sancho II, written with the exaggeration of extreme youth, appeared in the _Revista Universal Lisbonense_ (1842-3), followed by _Odio Velho não cansa_ (reign of Sancho I), with similar defects, in 1848. In the same (the first) volume of _A Epocha_ appeared his short _conto_ entitled _A Ultima Corrida de Touros em Salvaterra_, which won and has retained popularity by its skilful presentment of a stirring and pathetic episode in the reign of José I (1750-77). Four years later Rebello da Silva published his principal novel, _A Mocidade de D. João V_ (1852). In its somewhat tedious descriptions the reader soon loses the thread of the story, but is entertained by the quick dialogue and almost clownish humour of the separate scenes. _Lagrimas e Thesouros_[670] (1863) may interest English readers from the fact that its principal character is William Beckford, but it has not the great merits of the preceding novel. The author was already at work on his unfinished _Historia de Portugal nos seculos XVII e XVIII_ (5 vols., 1860-71). In this, as in his _Fastos da Igreja_ (1854-5) and _Varões Illustres_ (1870), his defects fall away, while his real skill as a historian, his intensity, and his excellent style remain; indeed, an added intensity gives his style a new vigour and simplicity. His _Historia_, although less rigorously scientific and far less methodically ordered than that of his master Herculano, has value as history as well as literature. Rebello da Silva wrote too much, but his work generally improved with the years and might have resulted in a real masterpiece had he not died before attaining the age of fifty.

Meanwhile the novel had entered on a new and intensely modern phase in the hands of a slightly younger contemporary. The life of CAMILLO CASTELLO BRANCO (1825-90), whose numerous novels have been and still are read enthusiastically in Portugal, had about it an element of improbability which is reflected in his works and made it possible to combine their apparent sincerity with a peculiar unreality. Born at Lisbon but left an orphan at the age of eight, and brought up by a sister, wife of a doctor, in a small village of Tras-os-Montes,[671] a widower in his teens, then a boisterous Oporto medical student, twice imprisoned for love affairs and finally guilty of abducting an heiress as a bride for his son, his whole life was spent in a whirlwind, actual or imaginary, a tragicomedy which, stricken with blindness, he ended by suicide. He read and wrote in the same tempestuous fashion. The sentimental atmosphere of his novels is relieved systematically by outbursts of cynicism and sarcasm. When he began to write romanticism was in full swing, but his last twenty years were spent under what was to him the vexing and tantalizing shadow of the new realism. His first story, _Maria não me mates, que sou tua mãe!_ (1848),[672] was sentimental and sensational, and something of these qualities remained in the greater part of his work. His first more elaborate novel _Anathema_ (1851), in which the story is interrupted by lengthy musings and moralizings, he himself described as ‘a kind of literary crab’, and most of his novels are somewhat lop-sided: he confessed that his discursiveness was incurable. It is the more hysterical among his works, such as _Amor de Perdição_ (1862)--its character is well described by the title of the Italian version, _Amor sfrenato_--or _Amor de Salvação_ (1864) and those which combine this character with a chain of amazing coincidences, as _Os Mysterios de Lisboa_ (1854) and _O Livro Negro do Padre Diniz_ (1855), which were read most avidly in Portugal. He himself favoured the quieter _Romance de um Homem Rico_ (1861) and _Livro de Consolação_ (1872). We may prefer the attic flavour of the humorous sketch of a country gentleman (born in the year of Waterloo) at Lisbon, in _A Queda d’um Anjo_ (1866), which somehow recalls the best work of Pedro Antonio de Alarcón. Castello Branco had a true vein of comedy, and although a great part of the work of this specialist in hysterics has an air of unreality, he is many-sided and yields frequent surprises. The true Camillo appears only intermittently in his novels, and charms with a simplicity of style and description worthy of Frei Luis de Sousa, as in some of his _Novellas do Minho_ (12 vols., 1875-7), the country-house in _Coração, Cabeça e Estomago_ (1862), the Tras-os-Montes _fidalgo_‘s house in _Os Mysterios de Lisboa_, the village priest in _A Sereia_ (1865), Padre João in _Doze Casamentos Felizes_ (1861), the farrier in _Amor de Perdição_, the charcoal-burners in _O Santo da Montanha_ (1865). Then (as if with the question: what will the Chiado, what will the Lisbon critics say?) he pulls himself up, lashes himself with sarcasms, and plunges into his improbabilities and passions. A poet and a learned and ingenious if unscholarly critic, he saw and described the charm of the villages of North Portugal, but he satirized with peculiar venom the _bourgeois_ life and the enriched _brazileiros_ of Oporto, as in _A Filha do Arcediago_ (1855), _A Neta do Arcediago_ (1856), _A Douda do Candal_ (1867), _Os Brilhantes do Brazileiro_ (1869), _Memorias de Guilherme do Amaral_ (1863), and _Um Homem de Brios_ (1856),[673] the last two being continuations of _Onde está a Felicidade?_ (1856). This last work has a broader historical setting, and many of his novels are really historical episodes,[674] some of which bear a strong resemblance to Pérez Galdós’ _Episodios Nacionales_. Especially is this the case with the latter part of _As Tres Irmãs_ (1862) and with _A Bruxa de Monte Cordova_ (1867), both written before the appearance of the first _Episodio Nacional_. In _Eusebio Macario_ and _A Corja_ he set his hand to the naturalistic novel, and in _A Brazileira de Prazins_ (1882) modified this method to suit his favourite phantasy of extremes, in which the angel and martyr are contrasted with the romantic Don Juan or vulgar _brazileiro_ or narrow-minded Minho noble. Apart from their historical interest and occasional charming glimpses of life and literature, his books are invaluable for their style, and he is the author of many masterly passages rather than of any masterpiece. He sometimes--here, as in all else, leaving moderation to the _bourgeois_ _épaté_--allows himself to be carried away by his immense vocabulary, but often, indeed usually, his language is a flawless marble, a rich quarry of the purest, most vernacular Portuguese, derived from the Portuguese religious and mystic writers of the sixteenth and seventeenth centuries.[675] Absorbed in his work night after night till the first songs of birds announced the dawn, writing in or after a paroxysm of grief or excitement in his own life, he first lived, then swiftly set on paper, the incidents of his novels--_Amor de Perdição_ was written in a fortnight. Their plot may be ill constructed, the delineation of characters shallow, Balzac _manqué_, the episodes far-fetched and melodramatic, but they corresponded, if not to life, to the life of their author and thereby attained intensity of style and a certain unity of action. Yet he was always greatly concerned with schools and tendencies (he imitated Émile Zola in _Eusebio Macario_, although he declared the realistic school to be the perversion of Nature, Émile Souvestre in _As Tres Irmãs_, Octave Feuillet in _Romance de um Homem Rico_), sure of his genius but not of the channels into which he should direct it, at his best perhaps in brief essays and sketches from which his high-flown romanticism is absent, as in the studies of the lives of criminals in _Memorias do Carcere_ (2 vols., 1862) and his many scattered reminiscences of life in Minho, the valley of the Tamega, and Oporto. With his sensitive restless temperament, his imagination, his satire and sadness (of tears rather than _saudade_, for which the action in his stories is too rapid), his intolerant hatred of tyranny and intolerance, his essential interest not in things nor even characters but in life and passion, and his unfailing power of expression, he may well be called ‘the [modern] Portuguese genius personified’.[676] His life is a strange contrast to the almost idyllic serenity of that of ANTONIO FELICIANO DE CASTILHO (1800-75), whose admirable persistency as poet and translator during a period of nearly sixty years--he had been blind from the age of six--enabled him to attain an extraordinary pre-eminence in Portuguese poetry after Garrett and other poets had been broken like crystals while he remained as a tile upon the housetop. A romantic with a natural leaning to perfection of form, he always retained something of the Arcadian school, and like the Arcadians sought his inspiration in Bernardim Ribeiro and other bucolic _quinhentistas_. Unsympathetic critics incapable of appreciating Castilho’s masterly style may feel that in the twenty-one letters of the _Cartas de Echo e Narciso_ (1821), in _A Primavera_ (1822)[677] and _Amor e Melancholia ou a Novissima Heloisa_ (1828) he combined the classical school’s dearth of thought with the diffuseness of the romantics. But his _quadras_ (_A Visão_, _O São João_, _A Noite do Cemiterio_) and his blank verse are alike so easy and natural, his style so harmonious and pure that, despite the lack of observation and originality in these long poems, they have not even to-day lost their place in Portuguese literature. In their soft, vague melancholy and gentle grace they were even more popular than his romantic poems, _A Noite do Castello_ (1836)[678] and _Os Ciumes do Bardo_ (1838), and influenced many younger writers. Like Garrett he taught them to seek the subjects of their verse in the popular traditions of their own land. Indeed, so great was his bent for the national in literature that his numerous translations (from the French and English, Latin and Greek, to which, with an occasional aftermath of poems such as _Outono_ (1862), his later years were devoted) are often remarkable rather for their excellent Portuguese versification than for faithfulness to the originals, and the _Faust_ of Goethe, whose powerful directness was unintelligible to his translator, especially as he only read the poem in a French version, became translated indeed.

The most prominent or the least insipid of the numerous group of romantic and ultra-romantic poets, a generation younger than Garrett and Castilho, who published their verses in _O Trovador_ (1848)[679] and _O Novo Trovador_ (1856), were LUIZ AUGUSTO PALMEIRIM (1825-93), whose _Poesias_ appeared in 1851, and JOÃO DE LEMOS (1819-89), some of whose poems (one of the best known is _A Lua de Londres_) in _Flores e Amores_ (1858), _Religião e Patria_ (1859), and especially _Canções da Tarde_ (1875), have a delicacy of rhythm and are more scholarly than those of most of the romantic poets. The three volumes form the _Cancioneiro de João de Lemos_. JOSÉ DA SILVA MENDES LEAL (1818-86), author of _Historia da Guerra no Oriente_ (1855), and, like Palmeirim, a successful dramatist, in _Os Dois Renegados_ (1839) and _O Homem da Mascara Negra_ (1843), and also a novelist (_O que foram os Portugueses_), as a poet is at his best in patriotic, military, or funeral odes: _O Pavilhão Negro_ (1859), _Ave Cesar_, _Gloria e Martyrio_ (perhaps suggested by Tennyson’s _Ode on the Death of the Duke of Wellington_), _Napoleão no Kremlin_ (1865), _Indiannas_, in which his sonorous verse has a certain grandeur. His _Canticos_ (1858) contain among others a good translation of _El Pirata_ of Espronceda, whose influence is evident in the ode to Vasco da Gama, which forms the first part of _Indiannas_. ANTONIO AUGUSTO SOARES DE PASSOS (1826-60), son of an Oporto chemist, studied at Coimbra and published a volume of sentimental romantic poems in 1856 (_Poesias_). The most remarkable is the noble if a little too grandiloquent ode entitled _O Firmamento_, which far excels the poems of death, pale moonlight, autumn regrets, and vanished dreams of this excellent translator of Ossian. After his death a fellow-student, Dr. Lourenço de Almeida e Medeiros, accused him of having stolen _O Firmamento_ and other poems. He had himself, he said, written the melancholy ballad _O Noivado do Sepulchro_ in February 1853, but unfortunately for his contention it had appeared over Soares de Passos’ signature eight months earlier in _O Bardo_. A miscellaneous writer, like so many of his contemporaries, FRANCISCO GOMES DE AMORIM (1827-92) achieved popularity with his plays, published two volumes of sentimental poems, _Cantos Matutinos_ (1858) and _Ephemeros_ (1866), of which perhaps _O Desterrado_ is now alone remembered, and several pleasantly indigenous stories of his native Avelomar (Minho) collected in _Fruitos de Vario Sabor_ (1876), with an attractive sketch of the priest, Padre Manuel, _Muita parra e pouca uva_ (1878), and _As Duas Fiandeiras_ (1881). He played the sedulous Boswell to Almeida Garrett during the last three years of the latter’s life, and the result was one of the few interesting biographies in the modern literature of the Peninsula: _Garrett, Memorias Biographicas_ (3 vols., 1881-8). Among the host of pale moon-singers following in the wake of Castilho it is a relief to find a satirist, FAUSTINO XAVIER DE NOVAES (1822-64), who in his _Poesias_ (1855), _Novas Poesias_ (1858), and _Poesias Postumas_ (1877), preferred to take Tolentino for his model. He ridiculed the _janota com pouco dinheiro, com fumos de grande_ and other types of his native Oporto, where for some time he worked as a goldsmith. Later he emigrated to Rio de Janeiro, but there found ‘everything except literature well paid’.

Two of the romantic poets lived on into the twentieth century, one even survived the Monarchy. THOMAZ RIBEIRO (1831-1901), born at Parada de Gonta in the district of Tondella (Beira), advocate, journalist, playwright, historian, politician, deputy, minister, peer of the realm, won enduring fame with his long romantic poem _D. Jayme_ (1862), which opens with fifteen striking stanzas addressed to Portugal. In this introductory ode he rises on the wings of ardent patriotism and sturdy faith in Portugal to a fine achievement in verse. Less rhetorical, the rest of the poem (or series of poems in varying metre) would have gained by reduction to half its length, but is sometimes not without charm in its meanderings. Yet it is a kind of inspired rhetoric and natural grandiloquence that best characterize Ribeiro, and when his inspiration falters it leaves but a hollow and metallic shell of verse. We will expect no delicate shades from a lyric poet who calls the sky _o celico espectaculo_. Subsequent volumes--_Sons que passam_ (1867), which contains poems written as early as 1854, _A Delfina do Mal_ (1868), _Vesperas_ (1880), _Dissonancias_ (1890), _O Mensageiro de Fez_ (1899)--maintained, but did not increase, his reputation as a poet. The chief work of RAIMUNDO ANTONIO DE BULHÃO PATO (1829-1912), a Portuguese born at Bilbao, was _Paquita_, which he began to publish in 1866, and to the completion of which he devoted nearly forty years of loving care. It is a facetious romantic poem of sixteen cantos, mostly in verses of six lines (_ababcb_ or _ababca_), intended to be in the manner of Byron but more akin to Antonio de Trueba, whose verses are imitated in _Flores Agrestes_ (1870). The modern reader, after readily agreeing with Herculano that the poem has its faults, will perhaps be disposed to inquire further if it has any merits; but, although its subject is often unpoetical and trivial, the versification is easy and occasionally excellent. Bulhão Pato published other volumes of gentle album poetry, as _Poesias_ (1850), _Versos_ (1862), _Canções da Tarde_ (1866), and _Hoje: Satyras, Canções e Idyllios_ (1888), besides sketches and recollections in prose. Nearly fifty years before his death the romantic school in Portugal had received a severe shock, and the fact that long romantic poems continued to appear is proof how deep its roots had penetrated.

FOOTNOTES:

[655] His _Romanceiro_ published in 3 vols. (1843, 51) contains poems of national themes drawn from popular songs and traditions, written by himself (as

[656] The name of the first Earl of Desmond (cr. 1328) was Maurice fitzThomas (†135) not Gerald, Gerod, Gerott, Garrett, or Garrt (see Lord Walter FitzGerald, _Notes on the FitzGeralds of Ireland_). The forms Garret and Gareth existed in Catalonia in the fifteenth and sixteenth centuries, e. g. the Catalan poet Bernardo Garret, born at Barcelona, who wrote in Italian and became known as Chariteo (_c._ 1450-_c._ 1512).

[657] Amorim, _Memorias_, i. 28.

[658] Of _O Magriço_, a still longer epic, only fragments remain; it went down in manuscript in the _Amelia_, sunk by the Miguelists off the Portuguese coast.

[659] Preface to 4th ed. (1845) of _Catão_.

[660] The ‘tyranny’ of the day was that of General Beresford. Some scenes of _Catão_ (derived from the _Cato_ (1713) of Addison), of which a Portuguese version by Manuel de Figueiredo (_Theatro_, vol. viii) had appeared in Garrett’s boyhood, were directed against this English despot. A few years later Garrett learned to enjoy English society, as his Anglophobe biographer, Amorim, admits.

[661] Published in 1841.

[662] Written ten years earlier.

[663] These two plays were published in vol. vii of his _Obras_ (1847) with _D. Philippa de Vilhena_.

[664] A contemporary novel, _Helena_ (1871), remained unfinished at his death.

[665] It was, however, no sudden decision. As early as 1851 he wrote, in a letter to Garrett, ‘... _me ver entre quatro serras com algumas geiras de terra proprias, umas botas grossas e um chapeu de Braga, bello ideal de todas as minhas ambições mundanas_’.

[666] The second edition with additional poems was entitled _Poesias_ (1850).

[667] _Cronica, poema, lenda ou o que quer que seja_, he says.

[668] The late Dr. Gonçalvez Viana considered Herculano ‘the most vernacular, scrupulous and perfect writer of the nineteenth century’ (_Palestras Filolójicas_, 1910, p. 116).

[669] _O Alliciador_ (1859), _O Astrologo_ (1860).

[670] The last novel to appear in Rebello da Silva’s lifetime was _A Casa dos Phantasmas_ (1865). _De Noite todos os gatos são pardos_ was published posthumously.

[671] After Camillo, as he is always called in Portugal, had been created Visconde de Corrêa Botelho in 1885, his descent was traced back to Fruela, son of Pelayo.

[672] That is, a year before the novel _Memorias de um Doudo_ (1849) by Antonio Pedro Lopes de Mendonça (1826-65).

[673] Cf. also _Carlota Angela_ (1858), _O que fazem mulheres_ (1858), _Annos de Prosa_ (1863), _O Sangue_ (1868), _Estrellas Propicias_ (1863), _Estrellas Funestas_ (1869).

[674] e. g. _Lagrimas Abençoadas_ (1857), _Carlota Angela_ (1858), _O Santo da Montanha_ (1865), _A Engeitada_ (1866), _O Judeu_ (2 vols., 1866), _O Regicida_ (1874), _A Filha do Regicida_ (1875).

[675] That it is not impeccable such a phrase as _confortar o palacio_ (_O Livro Negro do Padre Diniz_, 1896 ed., p. 135) well shows.

[676] M. A. Vaz de Carvalho, _Serões no Campo_ (1877), p. 171.

[677] Part 2 is entitled _A Festa de Maio_ (two cantos).

[678] Written in 1830.

[679] This ‘collection of contemporary poems’ contains verses of considerable merit. Of some 200 poems by twenty-one poets twenty-eight are by João de Lemos, thirty by José Freire de Serpa Pimentel (1814-70), second Visconde de Gouvêa, author of _Solaos_ (1839), thirty-four by Antonio Xavier Rodrigues Cordeiro (1819-1900), and thirty-six by Augusto José Gonçalves Lima (1823-67), who reprinted his contributions in _Murmurios_ (1851). A similar collection of verse was _A Grinalda_ (Porto, 1857).

§ 2

_The Reaction and After_

It was in 1865 that Castilho, the acknowledged high-priest of literary aspirants, wrote a long letter which was published as introduction (pp. 181-243) to Pinheiro Chagas’ _O Poema da Mocidade_ (1865), in which he deprecated the pretentious affectations of the younger poets. For while Castilho was dispensing his patronage to the acolytes of romanticism a new school of writers had grown up at Coimbra, who refused to know Joseph. They turned to Germany as well as to France, professed to replace sentiment by science, and in the name of philosophy chafed unphilosophically at the old commonplaces and unrealities. Castilho stood not only for romanticism but for the classical style of the eighteenth century, and in some respects the secession from his school may be described as the revolt of the Philistine against Filinto. Anthero de Quental now voiced the cause against the aged Castilho’s preface in an article entitled _Bom Senso e Bom Gosto_ (1865). For the next few months it rained pamphlets.[680] Snr. Julio de Castilho, subsequently second Visconde de Castilho (1840-1919), and author of many well-known works, including the drama _D. Ignez de Castro_ (1875) and the eight volumes of _Lisboa Antiga_ (1879-90), took up the cudgels on behalf of his father. The high principles at stake, good sense and good taste, were sometimes forgotten in personal bitterness; a duel was even fought between Quental and Ramalho Ortigão, in which both the poet and his critic were happily spared to literature.

But romanticism in Portugal has nine lives, and raised its head at intervals during the second half of the century. In the domain of history JOAQUIM PEDRO DE OLIVEIRA MARTINS (1845-94) always remained more than half a romantic. His life explains the character of his historical writings. Born at Lisbon, obliged to work for a living when he was barely fifteen, he succeeded at the same time in educating himself, supported his mother and her younger children, married before he was twenty-five, had published a dozen works before he was forty, was elected deputy for Viana do Castello in 1886, became Minister of Finance in 1892, and died in his fiftieth year. A career so meteoric could scarcely give scope for that scrupulous research, that careful sifting of evidence which modern ideas associate with the work of the historian; and Oliveira Martins as historian embraced not only the whole of Portuguese but the whole of Iberian history, and that of Greece and Rome to boot. But even had he had more time, the result would only have been more subjects treated, not a different treatment. His whole idea of history was coloured with romance, his work impetuous and personal as that of a lyric poet. His first book, the historical novel _Phebus Moniz_ (1867), passed almost unnoticed. After several pamphlets, appeared his first historical work, _O Hellenismo e a Civilisação Christã_ (1878), and then in marvellous rapidity the _Historia da Civilisação Iberica_ (1879), _Historia de Portugal_ (1879), _Elementos de Anthropologia_ (1880), _Portugal Contemporaneo_ (1881), and a further succession of historical works ending with the _Historia da Republica Romana_ (1885). Although politics now occupied much of his time he continued to publish, and wisely emphasized the biographical side of his work, of which _Os Filhos de D. João I_ (1891) and _A Vida de Nun’ Alvares_ (1893) are not the least valuable part. _O Principe Perfeito_ (1896), dealing with King João II, appeared posthumously and incomplete. A master of psychology and impressionistic character-sketching, all his work is a gallery of pictures--and especially of portraits--from Afonso Henriquez to Herculano, which reveal the artist as well as his subjects. His style, nervous, coloured, insinuating, is a swift and supple implement for his exceptional power of skilfully summarizing a person or a period. He is capable of vulgarity (as in the account of Queen Philippa and the frequent use of colloquialisms perfectly unbefitting the dignity of history) but not of dullness. He uses and abuses epigram and metaphor, and is not free from the pompous rhetorical antitheses of Victor Hugo (e.g. _De Cid transformou-se em Wallenstein_), till the reader suspects him of being ready at all times to sacrifice truth to a phrase. Yet it is surprising, considering the circumstances of his life and the extent of his work, how often he bases his history, if not on documents, on the work of reliable earlier historians, Portuguese and foreign. If he fills in the gaps with pure romance or an uncritical use of texts (for instance, in _A Vida de Nun’ Alvares_ he incorporates as authentic those charming ‘letters of Nun’ Alvarez’ which a mere glance at their style shows to be apocryphal) these are but the poet’s arabesques, the main structure is often sound enough. Were there no other history of Portugal it might be necessary to consider his work not only fascinating but dangerous, nor would _Portugal Contemporaneo_ alone convey an impartial or complete idea of Portuguese history in the first two-thirds of the nineteenth century. We may deny him the title of great historian, we cannot deny him a foremost place in the literature of the century as a writer of brilliant intellect and feverish energy and a powerful re-constructor of characters and scenes in their picturesqueness and their passions.

The work of MANUEL PINHEIRO CHAGAS (1842-95), poet, playwright, critic, novelist, historian, was even more abundant and for the most part of a more popular character and more commonplace. He is also more Portuguese, and his works deserve to be read if only for their pure and easily flowing style. Many of his novels are historical. _A Corte de D. João V_ (1867) has an account of an _outeiro_[681] in which figures the _Camões do Rocio_ as the poet Caetano José da Silva Souto-Maior (_c._ 1695-1739) was called. The subject of the earlier novel _Tristezas á beira-mar_ (1866) is that which Amorim in his _A Abnegação_ derived from an English novel, but is here more naturally treated. _A Mascara Velha_ (continued in _O Juramento da Duqueza_) appeared in 1873. _As Duas Flores de Sangue_ (1875) is concerned with revolution in France and at Naples. _A Flor Secca_ (1866) treats of more everyday scenes and contains some amusing if rather obvious character-sketches, as the old servant Maria do Rosario (a rustic Juliana), or the devout and vixenish old maid D. Antonia. His _Novelas Historicas_ (1869) contains six historical tales dealing with Afonso I, Nun’ Alvarez, Prince Henry the Navigator, King Sebastian, Pombal, and the French Revolution. His _Historia de Portugal_ (8 vols., 1867), begun on a plan originally laid down by Ferdinand Denis, contains lengthy and frequent quotations from previous historians but is coloured by later political ideas. The two shorter works _Historia alegre de Portugal_ (1880) and _Portugueses illustres_ (1869) are admirably suited for their purpose--to interest the people in the history and heroes of their country.

The chief work of the able and industrious critic and historian JOSÉ MARIA LATINO COELHO (1825-91) was his _Historia Politica e Militar de Portugal desde os fins do seculo XVIII até 1814_ (3 vols., 1874-91). ANTONIO COSTA LOBO (1840-1913), editor of the instructive _Memorias de um Soldado da India_, in his _Historia da Sociedade em Portugal no seculo XV_ (1904) began a meticulous and well thought-out study of an earlier period of Portuguese history. JOSÉ RAMOS COELHO (1832-1914) is chiefly known for his elaborate romantic biography of the brother of King João V: _Historia do Infante D. Duarte_ (2 vols., 1889, 90). Dr. HENRIQUE DA GAMA BARROS (born in 1833) in the invaluable _Historia da Administração Publica em Portugal nos seculos XII a XV_ (3 vols., 1885, 96, 1914) has collected an abundance of concrete, carefully verified details, and thrown a searching light on the early history of Portugal.[682]