“To arms, Citizens! To Arms!” was the cry of many of the now forgotten common people who fought for Brazilian independence, and whose writings are revealed by José Carvalho, Lucia Bastos, and Marcello Basile.
In the university’s Espaço Cultural, there was a special exhibition on titled ‘Elas’ (the feminine plural form of ‘they’) which showcased the works of primarily (though not exclusively) Brazilian women artists from the nineteenth to the twentieth century.
Thus rises one more Christmas … A new sadness…For those who suffer. New delicacies; from the harp new vibrating melodies around the banquets of the rich.
The story of how a boy from a poor family in Grimsby got lost in Brazil and became a gaucho.
One day, however, according to the will of Tupã, the warrior chief became sick and passed away. It was a moment of much pain for all but, after some time, the village elders met to choose, from among the greatest warriors, the new chief. And what luck—the new chief was Obirici’s crush: Itiberê!
The creator is unknown, though the tapestry is small and simple enough to indicate that it was produced by a commoner. The celebration of independence is not coherent, of course, for the Brazilian monarch guides his country in the direction of that taken by the North American republic of the United States.
“The reign of God was nigh. He will descend in majesty and might, confound His enemies, and destroy the impious republic; cast down the mighty from their seats; exalt the sufferers, the poor—His poor—and burn up those who had refused to come and listen to His Counsellor.”
“Brazil is founded on genius”–so wrote Dr Monteiro in 1853. One of the nation’s geniuses was a young poet named Alvares de Azevedo who wanted to revolutionize his country’s idea of romanticism.
“Virginity is an illusion! What is more virginlike? She who is deflowered while sleeping? Or the nun who, with burning tears, tosses and turns in her bed and breaks her finger through her habit while reading some impure romance?”
“Um homem que, em uma era bárbara e sob uma tirania complicada, demonstrou um espírito de liberdade e independência.”
The corpse without blessings, unburied,
Thrown to the crows of the uncultivated grassland,
The manly forehead shot through,
To imperial sleep with cold lips
May pass in faded scorn.
“I have power by virtue of chance; I must be employed in doing good. Progress and Liberty!” Such were the words which came of the mouth of the Emperor of Brazil on meeting the 1800s’ most venerable author, Victor Hugo.
“the Romantic poets suffer and worry about funerary ideas, establishing with it an intimacy of thoughts and sentiments that almost always results in an imposing meeting.”
When the Emperor arrived ‘a number of Brazilian residents in London crowded forward to meet them’. Who were these Brazilians resident in Victorian London? Can we know a little bit more about their histories?
Quem denunciava a brutalidade policial nos anos 1800s? Existia mesmo um conceito de brutalidade policial no início do século XIX? Então este artigo é o resultado de minha reflexão e pesquisa sobre essas questões e vou mostrar como o conceito de brutalidade policial nasceu na Inglaterra em 1831.
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.
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
Europe clamours for the organisation of labour and preaches communism. Here the same clamour translates into the cry of ‘War on the Portuguese’.
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.
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.
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.
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.