O Rochedo dos Amantes (Portuguese Edition)
Veem-se homens, they see men. When Ihe is used after the word se, then the must be rendered into English by his or her ; as, louva-se-lhe o valor, they praise his or her courage. Conjugate after the same manner succede-me, it happens to me, ttc. Many of these impersonal verbs have the third person singular and plural ; as, doe-trie a perna, my leg pains me doem-me os olhos, I have sore eyes o vosso vestido parece-me novo, your coat appears new to me os vossos sapatos me parecem muito compridos, your shoes seem to me too long.
The verb ser is also used as an impersonal, as will be seen in the following examples: You see by the last examples, that when the verb ser and the adjective are before the conjunctive mood with the particle que, the conjunctive is rendered in English by the infinitive ; but if the verb ser is followed by the relative pronoun quern, it must then be rendered in English in the following manner: You may observe that quando, when, must be made use of in the last examples, although it is not required in English. It is to be thus conjugated Indicative Mood.
I have explained them at large in the following conjugation. There is of it ha Id d'isso There is not of it nao ha Id d'isso Is there of it? Is there not of it? There was of it fiavia Id d'isso There was not of it nao havia Id d'isso Was there of iff havia Id d'isso? Was there not of it? There was of it There was not of it Was there of it? Was there not of it 1 There shall be of it There shall not be of it Shall there be of it 1?
Shall there not be of it? That there may be of it That there may not be of it That there were of it That there were not of it There would be of it There would not be of it Would there not be of it? If there had been of it If there had not been of it houve Id d'isso ndo houve Id d'isso houve Id d'isso? When there will be of it When there will not be of it teria havido Id d'isso?
Will there not have been ndo terd havido demasiado Id too much of it? Most sentences beginning with the word some and the verb to be are expressed in Portuguese by the impersonal ha: Observe that ha comes before a substantive even of the plural number. The impersonal ha is besides used to denote a quan- tity of time, space, and number: The question of space is asked thus, quanta ha de Paris a Londres? This verb answers to the Italian bisogna and to the French il faut, and always requires to be intercepted with the preposition de, thus: Ha-de-se ir, one, or somebody must go.
Sometimes the verb coming after this impersonal is rendered in English by the passive voice ; as, ha-de-se fazer isto, this must be done. In the conjugation of this verb, you must use the verb to be with the word necessary, as I have already said. Present, ha-de-se, it is necessary. Imper- fect, havia-de-se, it was necessary ; and so through all the tenses and moods. Sometimes the infinitive that follows the particle de is placed between the impersonal and its particle se; as, ha- de-achar-se, it must be found: Observe that the infinitive may be also placed between the imperfect tense of this impersonal verb and its particle se ; as, havia de achar-se, it was to be found: The verb carpir is used only in those tenses and per- sons where the p is followed by an i ; as, carpimos, carpis, we weep, you weep.
The verb soer is only used in the third persons of the present indicative, of the preteriinperfect of the same mood, and in the gerund: Gerund, soendo, being wont. THE participle is a tense of the infinitive, which serves to form the preterperfects and preterpluperfects of all the verbs: Such participle is likewise a noun adjective. Homem amado, mulher amada ; livros amados, letras amadas. Some participles are frequently abridged ; as, envolto or envolvido, corrupto or corrompido, enxuto or enxugado, and several others, which the use of authors will point out to you.
THE adverb is that which gives more or less force to the verb or the adjective. The adverb has the same effect with the verb as the adjective with the substantive: A great many adverbs are formed from adjectives, changing o into amente: From adjectives in e or I we likewise form adverbs, by adding mente to them ; as, Constante, constantemente, constantly. Abundantemente, abundantly Com razao, justamente, justly Absolutamente, absolutely Antigamente, anciently De proposito, purposely Adeus, farewell Admiravelmente, Maravilho- samente, ds mil maravil- Jias, admirably Astutamente, cunningly Agora, or por hora, now at this time Jd, para jd, now, immedi- ately ADVERBS.
Every preposition requires some case after it, as you will see in the following collection: Antes do diet, before daybreak Diante de Deus, before God Dentro da igreja, within the church Detraz do palacio, behind the palace Debaixo da mesa, under the table Em cima da mesa, upon the table Alem, besides Alem dos mares, on that side of the seas Alem d'isso, besides that, moreover Alem de que, idem A'quem, or d' a?
This preposition governs also a nominative ; as, f6ra sen irmao, except his brother, or his brother excepted. Per ante ojuiz, before the judge Entre, between, among, or amongst Entre os homens, among men Sobre a mesa, upon the table Conforme, or segundo a lei, according to the law Por amor de Deus, for God's sake Pelo mundo, through the world Pela rua, through the streets Pellas terras, through the lands Por grande que seja, let it be ever so great Contra elles, against them Durante, during; as, durante o inverno, during the winter We shall be more particular about prepositions when we examine their construction.
Some conjunctions are copulative, which join, and, as it were, couple two terms together ; as, Portuguezes e Inglezes, Portuguese and English. Some are disjunctive, which show separation or divi- sion: The adversative denote restriction or contrariety: The conditional conjunctions suppose a condition, and serve to restrain and limit what has just been said: The concessive, which show the assent we give to a thing: The casual show the reason of something ; as, porque, what for, or because, or why.
The concluding denote a consequence drawn from what is before ; as, logo, or por consequenda, therefore, then, or consequently. The transitive, which serve to pass from one sentence to another: There are others of a different sort: To the above-mentioned parts of speech, grammarians have added Interjections, which are particles serving to denote some passion or emotion of the mind: To which we may. Ay de mim I Poor me! Oh I oh Id! Oh, oh Id, alii! Out of the way, or stand away! Fran co G de Snr. It is divided into three sorts: The Syntax of Order or Arrangement is the proper placing of words in a sentence.
The Syntax of Concordance is when the parts of speech agree with one another, as the substantive with the adjective, or the nominative with the verb. The Syntax of Government is when one part of speech governs another. For the sake of those who, perhaps, have not a gram- matical knowledge of their own language, I shall lay down some general rules for the Portuguese construc- tion. The nominative denotes the subject, and is usually placed before the verb or attribute ; it may be either a noun or pronoun: The adjectives belonging to the nominative sub- stantive, to which the action of the verb is attributed, are put after the substantive and before the verb: If the nominative has an article, this article is always placed before it.
Sometimes an infinitive is put for a noun, and stands for a nominative ; as, o dormir faz bem, sleeping- does one good: The nominative is sometimes understood ; as amo, where eu is understood: After the nominative comes the verb ; and if there is an adverb, it is to be placed immediately after the verb whose accident and circumstances it explains: The cases governed by the verb are put after it ; they may be one, or many, according to the nature of the action: The preposition is always placed before the case it governs ; as, perto de casa, near the house.
The relative is always placed after the antecedent; as, Pedro o gual estuda, Peter who studies. The adjectives agree with their substantives in gender, number, and case: When two or more substantives singular come together, the adjectives belonging to them must be put in the plural ; as, tanto el rei como a rainha montados a vavallo parecem bem, both the king and the queen look well when they ride. If the substantives happen to be one in the sin- gular and the other in the plural, or to be of different genders, the adjective common to both agrees in number and gender with the last: But when there is one or many words between the last noun and the adjective, that adjective common to all agrees with the masculine noun, though the last noun be feminine ; and if the nouns are in the singular, then the adjective must be put in the plural number and masculine- gender: Every personal verb agrees with its nominative, expressed or understood in number and person.
The relative qual with the article agrees entirely with the antecedent ; but without the article and denoting an absolute quality, it agrees with what follows: The nominative being the basis of the sentence, the verb depends on it, as the other cases depend on the verb. The adjective depends on the substantive to which it refers ; and the adverb on the verb whose accidents it explains.
The genitive depends upon a substantive, expressed or understood, by which it is governed. The accusative depends either on an accusative verb, or on a preposition. The dative and vocative have, strictly speaking, no dependence on the other parts: I now come to the Construction of the several parts of speech. BEFORE we come to the syntax of the articles, remem- ber that o, a, os, as, are articles only when they precede the nouns or pronouns, but not when joined to the verbs. Those who understand Latin will quickly perceive the difference, if they take notice that every time they render o, a, by ilium, illam, illud ; or by eum, earn, id ; and os, as, by illos, illas, ilia ; or by eos, eas, ea, they are relative pronouns.
The article is used before the names of things which can be spoken of ; therefore nouns of substances, arts, sciences, plays, metals, virtues, and vices, having no article before them in English, require the article in Portuguese ; as, oiro e a prata ndo podem fazer feliz ao homem, gold and silver cannot make the happiness of man. A virtude ndo e compativel com o vicio, virtue cannot agree with vice.
A philosophia e uma sciencia muito noire, philosophy is a very noble science. Joguemos as cartas, let us play at cards. The article is not placed before a substantive which is followed by the adjective of number that stands for a surname ; as, Joseph Primeiro, Joseph the First.
When a book, or some part of it, as chapter, page, tfec. If the- adjective of number comes before the substantive, it takes, the article ; as, o primeiro livro, the first book.
- Hosted by Luiz Fernando e família;
- Product details.
- Saying Goodbye to the Sun.
The article is never made use of before proper names of men, women, gods, goddesses, saints. The article is not used in Portuguese before the possessive relative pronouns ; as, de quern e esta casa? When a mount, mountain, or hill's name is preceded by the word monte, it takes neither article nor preposition ; as, o Monte Atlante, Mount Atlas ; o. The noun of measure, weight, and the number of the things that have been bought, requires the article ; as, o trigo vende-se a tanto o alqueire, wheat is sold so much a-peck.
A manteiga vende-se a tanto o arratel, butter costs so much a-pound. Os ovos vendem-se a tanto a duzia, eggs are sold so much -dozen. No article is used with proper names of persons and planets, except a terra, the earth ; o sol, the sun ; a lua, the moon. When proper names are used in a determinate sense, that is, when they are applied to particular objects,, then they take the article: Sometimes the English adjective may be made an adjective in Portuguese, as in the last example, urn fallar ignorante, an ignorant speech ; but not unfrequently the Portuguese express the English adjective by a substantive of the same signification with de before the other noun, though they have an adjective of the same nature as the English ; as, o diabo da perseguicfio, the devilish persecu- tion: Finally they also make use of the definite article: Nouns are used without an article in the follow- ing cases: Primeira parte, the first part.
S 10 Antonio, navio de noventa pec as, the St. Anthony, a ninety-gun ship. In sentences of exclamation: When nouns of number are used in an indefinite sense ; as, mil soldados de a cavallo contra cem infantes, a thousand horse against a hundred foot. Tenho lido dous poetas, I have read two poets, that is, any two out of all that ever existed.
But before a noun of number, in a definite sense, it would take an article ; as, Tenho lido os dous poetas, I have read both poets ; because this plainly indicates a definite two, of whom some mention has been already made. When the adjective is used substantively, it must have the neuter article o before it: There are also some adverbs preceded by the neuter article o ; as the following: Articles are repeated in Portuguese before as many nouns requiring the article as there are in the sentence ; as, ouro, a prata, a saude, as honras, e os deleites ntio pod em fazer feliz ao homem que ndo tern sciencia nem virtude, gold, silver, health, honours, and pleasures, cannot make a happy man without wisdom and virtue.
The article o is put before the word senhor, sir, or my lord ; as, senhor duque, my lord duke ; o senhor presidente, my lord the president ; os senhores, the gentlemen ; dos senhores, of the gentlemen. The article is never used in Portuguese as it is in English, before mais, more, or menos, less, in the following sentences: In a word, the natural associators with articles are those common appellatives which denote the several genera and species of beings, or those words which, though indefinite, are yet capable, through the article, of becoming definite.
Therefore Apollonius makes it part of the pronoun's defini- tion, to refuse coalescence with the article: When the adjective um, nma, is used as an article in Portuguese, it denotes individuals as unknown ; but the articles o, a, denote individuals as known. Seeing an object pass by which I never saw till then, a beggar with a long beard, for instance, I say: Ali vai um pobre com uma barba comprida, there goes a beggar with a long beard. But the man departs and returns a week after ; then I must say, A li vai o pobre da barba comprida, there goes the beggar with the long beard.
A philosophia de Newton, Newton's philosophy. As guardas do principe, the prince's guards. A porta de casa, the house-gate. Eis aqui a casa do companheiro do irmdo de minha mulker, here is my wife's brother's partner's house. When two substantives singular are the nominative of a verb, the verb must be put in the plural ; as, men irmdo e men pai estdo no campo, my brother and my father are in the country. If the nominative is a collective substantive, the verb is always put in the singular ; as, toda a cidade assistio, all the city was present.
Of adjectives, some are put before the noun, and- some after; and others may be put indifferently, either before or after. Meu pai, my father ; a sua casa, his house ; duas pessoas, two persons ; o primeiro homem, the first man. But when an adjective of number stands for a sur- name, or is joined to a proper or Christian name, it comes after the substantive, without the article ; as, Joao V. Verbal adjectives and participles: Adjectives referring to nations: Adjectives expressing some physical or natural quality: Most other adjectives are placed before or after the substantive: If the substantive has three or more adjectives belong- ing to it, they must be placed after it with the conjunc- tion e before the last, which must likewise be observed, even when there be but two adjectives.
The Portuguese do not say, uma desagradavel enfadonha obra, but, uma obra desagradavel e enfadonha, a disagreeable tedious work, etc. Of adjectives, some always require either a noun or verb after them, which they govern ; as, digno de louvor, praiseworthy ; digno de ser amado, worthy to be loved ; capaz de ensinar, capable to teach ; and these have always the particle de after them. The following adjectives, which require the preposition de before the next infinitive, govern the genitive case. Observe, that some of them require, in English, the pre- position at or with after them.
Capaz, capable ; incapaz, incapable: Notado, charged ; as, notado de avareza, charged with avarice. Contente, glad ; as, estou contente do successo que elle teve, I am glad or overjoyed at his success. And likewise adjectives signifying fulness, emptiness, plenty, want, desire, knowledge, remembrance, ignorance, or forgetting. All adjectives signifying inclination, advantage and disadvantage, profit or loss, pleasure or displeasure, due submission, resistance, likeness, govern the dative case: They also turn the adjective of dimension into its corresponding substantive, with the preposition de, and preceded by the measure: Adjectives signifying experience, knowledge, or science, require em, or no, na, nos, nas, after them: Cardinal nouns require the genitive case after them ; as, um dos dois, one of the two.
The ordinal nouns, as well as collective and propor- tional nouns, likewise require the genitive after them: The comparative is not made of the positive in Portu- guese, as in Latin and English, but by adding mais, more, or menos, less, which govern que, signifying than: The simple comparatives mais and menos, followed by a noun of number, have de after them: They put sometimes muito and pouco before the simple comparatives mais and menos: WE have sufficiently explained the pronouns in the First Part ; and, to avoid any further repetition, shall only observe that, 1st. Observe here, that when an adjective comes after vm ce , v.
N6s is generally used by a king, a governor, or a bishop, in their writings, and then it signifies in English, we ; as, n6s mandamos, or mandamos, we com- mand: V6s is applied when speaking to God or to a multitude. The conjunctive pronouns are joined to verbs, and stand for the dative and accusative cases ; as, deu-me, he gave me ; ama-me, love me: Him or it, which follows the verb in English, must be expressed in Portuguese as in the following examples: When him or it in English follows the verb in the first person of the singular number, it must be expressed in Portuguese by o before or after the verb.
I call him or it, eu o chamo. When him or it in English follows the verb in the first person of the singular number, it may be expressed in Portuguese either by o before the verb, or after it, omit- ting the last consonant of the verb. When him or it is joined with the third person singu- lar of a verb, it may be expressed by o before or after the verb.
When him or it is with a verb in the first person plural, it may be expressed in Portuguese either by o before the verb or lo after it ; omitting the last consonant, as in the second case. The I being then but the substitute for those three letters is thus better placed where they stood: When him or it follows the verb in the third person plural, it may be expressed in Portuguese either by o before the verb, or no after it. Her or it after a verb in English is expressed n Portuguese by a, according to the rules given above.
Them after a verb is expressed in Portuguese by os for the masculine, and by as for the feminine, according to the gender and the rules proposed. The words o, a, os, as, must always be put after the gerunds, but not before the infinitives. The best writing, therefore, is that now used by some writers for the sake of distinction, of marking the n with an ', thus, chamao-rfo ; or, as others do, isolating it by hyphens, thus, chamiio-n-o, in like manner as the French add their t in Va-t-il vu? The words to, la, Ion, las, must always be put after the verbs.
The same words must follow also the adverb ei: They follow likewise the persons of the verbs: I have been speaking of the words o, a, os, as, lo, la, los, las, and not of the articles, o, a, os, as ; because when those words precede, and sometimes when they follow the verbs, they are not articles, but relative pronouns. They are articles only when they precede nouns or pronouns.
THE verbs through every tense and mood except the infinitive ought to be preceded by a nominative case, either expressed or understood, with which they must agree in number and person. The Portuguese, as well as English, use the second person plural, though they address themselves but to a single person. Men amigo, vos ndo tendes razdo, my friend, you are in the wrong. And if we would speak in the third person, we must say, vm ce tern razdo, sir, you are in the right. The verb active governs the accusative ; as, amo a virtude, I love virtue. There is in Portuguese another way of making the passive, by adding the relative se to the third person singular or plural ; as, ama-se a Deus, God is loved.
Where there are two nominatives singular before a verb, it must be put in the plural. When a noun is collective, the verb requires the singular, not the plural ; as, a gente estd olhando, the people are looking. The verb ter is made use of to conjugate all the com- pound tenses of verbs ; as, tenho amado, tinha amado, I have loved, I had loved. Ter signifies also to possess, to obtain ; as, tenho dinheiro, I have money ; tern muita capacidade, he has a great deal of capacity.
Haver, in account-books and trade, expresses credit, or discharge. Haver is also taken impersonally in Portuguese, and signifies in English there be ; as, ha muito euro no Mexico, there is a great quantity of gold in Mexico. We have already observed the difference between ser and estar. The verb estar is also used to conjugate the other verbs, chiefly expressing action ; as, estou lendo, estou screvendo, I am reading, I am writing. Estar with the preposition em, in, or with no, na, nos nas, signifies, to be present in a place ; as, estou no campo, I am in the country.
Estar with the preposition para denotes the inclination of doing what the following verb expresses, but without a full determination ; as, estou para me ir para Londres, I have a mind to go to London. Estar with the preposition por, and the infinitive mood following, means, that the thing expressed by the verb is not yet done: Estar por alguem signifies to agree with one, or to be of his opinion.
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See, in the Third Part, the different significations of the verbs estar and haver. When ser signifies the possession of a thing, it governs the genitive: Em ser is taken for a thing to be whole or entire, without any alteration or mutilation ; as, as fazendas fstdo em ser t the goods are not sold. All verbs of gesture, movement, going, remaining, or doing, as also the verbs that have the word that goes before and the word that comes after, both belonging to- one thing, require the nominative after them: Also the verb in the infini- tive mood has the same case, when verbs of wishing and the like come after them: After verbs the Portuguese express yes and no by que sim and que ndo.
The following verbs belong to this rule: Obedecer, desobedecer, agradar, comprazer: Assistir, ajudar, soccorrer, to help ; assistir ao officio divino, to assist at divine service. Saudar, to salute or greet ; as, elle sauda a lodos, he salutes everybody. Fallar, to speak ; satizfazer, to satisfy ; servir, to serve ; favorecer, to favour ; ameaqar, to threaten. The verbs of pleasing, displeasing, granting, denying, pardoning, govern the dative case. The impersonals acontecer, succeder, importar, pertencer, and the like to these, often have two personal datives: All active verbs require the accusative ; and the Latin verbs which govern the accusative of the thing, and the dative of the person, govern generally the same in Portu- guese: Verbs of asking, teaching, arraying, must have an Passive verbs, and the greatest part of the reciprocal verbs, require the ablative, with, de, do, da, dos, das, por, or pelo, pela, pelos, pelas: Verbs joined to a noun which they govern must have the infinitive with de ; as, tenho vontade de rir, I am inclined to laugh.
The price of anything bought, or sold, or bartered, must have the accusative with por. The verb por-se, when it signifies to begin, requires the infinitive, with the particle a ; as, por-se a chorar, to begin to cry. Verbs of plenty, filling, emptying, loading, unloading, require the ablative: Verbs denoting custom, help, beginning, exhortation, invitation, require the infinitive with the particle a: Verbs denoting obligation govern the infinitive with the preposition a ; as, eu o obrigarei a fazer isto, I will oblige him to do it.
After the verb ser, to be, para is made use of as well as a: But the particle a is used to denote only the action ; as, elle foi o primeiro a fugir, he was the first to run away. Verbs of motion to a place always govern the dative ; as, vou d comedia, I go to the play ; though the verb voltar, to return, may also have an accusative, with the preposition para. But verbs of motion from a place govern the ablative with, de, do, da, dos, das ; as, venho do campo, I come from the country. If the motion is through a place, then they govern the accusative, with por ; as, passarei por Londres, I will come by the way of London.
Although I have spoken at large upon the tenses in the First Part, I would further observe 1. That when we find the particle if, which in Portu- guese is expressed by se, before the imperfect indicative, we must generally use the imperfect subjunctive in Portu- guese. That the first imperfect subjunctive in Portuguese is also used in a sense that denotes the present, especially in sentences of wishing ; as, quizera que Domingo fizessc bom tempo, I wish it would be fine weather on Sunday.
But if the same tense is preceded by ainda que, although, then it must be rendered into Portuguese by the second imperfect subjunctive, or by the imperfect indicative ; as, eu ndo a quizera, ainda que ella tivesse milhoens de seu, though she were worth several millions, I would not have her ; ainda que elle consentisse n'isso, ndo se podia fazer, although he would consent to it that could not be done. Lastly, when the first imperfect subjunctive is preceded by se, it is sometimes rendered into Portuguese by the second imperfect subjunctive ; as, se elle viesse, if he should come.
Note, that to express in Portuguese, though tJiat should be, we must say quando isso fosse, and not seria. The Portuguese use the future tense subjunctive after the conjunction if, when they speak of a future action, but the English, the present indicative. A conjunction between two verbs makes the last of the same number, person, and tense as the first. Sometimes the present is made use of instead of the preterdefinite in narrations ; as, ao mesmo tempo que hia andando o encontra, o despoja, e o ata a uma arvore, as he was going, he meets him, strips him, and ties him to a tree.
When the Portuguese use the infinitive with the third person plural, they add em to it, and it is generally preceded by por, for, and para, in order to, that, or to the end that: Observe that when the Portuguese put por before the first future subjunctive, they speak of a time past ; as, por fallardes, because you have spoken. But when they put para before it, then they speak of a time to come ; as, para fallarmos, to give us an opportunity for speaking, in order to speak. All the tenses of the indicative mood may be employed without any conjunction before them ; although they admit of some.
Besides the conjunction que, those that may be made use of are se, como, and quando ; with some distinction in respect to se, because this conjunction is seldom used before the future tense, and then it is governed by a verb signifying ignorance, doubt, or inter- rogation: The optative or subjunctive in Portuguese has always some sign annexed: When que is between two verbs, the last is not always put in the subjunctive, because, though some say, creio que venha, I believe he comes, I think it is better to say, creio gue vem ; but when there is a negative, the verb following que must be put in the subjunctive: When the verbs crer, to believe, saber, to know, are use interrogatively, and followed by the particle que, the next verb is put in the indicative, when the person who asks the question makes no doubt of the thing which is the object of the question ; as if, knowing that peace is made, I want to know if the people whom I converse with know it too, I should express myself thus: Observe also, that the present subjunctive of saber is elegantly used when it is attended by a negative and the particle que in this phrase, ndo, que eu saiba, not that I know of.
All the verbs used impersonally with the particle que require the subjunctive: From these observations it follows that all the verbs not expressing a positive assurance, or believing, but only denoting ignorance, doubt, fear, astonishment, admiration, wishing, praying, pretension, or desire, govern the subjunc- tive mood after que: When que is relative, and there is a verb in the im- perative or in the indicative, with a negative or interroga- tion before it, it likewise governs the subjunctive: The present subjunctive is sometimes rendered into English by the second preterimperfect subjunctive, when it is followed by a verb in the future tense ; as, ainda que eu trabalhe, nunca hei de me canpar, though I should work, I never should be tired.
The Portuguese use specially the same present sub- junctive for the future ; as in those sentences and others, like: Duvido que o far. Therefore carefully avoid those faults which foreigners are so apt to make, in considering rather the tense which they want to turn into Portuguese, than the mood which the genius of the language requires.
The present indicative is also used for the future, the same as in English. The conjunction que, that, generally requires the sub- junctive after it ; but antes que, primeiro que, before that, always require it. Posto que, although ; ate' que, till ; quando, como quer que, commonly govern the subjunctive. But com que assim governs the indicative ; as, com que or com que assim vird amanhd, so he will come to-morrow.
The impersonal verbs generally govern the subjunctive with que ; but with this distinction, when the impersonal is in the present tense, or future, of the indicative mood, then it requires the present subjunctive mood: The present subjunctive is- likewise construed when the particle por is separated from que by an adjective ; as, por grande, por admiravel, por douto que seja, though he be great, admirable, learned. An imperative often requires the future of the sub- junctive ; as, succeda o que succeder, or seja o que for, happen what may. The imperfect subjunctive is repeated in this phrase, and others, like succedesse, o que succedesse, happen what may.
Observe, that quando and logo que may also be con- strued with the indicative mood: In Portuguese there is not a general sign before the infinitive, as in English the particle to; but there are several particles used before the infinitive, denoting the same as to does in English, and they are governed by the preceding verbs or nouns. These particles are the following: A coming between two verbs denotes the second as the object of the first: Para denotes the intention or usefulness ; as, a ad- versidade serve para experimentar a paciencia, adversity serves to try one's patience.
Para after an adjective denotes its object ; as, estd prompto para obedecer, he is ready to obey. De is put between two verbs, if the first governs the genitive or ablative ; and when the substantive or adjec- tive governs either of these two cases, de must go before the following verbs, or infinitive: The gerund of any verb active may be conjugated with the verb estar, to be, after the same manner as in English: The active participles that follow the verb ter, to have, must end in o ; as, Tenho visto el-rei, I have seen the king. Tenho visto a rainha, I have seen the queen.
Eu tinJia amado os livros, I had loved books. Eu tinha levado as cartas, I had carried the letters. E porque como vistes, tern passados. And canto 2, stanza Ixxvi. Sao offerecimentos verdadeiros, E palavras sinceras ndo dobradas, As que o rei manda aos nobres cavaleiros, Que tanto mar e terras tern passadas. If it be a neuter verb, the participle ought always to- end in o. El-rei tern jantado, the king has dined ; a rainha tern ceado, the queen has supped ; os vossos amigos tern rido t your friends have laughed ; minhas irmds tern dormido, my sisters have slept.
The passive participles which are joined with the tenses of the verb ser, to be, agree with the substantive that precedes the verb ser ; as, o capitdo foi louvado, the captain was praised ; a virtude e estimada, virtue is esteemed ; os preguicosos sdo censurados, the lazy are blamed ; as vossas joias fordo vendidas, your jewels were sold. The Portuguese generally suppress the gerunds having and being before the particles: This manner of speaking is called by grammarians the ablative absolute.
It is better to place the nominative after the gerund than before ; as, estando el-rei na comedia, the king being at the play. Prepositions may be divided into separable and in- separable. An inseparable preposition is never found but in compound words, and signifies nothing of itself. A separable preposition is generally separated from other words, and signifies something of itself. The inseparable prepositions are: Ab and abs ; as, abrogar, to abrogate; abster-se, to abstain.
Arce, or archi; as, arcebispo, an archbishop; archiduque y an archduke. Ad ; as, adventicio, adventitious. Am; as, ambiguo, ambiguous; amparo, protection, shelter. Circum ; as, circumstancia, circumstance. Co ; as cohabitar, to live together, to cohabit. Des serves to express the contrary of the word it is joined to ; as, desacerto, mistake ; desfazer, to undo ; desen- ganar, to undeceive, are the contrary of acerto, fazer, and enganar.
Dis ; as, dispor, to dispose ; distinguir, to distinguish ; distribuir, to distribute. Ex ; as, extrahir, to extract. Observe that in before r is changed into ir ; as, irre- gular, irregular , irracional, irrational: Ob ; as, obviar, to obviate. Pos ; as, pospor, to postpone. Pre ; as, preceder, to go before ; predecessor, an an- cestor. Pro ; as, propor, to propose ; prometter, to promise. Re is a particle borrowed from the Latin, which gene- rally denotes iteration, or backward action: So; as socorrer, to help, to succour.
Sor ; as sorrir, to smile. Sos ; as, soster, to support. Soto ; as, sotopor, to put or lay under. But the Portuguese articles are added to the Arabic nouns, without taking off their article, al: The Greek preposition anti enters into the composi- tion of a great many Portuguese words, which cannot be set down here. It is enough to observe that it signifies generally opposite ; as in Antipodas, Antipodes ; antipapa, anti-pope. And sometimes it signifies before ; as in anti- loquio, a preface, introductory remarks ; but in this last sense it is derived from the Latin preposition ante.
It is absolutely impossible ever to attain to the knowledge of any language whatever, without thoroughly understanding the various relations denoted by the pre- positions, and the several cases of nouns which they govern ; both which relations and cases being arbitrary, vary and differ much in all languages. This only in- stance will evince it: Eu vou a Londres, I go to London. Voltar a Portugal, to return or go to Portugal. A, in this sense, is a preposition, but in the following observations it is a particle.
A denotes the mode of being or of doing of people ; as also their posture, gesture, or action: A direita, on the right hand ; d esquerda, on the left hand. Viver d sua vontade to live to one's mind, as one likes. Andar a pJ, ou a cavallo, to go on foot or on horse- back. Montar a cavdllo, to ride on horseback. Correr d redea solta, to ride full speed. Trajar d Franceza, to dress after the French mode. Viver d Ingleza, to live after the English fashion.
Andar a grandes passos, to walk at a great rate. Andar a passos lentos, to walk very slowly. A denotes the price of things ; as, a oito xelins at eight shillings. It denotes also the weight: A denotes also the measure: When a is preceded by d'aqui, and followed by a noun of time, it denotes the space of time after which some- thing is to be done ; as, el-rei partird d'aqui a tres dias. A denotes the tools used in working, as likewise the games one plays at: Andar d vela, to sail or to be under sail.
Jogar a pella, to play at tennis. Jogar as cartas, to play at cards ; here s is added to a; the noun being of the feminine gender and plural number. Jogar aos centos, to play at piquet ; here os is added to a, as preceding a noun signifying a game, of the mascu- line gender and plural number. A signifies sometimes as. It signifies also in; as, ao principio, in the beginning ; but then o is added to it. Talhadas, Sever do Vouga. Anta do Vale da Rua. Mamoa da Quinta da Laje. Pigeiros, Santa Maria da Feira.
Silva Escura, Sever do Vouga. Anta da Capela dos Mouros. Anta de Cunha Baixa. Anta Pintada de Antelas. Pendilhe, Vila Nova de Paiva. Canas de Senhorim, Nelas. Arca, Oliveira de Frades. Antas de Penalva 2 , Antas, Penalva do Castelo. Anta Orca do Penedo. Esmolfe, Penalva do Castelo. Penela da Beira, Penedono. Estela Menir da Caparrosa. Anta da Arquinha da Moura. Orca dos Juncais Anta da Queiriga.
Anta de Mamaltar do Vale de Fachas. Rio de Loba, Viseu. Couto de Cima, Viseu. Couto de Cima, Viseu Distrito da Guarda. Menires do Rochoso Possible Cromeleque do Rochoso. Carapito, Aguiar da Beira. Anta da Pedra de Anta. Lajeosa do Mondego, Celorico da Beira. Gens A Pedra do Sino. Paranhos da Beira, Seia. Anta de Curral dos Mouros. Seixo da Beira, Oliveira do Hospital. Bobadela, Oliveira do Hospital. Distrito de Castelo Branco. Parque Magalitico de Coureleiros. Anta do 1 Alcgulo. Anta de San Gens. Anta da Estria Megalitica Queluz, Sintra.
Anta de Agualva Sintra. Cromeleque e Menir da Herdade dos Almendres. Nossa senhora de Guadalupe, Evora. Menir e Pedras no Vale dos Cardos. Antas do Monte da Ordem. Anta da Venda do Duque. Anta da Vila de Arraiolos. Field near Ciborro, Evora. Anta da Coutada do Alcogulo. But no national taste for any particular species of drama was then formed in Por- tugal. The Castilian style could not give the tone to the Portuguese; for at the period in ijuestion, which was half a century previous to the birth of Lope de Vega, the Spanish drama was still in its infancy and wavering amidst heterogeneous forms.
Thus the Por- tuguese writers who turned their attention to dramatic poetry, were not, in their choice of styles and forms, restrained by any capricious conditions demanded by the public. These circumstances afforded an oppor- tunity for commencing, without any literary warfare, the improvement of the Portuguese drama by the works of two poets, who like Saa de Miranda and Gil Vicente trod in very different paths.
Miranda wrote two comedies in prose. They are dramas of character in the style of Plautus and Terence: It has already been mentioned that the Infante Cardinal Henry was particularly pleased with these two dramas, that he permitted them to be performed at his court, and that he gave orders for having them printed. How they happened to obtain these honours is explained partly by their own intrinsic merits and partly by con- tingent and temporary circumstances.
It is, however, more than probable that the Portuguese public was not induced by such high pa- tronage to manifest particular regard for this class of dramatic entertainments, any more than the Italian public had been, by the marks of distinction bestowed on the plays of Bibiena and Ariosto, The two comedies of Miranda are, nevertheless, even at the present day, worthy the attention of the critic.
They are the first compositions of their kind in Portuguese literature; and in none of the essentials of the dramatic art are they surpassed by the subsequent productions for which they have served as models. Both dramas exhibit highly natural, though not ingenious de- lineations of character, unaffected diction, and a pleas- ing and rapid flow of dialogue; and though in their composition they really possess but little dramatic me- rit, still it is evident that a dramatic spirit has go- verned their execution.
For this purpose he avtiiled himself of the interesting CaUidio. Todo o inundo dornie? Ah cidadaes que todos somos escravos. Ja vay entrando em seu acordo. Had the poetic spirit of this popular style shone as conspicuously in his comedies as in his pastoral poems, the former, like the latter, would have been novel and single in their kind. But Saa de Miranda was bom a pastoral poet, and only made him- self a dramatist by imitation. If he had been penetrated with the spirit of the comic dramatists of Rome, as he was with that of the father of the Greek bucolic, he would have endeavoured to become a Portuguese Plautus or Terence in the same manner as he became a Portuguese Theocritus.
Meaning of "castração" in the Portuguese dictionary
He would not then have transplanted foreign manners to the comic stage of his native land. Still less would he have imitated his models in the manner of Bibiena; a manner which even in Italy had been relinquished by Ariosto, who, as a, dramatist, struck into the same bypath, and missed the goal. Miranda then did not, strictly speaking, follow Plautus and Terence; but Bibiena and Ariosto, in then- character of imitators of those ancient poets, were his guides in the region of dramatic poetry, where the spirit of modern times demanded more than he was capable of supplying.
Besides, why did this poet, who was a master in the art of versification, write his dramas in prose? Wishing to adhere throughout to the nature of prose, he makes the principal persons of his dramas explain, chiefly in soliloquies, their own cha- racters, with a garrulity, which though certainly natural, is nevertheless low and tedious; and the popular mo- rality which floats in this prolix stream of vulgar phraseology affords no pleasurable compensation to the VOL.
In the selection of those charac- ters, he however follows Plautus and Terence, with- out paying any apparent regard to the distinction between different ages, by which the choice of the dramatic poet ought to be directed. Of the principal characters there is only one perfectly modern in the Estrangeiros , and in like manner only one of the same description appears in the Vilhalpandos. The first is a pedantic doctor named Juris; the second is a lady named Fausta, a hypocrite, surrounded by a group of pretended devotees.
Deixoume elle mais domin', nem assossegar? Agora que aconteceo de novo, mantlouselhe por ventura desculpar alguein, on chora, et sospira alguem de todos nos senao eu coino? Ainda nan quer, ainda nao cans a, Em quanto ouve que dar durou o amor, voou a fazenda, voou elle juntamenle. This is not a third part of the soliloquy. His scenes are strung together, rather than drawn out of each other. It is not worth while more minutely to analyze the composition of these two dramas. No highly comic scenes occur in either of them. But their general tone is spirited; and, if well performed, they doubtless would, in the age in which they were produced, interest an audience disposed to be pleased with the comic de- lineation of character; for most of the scenes are of a kind which might enable a player to supply by good acting that comic force in which they are deficient.
Thus it happened that though the Portuguese public took no particular interest in dramas of this class, no party was formed, as in Italy, avowedly hostile to them. Writers on literature have not recorded the date of the birth of Gil Vicente, who is styled the Portuguese Plautus. It is known that he belonged to a family of rank, and that he studied the law in com- pliance with the wish of his family. But it appears that he speedily relinquished his juridical studies and devoted himself wholly to the dramatic art.
It is not recorded whether or not he was regularly pensioned as a writer to the court; hut he was most indefatigable in furnishing the royal family and the public with dra- matic entertainments suited to the taste of the age. Dieze has likewise quoted from the above-mentioned writers, the account given in his appendix to Velasquez, p.
We are not informed whether he was himself an actor; but he was the tutor of the most distinguished ac- tress of his age, namely, his daughter Paula. Erasmus is said to have learned Portuguese for the express purpose of reading the comedies of Vicente in the original. The text of the dramas is printed in gothic characters, but the introduction which precedes each piece is printed in the modem roman type.
But no one was less cal- culated than Gil Vicente to become an improver of taste; and indeed he was far from being ambitious of earning that honourable title. Had not the favour of the public been continued to him and his dramas even after the middle of the sixteenth century, when the school of Saa de Miranda had risen and acquired the ascendancy in the polite world, he might with propriety be ranked as the last in the series of the Portuguese poets of the fifteenth century. His diction, as well as his whole poetic style, belongs to that age, and to the latest period of his life he continued faithful to the old national manner.
That each' party should under such circumstances maintain its credit is not a little remarkable. Perhaps they became accommodated to each other merely because the Portuguese had no relish for literary feuds. It may be ductions are chiefly written in Portuguese, some of them are also in Spanish. Bar- bosa Machado mentions none of subsequent date. How can the Por- tuguese public so completely forget an old favourite? Here we again arrive at the pointy at which the historian of the cultivation of the Portuguese and Spanish drama finds a stumbling-block in the way of his enquiries; for the materials necessary to the right prosecution of his labour are either entirely wanting or involved in contradiction.
In the history of the Spanish theatre it lias already been stated how little positive knowledge the Spaniards possessed even in the age of Cervantes and Lope dc V ega, respecting the early for- mation of their national comedy. Spanish Autos either did not exist in the beginning of the sixteenth century, or if they did, they have disappeared from the domain of literature. A whole series of Autos by Gil Vicente are, however, extant; and several were written within the first ten years of the sixteenth century.
Was Gil Vicente then the first writer who exhibited a kind of poetic design in dramatic entertainments for the celebration of Christian festivals, and thus raised to literary consideration a style of composition which had previously been degraded by monks and buffoons? Or are the corresponding works of contemporary Spanish writers lost in oblivion? Was Gil Vicente an imitator of Torres Naharro, or did the latter copy from the former?
The number of dramas which Gil Vicente has bequeathed to posterity is considerable, though com- pared with the fertility of some of the Spanish poets, by no means extraordinary. They are arranged in classes either by himself, or, as is more probable, by bis son, by whom they were published; and in taking a critical view of them this classification is very conve- nient. At the commencement appear the Autos or spiri- tual drarpas; next follow some anomalous works, which are oddly enough, in preference to all others, styled comedies; these are succeeded by the tragi-comedies; and last of all come the Farsas.
Various small poems in the Spanish and Portuguese languages form an appendix to the collection. These works display a true poetic spirit, which, however, accommodated itself entirely to the age of the poet, and which disdained all cultivation. The dramatic genius of Gil Vicente is equally manifest from his power of invention, and from the na- tural turn and facility of his imitative talent. Even the rudest of these dramas is tinged with a certain degree of poetic feeling. Scenes in stanzas and redondilhas which, though harmonious, arc of antiquated construction.
Gil Vicente's language, too, is al- together in the old and uncultivated style. The Autos, or spiritual dramas, contained in the collected works of this poet, ave sixteen in number. By this characteristic feature they are distinguished from most of the Autos of Spanish or posterior origin. Accident favoured the national poetic genius of the Portuguese in the creation of the spiritual pastoral drama, Gil Vicente while yet a youth and a tyro in the poetic art, surprised King Emanuel and the Queen on the birth of the Infante, afterwards King John III, by the production of a little pastoral drama, which ap- pears better adapted for celebrating the festival of Christmas than the birth of a hereditary prince, but which was, perhaps, on that very account the more flattering to the royal family.
This pastoral drama is, in consequence of the distinction it thus obtained. The little piece is written in the Spanish language. Among the personages in- troduced in these dramas there are always some of the pastoral class, intended to represent directly, and also in a certain degree allegorically, the shepherds at the manger of Bethlem. But the inventive poet soon advanced a step further.
He composed dramas in the same style for the celebration of other religious festivals, without any admixture of pastoral poetry. Among his Autos, however, there is one in celebration of the festival of Corpus Christi, which was one of his earliest productions. The notice annexed to it states that it was performed in the year It would appear that spiritual dramas of this class, in which so much was to be seen and admired, had never before been produced either on the Portu- guese or the Spanish stage. The critic would therefore judge very unfairly, were he to regard as proofs of bad taste the consequences which a poet naturally entails on himself in writing according to the spirit of his religion.
For instance in one of the simplest of these Autos some shep- herds who discourse in Spanish, enter a chapel, which is decorated with all the apparatus necessary for the celebration of the festival of Christmas, The shepherds cannot sufficiently express their rustic admiration of the pomp exhibited in the chapel. Faith LaFe enters as an allegorical character. She speaks Portuguese, and after announcing herself to the shepherds as true Faith, she explains to them the nature of faith, and enters into an historical relation of the mysteries of the in- carnation.
The old orthography is, with the exception of filling up some contractions, preserved in this and the following passages, quoted from the Autos of Gil Vicente. Bras, Mas quiem sos vos o quiem seres? Fe, Pastores eu sam a fee. Bras, Ablenhuncio satanhe, Sa nhi fee nho see que ses. Mercury enters as an allegorical character, and as the representative of the planet which bears his name. He explains the theory of the planetary system and the Zo- diac, and cites astronomical facts from Regiomontanus, in a long series of stanzas in the old national style.
A Devil next makes his appearance with a little a mar o que nam com pren demos nera vimos nem conhecemos pera que saluos scjawos, Bras, A ora lo entiendo menos. The Devil remonstrates; and Rome retires. Two Portuguese peasants now appear in the market. Elle nam vay aa laurada, elle to do dia come, die toda noyte donne, die nam faz nunca nada et sempre me diz que ha fome.
True God and man! The throng continues to increase; other countrywomen with baskets on their heads arrive; and the market is stored with vegetables, poultry and other articles of rural produce. The Seraph offers virtues for sale; but they find no purchasers. The peasant girls observe that in their village money is more sought after than virtue, when a young man wants a wife.
One of the party, however, says, that she wished to come to the market because it happened to fall on the festival of the mother of God; and because the Virgin does not sell her gifts of grace as gragas ; but she distributes them gratis de graca. His largest work of this class may, however, be referred to, in proof of the little attention he bestowed on dramatic plan in the composition of his spiritual comedies. Belial is president of his court of justice meirinko de carte , and Satan gentleman of his privy council, fidalgo do conselho. After this privy H 98 HISTORY OF counsellor has performed his part in the temptation ol Adam and Eve in Paradise, the whole details of which are represented on the stage, Lucifer confers on him the dignities of duke and captain of the kingdoms of the world.
The World accompanied by Time and angels enters as a king. The representation of the fall of man is followed by the history of Abel, by whom a beautiful aud simple hymn is sung. Adoray moutanbas o Deos das alturas; lambem as verd liras A do ray, desertos et serras florid as, o Deos dos secretos o Senhor das vidas. Ribeyras crecidas, louuay nas alturas Deos das criaturas. Louuay aruoredos de fruto prezado; digam os penedos Deos seja louuado. E louue meu gado nestas yerduras o Deos das alturas. On comparing the Autos of Gil Vicente with those of Calderon, the difference appears not much less con- siderable than that which exists between the works of Hans Sachs and Shakespeare.
But the graceful sim- plicity with which many of the scenes of these spiritual dramas are executed, raises the Portuguese poet in- finitely above the poetic shoe-maker of Nuremberg. The most unimportant of the dramatic works of Gil Vicente are those which the poet and his son have called comedies. One is a dramatized novel, in which a young lady, whom her lover, a priest, has seduced, ap- pears on the stage in child-bed, and after long lamenta- tions and discussions is actually delivered of a daughter.
In the second half of the piece the child whose birth is thus announced has attained the age of womanhood, and is in her turn introduced as a lady loving and beloved. The action, however, is not destitute of in- terest. In the first half of the drama, a Witch, who summons the Devil on the stage, assists the unfortunate lady in child-bed, and afterwards, five laundresses lavancleiras make their appearance.
Nevertheless, amidst much extravagance and absurdity, the author has represented several scenes of domestic life, in a style equally pleasing and natural. No example of the in- trigue of the Spanish theatre is to be found in this piece, but there is introduced a fool parvo , or more properly a waggish clown, a character which appears to be the rude prototype of the Spanish grmioso. The young girl who was born at the commencement of the piece takes leave of the public in the character of a princess.
At the head of the dramatis personae appears the burlesque character of a philosopher, who, because he has reproved some wicked men for their misconduct, is, by way of punishment, tied to a fool parvo with whom he is thus compelled to associate. He regards this punishment as the severest torture that could be inflicted on a philosopher.
He speaks Spanish, and the replies of the fool are more remarkable for their rudeness than for their wit. Gil Vicente so frequently confounds Spanish and Portuguese together, that in the present instance it is necessary to guess the meaning he wishes to attach to the word Floresta , which seems to be that of a fiower garden, f Both converse in Spanish in the following extract.
They were performed before the court on festivals or particular occasions, which are specified. One of these dramas, entitled, Amatlis de Gaula , and founded on some of the incidents in the celebrated romance of the same name, was, in spite of its in- offensive character, forbidden to be performed in Spain in the reign of Philip II.
The cause of this prohibition probably was, that the disguise of Amadis, as a pilgrim, was deemed a profanation of the sacred habit. This piece which is written in the Spanish language, is des- titute of all merit of invention. Others of these dramas exhibit more traces of the poet's fancy; but in none is ataron an si comigo esto hullo que aqui veis.
Que 1o trayga desta suerte al comer y al cenar al dormir y platicar esto so pen a de rnuerte que no lo pued a dexar hasta el morir, Parvo , Has te dir. One entitled, Mxhortagdo de Guerra , Exhortation to War , was doubtless a favourite with the court. By powerful spells he summons to his pre- sence some subject demons, whom he suffers to revile him in the coarsest language.
These spirits appear in succession, and address fine compliments to the royal family. In another tragi- comedy Providence is introduced as a Princess. Besides a multitude of characters, among which an allegorical personification of Winter is one of the most conspicuous, Gil Vicente ex- hibited to his audience a view of the open sea, agitated by a storm during the most inclement season of the year.
The noise and confusion among the ships in distress, and the oaths and prayers of the Portuguese sailors expressed in rhymes and redondilhas, would naturally be gratifying to a public who at the period when the piece was written, took particular interest in maritine affairs. It is not necessary to quote the names of the characters at length.
If the literary relationship between two dramatic wri- ters were to be decided by the comic strength of their works, then indeed Gil Vicente might be truly termed a second Plautus. But neither in respect to their form Mari. Vos piloto sols aazado pera perderlogo o tento. E mats noytetam escura. Que quereis vos Fernam Vaz no mal que o inuerno faz ten ho on culpa per ventura, Quee, et vos chorals antora. Oo virgetn da luz senhora sam Jorge, sam Nicolao. Acudi eramaa an nao et leyxay os sanctos agora ; Siquer man day amaynar ameyoinasto essa veil a et aa mezena colhella et liuma vez segurar.
A may n a amayna a mezena. Acadi ali todos tres. E eu tambem yrey la? E eu yrey la lambent. Oo pesar de Santa rein n demo vos troiixeca. His farces, like his other dramas, have no regular plot for their ground-work. Among the eleven dramas, which in the collected works of Gil Vicente are entitled farces, there are two festival pieces, in the popular style, which might with equal propriety have been ranged in one of the preced- ing classes.
The first piece is truly a farce. Two miserable servants, the one a Portuguese, the other a Spaniard, who are almost starving in the service of two coxcombs, meet together in the street at midnight, and each in his respective language complains of his sad fate. The Portuguese describes his master as an ena- moured enthusiast, who employs himself day and night in writing silly verses, and in singing them to his own wretched music, but who never appears to think of eat- ing and drinking.
Before he begins to sing a song, fie reads aloud its title, and names himself as the author. Here a change of scene com- mences with the lamentations of the old woman in a burlesque caricature style. Seuhora, isso do cabo Apa. Mais resgnardado estaa qui o meu grande amor fenieu ite. Hi hi hi, de que me rio? Co os pedras os ajude Peos. Ham ham ham ham. Pesar nam de Deos cos caes, rapaz es nam lhes daes vos?
Rogo aa Virgem Maria que quem me fazer guer da cama HISTORY OP first with her coquetish daughter, who has expressed herself pleased with the serenade, and then with the gallant, who at length sings a farewell stanza, and de- parts. But this collection of songs and dialogues is as far from having any real dramatic object as are the other farces of Vicente, in which he sometimes intro- duces Witches, — at that period objects of particular interest with the public,— performing incantations in concert with the Devil; sometimes Frenchmen and Ita- lians who speak a kind of broken Portuguese, perhaps often enough heard on the quays of Lisbon.
In ano- ther of these lively entertaining dramas, an enamoured old man is the principal character. Of all these farces, however, that entitled Inez Pereira , is distinguished by the most remarkable plot and tbe greatest stretch of dramatic talent. The his- tory of this piece serves to throw some light on the relation in which Gil Vicente stood with respect to the Portuguese public. These burlesque antitheses are continued in the same style throughout a whole page.
It was ac- cordingly suggested that he would find a fit subject in the Portuguese proverb: Inez at length finds a man after her own heart. She gives him her hand, but soon grows very unhappy, because she finds that with such a hus- band, his will must always be her law.
She now sin- cerely repents the coyness with which she had listened to the proposals of her less gifted lover. Death soon interposes in her favour, and she becomes a widow. Her former suitor offers himself again, and Inez tri- umphs in the possession of a husband whom she finds it easy to manage. This happily chosen fable is worked up with more care than Vicente seems to have bestowed on his other farces. Had this poet been placed in cir- cumstances similar to those which a hundred and fifty years later operated in favour of Moliere, Inez Pereira would in all probability have been made one of the best comic pieces of character in the dramatic literature of modern times.
Mais gado tenho eu ja quanto, et o mayor de todo a gado digo mayor algum tanto, E desejo ser casado. Eysso ey de ter na mao? Pero, Beitay as peras no chain. Wunca tal me aconteceo. Algum rapaz mas comeo. One of the suitors is in- troduced by some jews of this profession to Inez Pereira. On reverting from the dramas of Gil Vicente to the poetic works of the classic writers, at whose head Saa de Miranda stands, the reader will find himself trans- ported to a totally different world. But this transition belongs to the chronological order of the subject. Antonio Ferreira, surnamed the Portuguese Horace, was bom at Lisbon in the year , His parents, who belonged to the first class of nobility, destined him for a statesman or public functionary.
He obtained the degree of Doctor at the University of Coimbra, where he studied the civil law. He took however less interest in his jurispnidential studies than in the lectures of a professor of ancient literature, named Diogo de Tieve, who at that time possessed great celebrity, and for whom after quitting the university he continued to entertain a strong affection and regard. While Fer- reira was pursuing his studies at Coimbra, the works que as met i no capelo, et ficou aqui o nouelo et o pen tem nam se perdeo: Among the latter it was a fashion to write verses in latin, and to look with disdain on the Portuguese language; but Ferreira, while yet a youth, proved himself an enthusiastic lover of his mother tongue.
He resolved not to write a line In any foreign language, not even in Spanish; and he faithfully kept his determination.
For himself he will be content with the glory of haring it said that he loved his native land and his countrymen. A vos so canto, sprites bem nascidos, A vos, e as Musas, offrego a lyra, A o Amor mens ays e mens genuidos, Compostos do sen fogo e da sua ira. Em vossos peitos saos, limpos ouvidos Cayao meus versos, quas me Phebo lhspira, En desta gloria sA fico contente, Que a min ha terra amei, e a minim genie.
The beautiful structure of Italian verse so charmed him, that he thought no other metres pos- sessed sufficient dignity to entitle them to be introduced into Portuguese poetry. He accordingly never com- posed in redondilhas, and, generally speaking, in no verse in the old national style. The whole object of his ambition was to be a classical poet, and in that character to give to Portuguese poetry a new, and according to his taste, a more noble diction.
Inspired with the hope of accomplishing this purpose, he laboured with so much assiduity, that before he left the univer- sity he had composed the greater portion of the hundred and thirteen sonnets which are contained in the collection of his poems. It cannot, however, be doubted, that in his fifth elegy the poet alludes to a real and beloved Marilla, who had been snatched from him by death.
Ferreira was twenty-nine years of age when he published the first collection of his poetic works. He had previously been engaged in delivering academic lectures, probably on jurisprudence, in the university of Coimbra. In his poetic pursuits, he was joined by several young men of similar talent, particularly An- drade Caminha, Jeronymo Cortereal, and Diogo Ber- nardes, who, together with other poets of that age, formed a circle of disciples and admirers of Saa de VOL. But he grew tired of his university studies, and visited the court where he soon acquired distinction. He obtained the high office of dcsewibargador de C t- mara de supplicaqad judge of the council of grace , and lie was likewise appointed a Jidalgo da cctsa real gentleman of the royal household.
For the young poets of Portugal he now became an oracle of cri- ticism; and a most brilliant prospect had opened itself to him, when in the year , and at the age of forty-one, he died of the plague which was supposed to he brought to Lisbon from the Levant. A monument was erected to his memory in the church where he was buried; but the stone is now much defaced.
Ferreira was by no means a blind or pedantic imitator of the ancients and the Italians. Correctness of ideas as well as of lan- guage was to him the first requisite of all poetic beauty. He wished to banish from the poetry of his native land those traces of orientalism which it still retained. It was not less his study to avoid the eccen- tric than the common. He attached more importance to noble than to extraordinary ideas.
But to poetic energy, precision and plenitude of picturesque expres- sion, or what may be termed the poetry of language, his attention was chiefly directed. This quality he cul- tivated with a degree of talent and judgment, which would have imparted to his style Horatian perfection, were it not for the philosophic laconism peculiar to the diction of Horace, and which no modem poet, Klopstock alone excepted, has been able to approach. Ferreira was the first Portuguese writer who manifested a particular interest in the poetic dignity of his native tongue. He was the first who practically proved that the soft toned accentuation and simple popular idiom of that lan- guage were not inconsistent either with the energetic expression of didactic poetry, or the sonorous rhythm of the loftier styles.
In this respect he essentially de- parted from the manner of Saa de Miranda; and thus his poetry lost the national colouring by which that of his predecessor is peculiarly distinguished. There was indeed a time during the seventeenth century in which he was despised even by the polite world as a learned pedant but a later posterity has rendered justice to his merits. Ferreira, for example, thus scans a line in his beautiful elegy on spring: Here the m in the word vuvem concludes a metrical syllable, which it does not in the word Jicam. The word Poema has never been received into the lan- guage of common life in Portugal.
See History of Spanish Literature, p, Ferreira himself takes various opportunities of explaining the principles by which he was guided in the composition of his works, In. They were all, as has already been remarked, written by the poet at an early period of life. The study of the Petrarchian sonnet is every where manifest in those attempts to emulate the pure Italian style, which, though imita- tions, are free of all traces of effort and affectation.
No conselho do amigo doulo espero. Nova cor tom a o Sol, ou se erga, on lave No claro Tejo e nova luz nos manda.
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