Europe clamours for the organisation of labour and preaches communism. Here the same clamour translates into the cry of ‘War on the Portuguese’.
Stephen Basdeo is a historian and writer based in Leeds, UK.
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.
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.
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.
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.
Leandro Machado’s translation of Brazilian Romantic poet Álvares de Azevedo’s ‘Lembrança de Morrer’ (Memory of Dying)
“Sooner or later they will catch us and kill us. They will rape me. They’ll rape him. They are going to rape us and kill us and eat us.”
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.
“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!”
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.
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.
Eugene Sue’s “Mysteries of the People” (1848): “The Branding Needle” and the First French Commune | Stephen Basdeo
To reign! the ambition of great souls! To reign like the Emperors of Rome! I wish to emulate them in all their sovereign omnipotence!
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.
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.
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.
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.
‘Desanimo’ [Dejection] first appeared in Álvares de Azevedo’s posthumous collection of poetry titled Lira dos Vinte Anos (1853).
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.
“He unites the exactness of the [medieval] chronicles, the majestic grandeur of history, and the all-compelling interest of romance.”
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.
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 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.”
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.
The Ancient Britons’ rebellion was depicted as their last gasp in the fight for independence against the domination of the Roman Empire.