Adelina, the Cigar-Seller from “Narrativas Negras” (2020) | Stephen Basdeo
Adelina began to live a double life. She remained a slave. But her unique knowledge of the town and its environs, and especially of all the places where it was easy for a person to ‘disappear’, meant that she became valuable resource for abolitionists who were on the run from the police.
“Checking Out Me History”: Medievalism in British Guiana Schools, c.1950–1960 | Stephen Basdeo
This article examines the teaching and reception of British medieval history in Guyana. It takes an interdisciplinary approach by conducting textual analysis of Guyanese school textbooks to determine precisely what aspects of British medieval history were taught, which included events such as the Norman Conquest (1066), King Stephen’s reign, as well as medieval folk talks such as Dick Whittington, Robin Hood, and Old King Cole.
Álvares de Azevedo’s “Oh, Jesus!” [Ai Jesus!] | Luiz Guerra (Trans.)
Álvares de Azevedo, was Brazil’s most famous Romantic poet. This translation of Ai Jesus! is by Luiz Guerra and the first time it has been translated into English
The Brazilian Revolution of 1848 | Stephen Basdeo
Europe clamours for the organisation of labour and preaches communism. Here the same clamour translates into the cry of ‘War on the Portuguese’.
“I am a public thing”: Victor Hugo as Political Symbol | Stephen Basdeo
Hugo worked tirelessly on his self-imposed mission: poetry was so important, Hugo believed, that it should be a part of every aspect of life and had a central role to play in the story of national regeneration.
Álvares de Azevedo’s ‘Shadow of Don Juan’ [Sombra de Don Juan] | Luiz Guerra (Trans.)
Luiz Guerra’s new, and very fine, translation into English of Azevedo’s Shadow of Don Juan [‘Sombra de Don Juan’] is the first English translation of Azevedo’s poem. With great skill, as is usual of Guerra’s translations, he has largely preserved the original rhyme scheme while retaining Azevedo’s meaning.
Álvares de Azevedo’s “Love” | Luiz Guerra (Trans.)
Luiz Guerra’s translation of the following poem, titled ‘Love’ (Amor), is the first time that it has been professionally translated into the English language.
Álvares de Azevedo’s “Epitaph” | Leandro Machado (Trans.)
Machado’s translation of the following poem, titled ‘Epitaph: At My Friend’s Grave: João Baptista da Silva Pereira Júnior’ (Epitáfio: No Túmulo do Meu Amigo João Baptista da Silva Pereira Júnior), is the first time that it has been professionally translated into the English language.
Álvares de Azevedo’s “Memory of Dying” [Lembrança de Morrer] | Leandro Machado (Trans.)
Leandro Machado’s translation of Brazilian Romantic poet Álvares de Azevedo’s ‘Lembrança de Morrer’ (Memory of Dying)
Dom Pedro II: The Emperor of Brazil in the Victorian Periodical Press | Stephen Basdeo
The monarchy of Pedro II, a figure who commanded respect from Conservatives and Liberals, was an ardent abolitionist whose support for the cause spelled the end of his reign.
The Bottle Imp (1828) by Richard Brinsley Peake | Stephen Basdeo
“Thou mayest be the envy of the world during the day, but night must come, and at night thou must always expect my cheering presence!”
Soneto: Palidá a Luz [Sonnet: Pale the Light] | Álvarez de Azevedo
Manuel Antônio Álvares de Azevedo (1831–52), referred to usually as Álvares de Azevedo, was Brazil’s most famous Romantic poet. Yet because his works have never been translated into English, Azevedo remains unknown to most British and American scholars.
“Mysteries of Lisbon” (1854) by Camilo Branco | Stephen Basdeo
Mysterymania gripped the world in the 1840s and 1850s. From London and France it spread to USA, Germany, Italy, Brazil, and Portugal. Camilo Branco’s Misterios de Lisboa was part of this thrilling genre.
“The Sonnets of Luis de Camões” (1803) by Viscount Strangford | Stephen Basdeo
What Strangford wanted to do was translate Luis de Camões’s little-known sonnets, and the result was Poems, from the Portuguese of Luis de Camoens.
How Eighteenth-Century Governments Worked | Stephen Basdeo
What a minister needed to succeed in a political career was, therefore, not the confidence of the House of Commons but the confidence of the king.
A Refutation of Lies: An Open Letter in Response to Defamation by Dr Helen Young | Howard Williams
An associate of mine, Dr Howard Williams, gives his account of the lies and defamation spread about him at the hands of certain medievalists in the journal Postmedieval.
Victorian-Era Robin Hood Conferences | Stephen Basdeo
All of the newspapers which covered the event paid significant attention to the panel on Robin Hood, which, if it happened to a Robin Hood conference today, would be a significant publicity coup.
Desânimo [“Dejection”] | Álvares de Azevedo and Luiz Guerra
‘Desanimo’ [Dejection] first appeared in Álvares de Azevedo’s posthumous collection of poetry titled Lira dos Vinte Anos (1853).
Já da Morte [“Already has Death”] | Álvares de Azevedo
None of these writings were to be published while Álvares was alive, however, for in true Romantic style, he died young. Having contracted tuberculosis while living in São Paolo, he moved to his family’s country estate to recover. While travelling to his family’s home he fell from his horse and died from his injuries.
Robin Hood’s Grave: A Poem (1827) | “J.A.”
The following poem, written by “J.A.” and titled “Robin Hood’s Grave” appeared in the Newcastle Magazine in November 1827. It has been transcribed by Stephen Basdeo.
Robin Hood: The Academic Study of a Legend | Stephen Basdeo
What have historians said about Robin Hood, who he was, and the social and political context in which the early tales emerged?
“The Radical Nature of God’s Love”: Words from Rev. Rosemary Mitchell | Stephen Basdeo
“The radical nature of God’s love is that he brings joy, not happiness; love, not kindness; peace, not the absence of war; justice, not laws; truth, not facts; mercy, not toleration; this is not about keeping rules but transforming lives.”
Victor Hugo’s Early Modern Outlaw Play: “Hernani” (1830)
Fans of outlaw stories, if they were ever able to time travel, might travel back to the 1820s and 1830s when Victor Hugo’s outlaw drama premiered.
John Beaumont’s Boudicca (1647) | Stephen Basdeo
The Ancient Britons’ rebellion was depicted as their last gasp in the fight for independence against the domination of the Roman Empire.