Álvares de Azevedo’s Macário (1850) transforms the traditional tempter of Christian drama into a philosophical moral arbiter who performs God’s work in sifting the irredeemable from the earth. In Macário, then, the Devil emerges not as corrupter or tempter but as the play’s moral centre: urbane, eloquent, and disgusted by human hypocrisy and irreligiosity. His irony exposes the spiritual decay of a society already more corrupt than Hell itself.
“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.
“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.”
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
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.
Leandro Machado’s translation of Brazilian Romantic poet Álvares de Azevedo’s ‘Lembrança de Morrer’ (Memory of Dying)
‘Desanimo’ [Dejection] first appeared in Álvares de Azevedo’s posthumous collection of poetry titled Lira dos Vinte Anos (1853).
“He unites the exactness of the [medieval] chronicles, the majestic grandeur of history, and the all-compelling interest of romance.”
In 1817 the press, politicians, and the public had Robert Southey in their sights; a play, written nearly 2 decades previously and containing “problematic” ideas, was unearthed. A media storm ensued. But instead of pandering to the media mob Southey refused to apologise and, what is more, called out his critics’ hypocrisy.
The summer of 1791 was an unusually wet one. The young schoolboy, and future Poet Laureate, Robert Southey, therefore had a lot of time on his hands. It was probably the weather that induced him to stay inside longer than usual and write a romance entitled “Harold; or, The Castle of Morford” (Bodleian MS Misc. Eng. e.21. Summary Catalogue 31777).
This poem, written by Robert Southey in 1791, has never been seen before by Robin Hood scholars. It is taken from the manuscript of a novel, currently unpublished, written by Robert Southey in 1791.
The following poem, simply titled ‘Robin Hood’ appeared in “The Oriental Observer” in 1828.
“…the most selfish hearts should be humanized, and a feeling of love kept alive, reciprocating and reciprocated, between the rich and the poor, the politically great and the socially defenceless, for ever.”
On the same night that Mary Shelley conceived the idea for Frankenstein, her friend, Dr John Polidori, conjured another frightening creature – the vampire. Yet his malevolent vampire was no match for some Italian bandits, it seems.
The original Goldilocks was a haggard old woman and a criminal vagrant who gets sent to prison for being up to no good.
The year is 2073, England is a republic, but an incurable disease is sweeping the earth, decimating its population.
In the archvies of the Bodleian Library, Oxford there is a hitherto neglected Robin Hood novel by Robert Southey entitled ‘Harold, or the Castle of Morford’ (1791). This post is a short introduction to this text.
Contrary to scholarly opinion, the first Robin Hood novel was not written in 1819 but in 1791.
For International Women’s Day, I discuss Thomas Love Peacock’s ground-breaking novel “Maid Marian” (1822).
Walter Scott’s novel “Ivanhoe” (1819) is perhaps the best Robin Hood story ever written.
This is a copy of the paper I gave at the British Association for Romantic Studies International Conference, 19 – 19 July 2015.
Romanticism was a cultural and intellectual movement spearheaded by poets, artists, writers, sculptors and musicians. Whereas in the eighteenth century men such as Joseph Addison (1672-1719) complained that rural people and provincial […]