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Paulo El dia en que me quieras. Paulo Isso sim. Francisco Manuel de Melo alternated between Portugal and Spain as a diplomat and courtier, frequenting the brilliant court in Madrid. In , his sentence was commuted to exile in Brazil, where he recouped his fortunes by participating in the slavocratic sugar trade. In the Iberian context, he was active in defending the rights of his aristocratic class and his oppressed nation. Vieira takes up and recasts the Sebastianic tradition, not to announce the literal return of the Hidden King but to foresee the coming of an age in which the Sebastianic essence could be embodied in other Portuguese monarchs.
This age would usher in a spiritual Fifth Empire when universal peace would reconcile all peoples and nations until the end of time. What distinguishes this work from other prophetic visions is the exercise of an exegetical logic that literalises prophecy as a product of reason rather than faith.
It is as though prophetic mysticism was being merged with science fiction about future worlds. Wealth from Brazil permitted the upkeep of a sumptuous court in a country that produced little wealth of its own. Religious repression in Portugal increased, if anything, after the Restoration, with disastrous consequences for culture.
He was born in Rio de Janeiro, where his New-Christian family had taken refuge from the Inquisition, but returned to Portugal in where he delighted Lisbon audiences with his musical comedies, ingeniously performed by marionettes.
The Portuguese baroque literature of which Francisco Manuel de Melo was one of the first representatives drifted into a cultism that was occasionally brilliant formally and in some aspects a forerunner of modern visual poetry but symptomatic of a repressed society that revealed itself in a monkish waggishness, necrophiliac morbidity and caricatural depictions of women.
This satirical vein had a counterpart in the rarefied atmosphere of eighteenth-century Arcadian literature in Portugal, however, in the more obscene, and perhaps also more original, compositions of the bohemian and adventurous pre-Romantic poet Manuel Maria Barbosa du Bocage — Somewhat surprisingly, Bocage benefited from the patronage of the Marquise de Alorna — , the cultured hostess of a celebrated literary salon who was also a cosmopolitan polygraph.
Having consolidated his power by undertaking the rebuilding of Lisbon after it was razed by the earthquake of , Pombal encouraged the creation of a Portuguese middle class to promote the development of agriculture and industry in combination with a policy of investment in Brazil and nationalisation of colonial trade. These measures served to mitigate some of the effects of the Methuen Treaty of governing trading relations between England and Portugal, under the provisions of which Portugal had renounced further development of manufacturing.
In , following the outbreak of a radical liberal revolution in Portugal in the previous year, the royal family returned to Portugal leaving behind the prince royal, Pedro — , who allied himself with the Brazilian independence movement and was proclaimed Emperor of Brazil in His brother Miguel —66 , who had acted as regent when Pedro abdicated, assumed the throne as monarch and restored the old absolutist regime.
Portugal was torn apart in a destructive civil war. Having reassumed the Portuguese crown as Pedro IV, he established a constitutional regime that was more moderate than the revolutionaries would have wanted but more radical than the absolutists wished.
Even so, Portugal entered a new culturally creative era, marked, from a broad historical perspective, by two defining events: the independence of Brazil in and the independence of the African colonies in when, finally free of the doubtful benefits of empire, the country returned to its medieval frontiers. This century and a half of history encompasses periods of political agitation and social stagnation; a regicide consequent upon a British ultimatum; the transformation of the liberal monarchy into a Republican regime that hardly differed from it; participation in the First World War; a dictatorship lasting forty-eight years; non-participation in the Second World War; thirteen years of colonial war; and, finally, the establishment of the postcolonial democracy in which the country now lives.
As in the case of other European countries, nineteenth-century liberalism in Portugal coincided with literary Romanticism. The two leading Portuguese exponents of the movement were Alexandre Herculano —77 and Almeida Garrett — , both of whom had chosen to live in exile during the Miguelist repression and had fought in the Liberal armies.
Herculano was instrumental in helping the Portuguese to recover an idea of a national identity that preceded the imperial expansion. He explored this both in his monumental and carefully researched works on regional municipalities and the Middle Ages and in his historical novels and the legends and tales recorded in his Lendas e Narrativas Legends and Tales.
Almeida Garrett was a man who in his time played many parts. Entrusted with reviving the moribund Portuguese theatre, he himself wrote the plays that were lacking.
He compiled an anthology of traditional folk ballads, integrating the oral tradition of popular culture into the written culture. In his plays, poems and novels he recovered the national themes of a culture that had forgotten its own traditions. Both play and novel envisage the creation of a new national consciousness, the play centred on the old Sebastianic ghosts and the novel on the recent nightmares of the civil war.
In his later years, however, he found a voice for his Byronic sensuality, expressing the conflicts of loveless sexuality or shared passion that leads to the satiated mutual recognition of the undoing of love, without desire or regret. The initial vigour of Portuguese Romanticism gave way to a new literary academicism, which was followed by a morbid and socially disengaged sentimentalism.
This was not the case in the work of Camilo Castelo Branco — Although this prolific novelist, author of over a hundred books, is usually characterised as Romantic, his work can be better understood as the product of a realist attitude not attributable to a literary school.
This was expressed in his treatment of novelistic situations as exemplary of their society, of characters as emblematic of their circumstances, and their circumstances as representative of the society in which they live. Camilo was the first Portuguese writer to support himself entirely from his writing, and he understood his public well. His novels are set mostly in the rural north of Portugal, still feudal in outlook and dominated by an impoverished old aristocracy. Women are sacrificial and men are domineering.
They are magnificent literary constructions that have survived the society to which they bear witness. At the heart of this understanding is the idea of a process of national decadence, which each of these writers depicted in their work, from different perspectives but with the shared purpose of recording it as a way of helping to reverse the process. In , Brazilian ports had been opened to all nations and the subsequent commercial treaty with England, signed two years later, seriously undermined the foundations of the Portuguese economy.
It became necessary to create new sources of wealth, which would no longer be dependent on the colonies but would come from within the country itself. Some saw the solution in terms of an agricultural revival and, for the first time in many centuries, Portugal managed to export wheat.
For others, the priority was industrial development, producing positive results in the case of the textile industry, but also leading to the development of other industries. The two approaches converged and were served by the development of transport and communications, with the construction of an extensive railroad network reaching the remotest areas of the country.
With the loss of Brazil and only a nominal presence in India, Africa was rediscovered. During World War I the Republican government, established in , agreed that Portugal would enter the war on the side of Britain in order to save its African colonies from partition between Britain and Germany in accordance with two secret treaties signed between the two powers in the years before the war.
Some fifteen years earlier, however, the needless national humiliation of the British Ultimatum of on ownership of the nominally Portuguese territories between Angola and Mozambique had caused an outbreak of nationalist fervour that led to the assassination of King Carlos in and the proclamation of the Republic in Political ideologies and aesthetic theories have always influenced literature, but the best literature and, above all, poetry overcome such constraints. Neo-Garrettism was reconfigured in the literary and philosophical movement known as Saudosismo, led by Teixeira de Pascoais — The movement envisaged a recovery of the spiritual and historical essence of Portugal through a nationalistic concept of saudade nostalgia or longing , seen as the key to the transformation of Sebastianic yearnings into a new Portuguese universality.
The ideas underlying Saudosismo were taken up by Fernando Pessoa — in the only book he published during his lifetime, Mensagem Message. Pessoa, now recognised as one of the greatest European poets of the twentieth century, was the dominant figure of the Portuguese Modernist movement whose work was associated with the short-lived publication Orpheu Orpheus. Pessoa created several heteronyms, alternative poetic selves who wrote very differently from one another.
Their belated fame has led to the retrospective marginalisation of other writers of the time. Democracy would only be restored in , following another military coup. From a cultural perspective, the most obvious impact of the dictatorial regime was the establishment of State censorship.
The accusation was, in fact, exaggerated and, in many cases, unfair. None of the Presencistas supported the dictatorship and some of them actively opposed it but they were not Marxists, which the neo-realists considered themselves to be. Besides sharing a common literary tradition, both Presencistas and neo-realists were generally more interested in provincial lives than in those lived in the capital where political power was exercised. These were extraordinary times, hardly reflected in the Portuguese literature of the period.
The fact is that the country remained on the periphery of the war and that the broad ideological issues at stake dictatorship versus democracy were seen in the narrower context of their impact on the national situation.