Tenreiro (1769-1811) imitated Horace in his odes.
(3) From about 1800 to about 1S40. The fetters of Classicism were now shaken off by cer tain writers who advocated a wider use of Chris tian elements in poetic composition. Amon.- them were Antonio Pereira de Sousa Callas (1762 1814), known for his verse translation of the Psalms, etc.; Frei Francisco de Sao Carlos (1763 I829), author of the excellent epic, A Assumpeao loss (?'antissima Virgem ; and Jose Eloy Ottoni (1764-1851), who made metrical versions of the Book of Job, of Proverbs, and of the Psalms. Al though their enduring tame is rather that of statesmen and do,C. Bonifacio de An drada e Silva (1763-183S; patriotic and political odes, etc.), Francisco Vilella Barbosa, Marquis of (1769-1846, love lyrics), and the Viscount da Pedra Branca (1783-1855) deserve to be mentioned here. Mythology and poetical meta morphosing mark the verse of Januario da Cunha Barboza (1780-1846; poem 0 Yietcroy), of Sil verio da Paraopeba (Fabnla do Morro do Ra mos), and of Santos Titara (epic Paraguassti). Barboza edited the Paulus() brasilciro, the first important anthology of Brazilian verse. Note worthy prose was written by the eloquent Fran ciscan preacher Francisco do Monte Alverne, whose family name was de Carvalho (1784-1858). The Maximus, Pensamentos e Rettexnes of Pereira da Fonseca, Marquis of Maricil (1773-1848), and the Diecionario do lingua portugueza (1789) and the Epitome da grummatica portugueza (1802) of Antonio de Moraes e Silva are important.
(4) Since 1840. With an enlightened monarch like Dom Pedro II. in power. letters and science grew stronger; the Emperor himself was a scientist of no mean ability, and he was a munif icent patron of authors. The Romantic move ment came to arouse the Brazilians to a still higher estimate of the part that the emancipated individual can play in the creation of a noble native literature. The triumph of the romantic ideas and the consciousness of national independ ence are signally marked in all the poetry of Domingos Jose Go calves de Magalh5es, Viscount of Araguay (1811-1882). His beautiful lyrics, mostly elegiac in tone, may be judged by those contained in the collections entitled Suspiros poeticos e Saudades. Os Mysterios, and Urania: the poem Napoleao em Waterloo is deemed the best of all. Magalhiies suecreds even better in his epic, for his Confederaedo dos Tantyas, cele brating in unrhymed hendecasyllable the strug gles of certain Indian tribes against the Portu guese invaders, is imperishable. His dramas, such as the Anton and the Olgiato, are not so good. Of his scientific or philosophical prose there may be noted the Factos do espirito huniano.
Manoel de Araujo Porto-Alegre (1800-70), skilled in and architecture, cultivated belles-lettres also, and, besides composing sev eral comedies, he enriched Brazilian literature with the idyllic and descriptive Brasilianas and the epic Co/o/nbo. Inspired by the Brasilianas, Antonio Gonsalves Dias (1823-66) put forth three volumes of lyrics, viz. Primeiros cantos,
Regundos cantos e sextilhas de Fr. .t»teio, and Ultimos cantos. as well as an epic. Os Tymbiras, and several tragedies (Leonor de lIrmlonca, Raab dil, Beatrice Cenci. etc.). With Aran io and dna quim Manoel de Macedo (1820-32), he founded the influential literary review Guanabara. Mace do, favorably known for his novels (1/areninhu, etc.), tragedies (0 cev) Cold, etc.), and vaude villes, wrote the excellent lyrical and descrip tive poem A Nebnlosu. Manoel ( )(Mid() Mendes (1799-1364) is esteemed for his verse transla tions of Homer and Vergil (Math', (dysse, En eidu, Georgicas); in his original poems pedan try obscures his merits. Romantic tenets have generally been followed by Joaquin) Nor berto de Souza Silva (born 1320), an inde fatigable writer (lyrical Modulacoots poet ieas, cpieo-lyric Balatas, Cantos epicos, tales, and a prose Busguejo do histuria do pacsia brasileira which prefaces his Nodniucocns); by Antonio Gonsalves Texeira e Souza (1812-61; Canticas lyriros, the idyllic and allegorical Tres dins de unr noirado, and such novels as 0 filho do pest-o dor, A Proridencia, Maria, etc.) ; by Joaquin) Jose Teixeira (apologues) ; by Pedro de Cala sans; and by Silva Guimaraes. The Historic geral do Brasil of Adolph() de Varnhagen shows talent.
Of more recent times we can hardly speak as yet with sufficient critical retrospect. As every where else, so in Brazil romantic doctrines have been swept away by a realistic movement. The change from au imperial to a republican form of government has also very naturally left its im press upon current literary production. Foremost among the writers of the last three decades of the nineteenth century stands Sylvio Romero, a lyric poet (('antos do fain do seculo, Ultimos harpejos) and the author of critical works on ethnography, literary history, and philosophy. Out of many other forceful writers there need be cited here only the lyric. poet Olavo Bilae and the novelists Verissimo, Alenear, and Taunay.
Consult : Blake, Diecionario bibliographic° brazileiro (Rio de Janeiro, IS83) ; Romero, His toria da litteratura brazileiru (ib., 1888) : Pin heiro, Curso de litteratura nacional (ib., 1878) Wolf. Le Bucsil litteraire (Berlin, 1863) ; Pereira da Silva, Parties° brasiteiro (Rio de Janeiro, 1832-48) ; id., Plutavo brasileiro (ib., 1847: republished as l'areies illustres do Brazil in 1S5S) ; J. Manoel de Macedo, Brazilian Bio graphical Annual (Rio de Janeiro, 1376) ; Varn hagen, Florilegio da poesia brazileira (vols i. and ii., Lisbon, 1850; vol. iii., :Madrid, 1853) ; F. A. Pereira da Costa, Diceionario biographieo cic Pernanibucanos eclebres (Rio de ,Janeiro, 1882) ; and various studies by Romero, viz. Est tidos sabre a poesia popular do Brazil (Rio de Janeiro, 1888), Cantos acorn panhados de iWhroduecrio c notas eomparatiras (Lisbon, 1833) ; Contos pop vlarcs do Brazil (Lisbon, 18851, Unma esperieza, Os cantos c cantos populaves do Brazil (Rio de Janeiro. 1387).