ANTHERO DE See also:

• ANTHERO DE QUENTAL (1842-1891)

QUENTAL (1842-1891)  , Portuguese poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the See also:

• ISLAND (O.E. ieg =isle, +land')

island of St See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael, in the See also:

• AZORES (Acores), or WESTERN ISLANDS

Azores, on the 18th of See also:

• APRIL

April 1842 . He studied at the university of See also:

• COIMBRA

Coimbra, and soon distinguished himself by unusual See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, as well as turbulence and eccentricity . He began to write See also:

• POETRY

poetry at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, chiefly, though not entirely, devoting himself to the See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet . After the publication of one See also:

• VOLUME

volume 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, he entered with See also:

• GREAT

great warmth into the revolt of the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young men which dethroned See also:

• CASTILHO, ANTONIO FELICIANO DE (1800-1875)

Castilho, the See also:

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

chief living poet of the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

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

generation, from his See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place as See also:

• DICTATOR (from the Lat. dictare, frequentative of dicere, to speak)

dictator over See also:

• MODERN

modern Portuguese literature . He then travelled, engaged on his return in See also:

• POLITICAL

political and socialistic agitations, and found his way through a See also:

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

series of disappointments to the mild See also:

• PESSIMISM (from Lat. pessimus, worst)

pessimism, a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of Western See also:

• BUDDHISM

Buddhism, which animates his latest poetical productions . His See also:

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

melancholy was increased by a See also:

• SPINAL

spinal disease, which after several years of retirement from the See also:

• WORLD

world, eventually drove him to See also:

• SUICIDE (from Lat. sui, of oneself, and cidium, from cued ere, to kill)

suicide in his native island, on the Irth of See also:

• SEPTEMBER (Lat. septem, seven)

September 1891 . Anthero stands at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of modern Portuguese poetry after Joao de See also:

• DEUS
• DEUS, JOAO DE (1830-1896)

Deus . His See also:

• PRINCIPAL

principal defect is monotony—his own self is his solitary theme, and he seldom attempts any other See also:

• FORM (Lat. forma)

form of See also:

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

composition than the sonnet . On the other See also:

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

hand, few poets who have chiefly devoted themselves to this form have produced so large a proportion of really exquisite See also:

• WORK

work . The comparatively few pieces in which he either forgets his doubts and inward conflicts, or succeeds in giving them an See also:

• OBJECTIVE, or OBJECT GLASS

objective form, are among the most beautiful in any literature . The purely introspective sonnets are less attractive, but equally finely wrought, interesting as psychological studies, and impressive from their sincerity . His See also:

• MENTAL

mental attitude is well described by himself as " the effect of Germanism on the unprepared mind of a Southerner." He had learned much, and See also:

• HALF

half-learned more, which he was unable to assimilate, and his mind became a See also:

• CHAOS

chaos of conflicting ideas, settling down into a See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition of gloomy negation, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save for the one conviction of the vanity of existence, which ultimately destroyed him .

A healthy participation in public affairs might have saved him, but he seemed incapable of entering upon any course that did not See also:

• LEAD
• LEAD (pronounced iced)

lead to delusion and disappointment . The great popularity acquired, notwithstanding, by poetry so metaphysical and egotistic is a testimony to the See also:

• ARTISTIC

artistic See also:

• INSTINCT

instinct of the Portuguese . As a See also:

• PROSE

prose writer See also:

• QUENTAL, ANTHERO DE (1842-1891)

Quental displayed high talents, though he wrote little . His most important prose work is the Consideracaes sobre a philosophia da historia literaria Portugueza, but he earned fame by his See also:

• PAMPHLETS

pamphlets on the Coimbra question, Born senso e bom gosto, a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter to Castilho, and A dignidade das lettras e litteraturas officiaes . His friend Oliveira Martins edited the Sonnets (See also:

• OPORTO (i.e. o Porto, " the port ")

Oporto, 1886), supplying an See also:

• INTRODUCTORY

introductory See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay; and an interesting collection of studies on the poet by the leading Portuguese writers appeared in a volume entitled Anthero de Quental . In Memoriam (Oporto, 1896) . The sonnets have been turned into most See also:

• EUROPEAN

European See also:

• LANGUAGES

languages; into See also:

• ENGLISH

English by See also:

• EDGAR (EADGAR)
• EDGAR, or EADGAR (c. 1050-c. 1130)

Edgar Prestage (Anthero de Quental, Sixty-four Sonnets, See also:

• LONDON

London, 1894), together with a striking autobiographical letter addressed by Quental to his See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German translator, Dr Storck .