JOAO DE See also:

• DEUS
• JOAO DE DEUS (1830-1896)

DEUS (1830-1896)  , the greatest Portuguese poet of his See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SAN

San Bartholomeu de Messines in the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province of See also:

• ALGARVE, or ALGARVES

Algarve on the 8th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 183o . Matriculating in the See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law at the university of See also:

• COIMBRA

Coimbra, he did not proceed to his degree but settled in the See also:

• CITY (through Fr. cite, from Lat. civitas)

city, dedicating. himself wholly to the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of verses, which circulated among professors and undergraduates in See also:

• MANUSCRIPT

manuscript copies . In the See also:

• VOLUME

volume of his See also:

• ART

art, as in the conduct of See also:

• LIFE

life, he practised a rigorous self-See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control . He printed nothing previous to 1855, and the first of his poems to appear in a See also:

• SEPARATE

separate See also:

• FORM (Lat. forma)

form was La Lata, in 186o . In 1862 he See also:

• LEFT

left Coimbra for See also:

• BEJA (or BiJA)
• BEJA (probably the ancient Pax Julia)

Beja, where he was appointed editor of 0 Bejense, the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief newspaper in the province of See also:

• ALEMTEJO (i.e. " Beyond the Tagus ")

Alemtejo, and four years later he edited the Folha do Sul . As the pungent satirical verses entitled EleiQoes prove, he was not an ardent politician, and, though he was returned as Liberal See also:

• DEPUTY (through the Fr. from a Late Lat. use of deputare, to cut off, allot; putare having the original sense of to trim, prune)

deputy for the See also:

• CONSTITUENCY (from " constituent," that which forms a necessary part of a thing; Lat. constituere, to create)

constituency of See also:

• SILVES

Silves in 1869, he acted independently of all See also:

• POLITICAL

political parties and promptly resigned his See also:

• MANDATE (Mandatum)

mandate . The renunciation implied in the See also:

• ACT (Lat. actus, actum)

act, which cut him off from all See also:

• ADVANCEMENT

advancement, is in See also:

• ACCORD (from Fr. accorder, to agree)

accord with nearly all that is known of his lofty See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . In the See also:

• YEAR

year of his See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election as deputy, his friend Jose See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• GARCIA
• GARCIA (DEL POPOLO VICENTO), MANOEL (1775-1832)

Garcia Blanco collected from See also:

• LOCAL

local See also:

• JOURNALS

journals the See also:

• SERIES (a Latin word from serere, to join)

series of poems, See also:

• FLORES

Flores do campo, which is supplemented by the Remo de foores (1869) . This is Joao de See also:

• DEUS
• DEUS, JOAO DE (1830-1896)

Deus's masterpiece . Pires de Marmalada (1869) is an improvisation of no See also:

• GREAT

great merit . The four theatrical pieces—Amemos o nosso proximo, See also:

• SER

Ser apresentado, Ensaio de Casamento, and A Vi2lva inconsolavel—are See also:

• PROSE

prose See also:

• TRANSLATIONS

translations from Wry, cleverly done, but not See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth the doing . Horacio e See also:

• LYDIA

Lydia (1872), a See also:

• TRANSLATION

translation from See also:

• RONSARD, PIERRE DE (1524-1585)

Ronsard, is a See also:

• GOOD, JOHN MASON (1764-1827)

good example of artifice in manipulating that dangerously monotonous measure, the Portuguese See also:

• COUPLET

couplet .

As an indication of a strong spiritual reaction three prose fragments (1873)—See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna, Mae de Maria, A Virgem Maria and A Mulher do Levita de Ephraintranslated from See also:

• DARBOY, GEORGES (1813-1871)

Darboy's Femmes de la See also:

• BIBLE
• BIBLE, ENGLISH

Bible, are full of significance . The Folhas soltas (1876) is a collection of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse in the manner of Flores do campo, brilliantly effective and exquisitely refined . Within the next few years the writer turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to educational problems, and in his Cartilha maternal (1876) first expressed the conclusions to which his study of See also:

• PESTALOZZI, JOHANN HEINRICH

Pestalozzi and Frobel had led him . This patriotic, pedagogical apostolate was a misfortune for Portuguese literature; his educational See also:

• MISSION

mission absorbed Joao de Deus completely, and is responsible for numerous controversial letters, for a translation of See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore-See also:

• HENRI

Henri Barrau's See also:

• TREATISE

treatise, See also:

• DES

Des, devoirs des enfants envers leurs parents, for a prosodic See also:

• DICTIONARY

dictionary and for many other publications of no See also:

• LITERARY

literary value . A copy of verses in Antonio See also:

• VIEIRA, ANTONIO (1608-1697)

Vieira's Grinalda de Maria (1877), the Leas d Virgem (1878) and the Proverbios de Salomao are See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of a See also:

• COMPLETE

complete return to orthodoxy during the poet's last years . By a lamentable See also:

• ERROR (Lat. error, from errare, to wander, to err)

error of See also:

• JUDGMENT

judgment some worthless pornographic verses entitled Cryptinas have been inserted in the completest edition of Joao de Deus's poems—Campo de Flores (See also:

• LISBON (Lisboa)

Lisbon, 1893) . He died at Lisbon on the 11th of See also:

• JANUARY

January 1896, was accorded a public funeral and was buried in the See also:

• NATIONAL

National See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon, the Jeronymite See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at Belem, where repose the remains of See also:

• CAMOENS [CAMOES], LUIS VAZ DE (1524-1580)

Camoens, Herculano and See also:

• GARRETT, JOAO BAPTISTA DA SILVA LEITAO DE ALMEIDA, VISCONDE DE

Garrett . His scattered See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor prose writings and See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence have been posthumously published by Dr Theophilo See also:

• BRAGA

Braga (Lisbon, 1898) . Next to Camoens and perhaps Garrett, no Portuguese poet has been more widely read, more profoundly admired than Joao de Deus; yet no poet in any See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country has been more indifferent to public See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion and more deliberately careless of See also:

• PERSONAL

personal fame . He is not responsible for any single edition of his poems, which were put together by pious but See also:

• ILL

ill-informed enthusiasts, who ascribed to him verses that he had not written; he kept no copies of his compositions, seldom troubled to write them himself, and was content for the most See also:

• PART

part to dictate them to others . He has no great intellectual force, no philosophic See also:

• DOCTRINE

doctrine, is limited in theme as in outlook, is curiously uncertain in his See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, often marring a See also:

• FINE

fine poem with a slovenly See also:

• RHYME

rhyme or with a misplaced See also:

• ACCENT

accent; and, on the only occasion when he was induced to revise a set of proofs, his alterations were nearly all for the worse . And yet, though he never appealed to the patriotic spirit, though he wrote nothing at all comparable in force or See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty to the restrained splendour of Os Lusiadas, the popular See also:

• INSTINCT

instinct which links his name with that of his great predecessor is eminently just .

For Camoens was his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model; not the Camoens of the epic, but the Camoens of the lyrics and the sonnets, where the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion of tenderness finds its supreme utterance . Braga has noted five stages of development in Joao de Deus's See also:

• ARTISTIC

artistic life—the imitative, the idyllic, the lyric, the pessimistic and the devout phases . Under each of these divisions is included much that is of extreme See also:

• INTEREST

interest, especially to contemporaries who have passed through the same See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of emotional experience, and it is highly probable that Caturras and Gaspar, pieces as witty as anything in See also:

• BOCAGE (from O. Fr. boscage, Late Lat. boscum, a wood)
• BOCAGE, MANUEL MARIA BARBOSA DE (1765-1805)

Bocage but See also:

• FREE

free from Bocage's coarse impiety, will always interest literary students . But it is as the See also:

• SINGER, SIMEON (1846-1906)

singer of love that Joao de Deus will delight posterity as he delighted his own generation . The elegiac See also:

• MUSIC

music of See also:

• RACHEL (1821-1858)

Rachel and of Ina, the See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy of Adeus and of Remoinho, the See also:

• TENDER

tender and sincerity of Meu casto lirio, of Lagrima See also:

• CELESTE, MADAME (1815–1882)

celeste, of Descalc and a See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score more songs are distinguished by the large, vital simplicity which withstands See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . It is precisely in the quality of unstudied simplicity that Joao de Deus is incomparably strong . The temptations to a display of virtuosity are almost irresistible for a Portuguese poet;. he has the tradition of virtuosity in his See also:

• BLOOD

blood, he has before him the example of all contemporaries, and he has at See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of wonderful sonority and See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass . Yet not once is Joao de Deus clamorous or rhetorical, not once does he indulge in idle See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . His prevailing See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note is that of exquisite sweetness and of reverent purity; yet with all his caressing softness he is never sentimental, and, though he has not the strength for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long fight, emotion has seldom been set to more delicate music . Had he included among his other gifts the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of selection, had he continued the poetic discipline of his youth instead of dedicating his See also:

• POWERS, HIRAM (1805-1873)

powers to a task which, well as he performed it, might have been done no less well by a much lesser See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, there is scarcely any height to which he might not have risen . See also Maxime Formont, Le Mouvement poitique contemporain en See also:

• PORTUGAL

Portugal (See also:

• LYON, MARY MASON (1797-1849)
• LYON, NATHANIEL (1818-1861)

Lyon, 1892) . (J .