(6) The nineteenth century. The Peninsular War and the fierce struggle against Napoleonic encroachments stirred patriotic feeling in Portu gal to greater activity than had been witnessed for several centuries. As everywhere else in Europe. modern liberal thought made much head way in the land. and as everywhere else the young exponents of modern scientific ideas came into conflict with the unprogressive government of the country. Joao Baptista da Silva Leitao, Viscount d'Almeida-Garrett (1799-1854). re turned from a period of expatriation spent in England and France, imbued with the Romantic principles which lie found fully established in those lands, and with the strong desire to study the past of his own country and to revive its literary traditions. Even while still in exile he composed the noble poem Cami;es (Paris, 1S25), replete with patriotic fervor, the satirical poem Dona Branca. and the versified novel Adozinda (London. 1828), the last named based on Portu guese folk tales. Many-sided in his endeavors, Almeida-Garrett contributed efficaciously to the creation anew of a national drama, reviving in such plays as t: IL auto de Gil Vicente, 0 allageme de Santarem, and Philippa de Vilhena the older tradition of the theatre of Gil Vicente. His lyric achievements were less splendid than might have been expected. but, on the other hand, his success in the historical novel, which he essayed under the influence of Scott, amply compensates for this slight deficiency. Scott was already well known in Portugal, having been translated and even imitated by Alexandre Herculano de Carvalho e Araujo (1810-77), who passed his exile in Eng land. Events and pictures of the reign of Joao I. are presented to us in his Enrico and his Mange rle ('istcr, and some eight centuries are covered by his Lcndas c norratiras. A residuum of Ro mantic feeling along with a more pronounced tendency toward the formal methods of the Ar cadians may be perceived in the lyrics of Antonio Feliciano de Castilho (1800-75). His Chimes do Bardo and his Yoite do Castello have the Roman tic tinge: de Echo a Narciso and later volumes like the Escaravocs poetical and the Ontono show stress laid rather upon Arcadian elegance and finish of outward poetical form. In recent times the drama, the historical novel, and the lyric have been cultivated by many followers of the three leading authors mentioned, and at least a moderate degree of success has been at tained by Augusto Rebell() da Silva (historical romances, A mocidade de Dom Joao V., etc.), Mendes Leal, Silva Gayo, and especially Camillo Castellobranco (1825-90), who has the credit of having created the modern Portuguese novel of manners. An tmwholesome sentimentalism pre
vails in the lyrics of Soares de Passos; a ro mantic tone as well as some of the polish of Castilho's verse can be recognized in the poems of Thomaz Ribeiro.
Although the Romantic doctrines are still pro fessed by a number of Portuguese writers, a not unnatural reaction against the exaggerations of ultraromantieism has set in since 1865 and has found expression in the aims and utterances of writers of the School of Coimbra, an appellation which does not sufficiently indicate the expansion of the new movement. Under the influence of Hegelianism and the positivist doctrines of Comte, this movement has sought to develop a strictly scientific spirit, and to apply it to the sober investigation of the medival past. An encouraging sign of the success of the reform thus undertaken is the appearance of the poet Joao de Deus (1Xogueira Ramos). the author of the lyrics Flores do campo (1869), Ramo de /Toffs, and Despedidas de rercio. Equally encour aging is the energy with which scientific investi gation and literary study have been undertaken by persons of the ability of Theophilo Braga.
Gonsalves Vianna, Leite de Vasconcellos. and Coelho.
BIBLIOGRAPHY. Vasconeellos, "Geschichte der Bibliography. Vasconeellos, "Geschichte der portugiesischen Litterattor," in Graces Grundriss der romonischen Philologie, vol. ii. (Strassburg, 1894) : Braga. Historia da littrratura portugueza (in course of publication since 1870; most of the volumes were published at Oporto. a few at Lisbon) ; id., Corso de bistoria do litteratura portugueza (1886) : Costa e Silva, Ensaio bio sabre as melharcs pactas partu gmzes (Lisbon, : Andrade Ferreira and C. Castello Branco. Curso de litteratura portu gueza (Lisbon, 1875-76); Almeida-Garrett, Par ?Mso fustian° (Paris- 18°_6); Bellermann. Die alten Liederbiicher der Portugiesen (Berlin, 1840) ; F. Diez. ['eller die erste portugiesisehe and Hofpocsie (Bonn. 1863) R. Pinto de Nattos, Manual bibliographic° portugucz (Opor to. ISIS) ; F. de S. Boaventura. Coi/cceao de in editos portuguez.cs dos scrubs c XV. bra, 1829) ; I. F. da Silva. Diecionario bibliogra phico portugucz (Lisbon. 1858-70), with supple ment by Brito Aranha (Lisbon. 1883-90) J. H. da Cunha Rivara, Catalog° dos manusrriptos da Bibliotheca Eborrnse (Evora. F. F. de la Figaniere, Bibliographia historic° portugueza (Lisbon, 1850) ; Pinheiro, Curso de litteratura macional (Rio de Janeiro. 1862) ; Formont. Le MOU rem en t poOtque content porain en Portu gal (Lyons, 1893) ; Storck, Aus Portugal mind Brasilicn (Miinster, 1892) : J. Leite de Vascon cellos, Cancioneiro portuguez (Oporto, 1880).