Padre Domingos Caldas Barbosa: Afro-Brazilian Poet

7/28/2019 Padre Domingos Caldas Barbosa: Afro-Brazilian Poet

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Clark Atlanta University

Padre Domingos Caldas Barbosa: Afro-Brazilian PoetAuthor(s): Dorothy B. PorterSource: Phylon (1940-1956), Vol. 12, No. 3 (3rd Qtr., 1951), pp. 264-271Published by: Clark Atlanta UniversityStable URL: http://www.jstor.org/stable/271641 .

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By DOROTHY B. PORTER

Padre Domingos Caldas Barbosa:Afro-Brazilian Poet

A OARD SHIP en route to Brazil from Angola, West Africa, sometimein 1738or 1740,was a Portuguese merchant who had with him anAngola slave woman. Either during the voyage or soon after the couplearrived in Rio de Janeiro, a son was born to them. The young father,whose name is unknown, acknowledged the boy-infant, had him baptizedin the same year he was born and called him Domingos Caldas Barbosa.Among authorities there is some difference of opinion as to whether thechild was born at sea, or in Rio de Janeiro and in the year 1738or in 1740.1Caldas in verse of his mature years, remarks as follows concerning hisnativity: Por entre a gente, que a ouvir se ajunta,Mogo alegre rompeu, que lhe perguntaSe e elle o mesmo Caldas brazileiro

Que tem por patria o Rio de Janeiro.2Before the suppression of the Jesuits in Brazil, the young Caldas wasa student in the Jesuit college at Rio de Janeiro. His father probablyrecognized the precocious talent of this "pardinho"and encouraged himto attend the schools of the Jesuits. At the Colegio dos Jesuitas, Caldassoon distinguished himself through his ability to make rhymes. Thispower of literary improvisation caused him trouble, for he indulged itat the expense of the white Portuguese whose social advantages he re-sented. These Portuguese, on the other hand, could not tolerate ridiculeby this son of a slave woman who was, no doubt, intellectually theirsuperior.In 1733, Count Gomes Freire de Andrade Bobadella (1685-1763), aPortuguese fidalgo and militarist, was appointed Captain-General inRio de Janeiro. Especially interested in the arts, he encouraged the found-ing of the literary academies of Felizes and Seletos. To many intellectualsin the city he gave his protection. Subsequently, Count Bobadella becamethe Viceroy and as such was painted by the famous mulatto slave son ofJanuario da Cunha Barbosa. This portrait depicting him in the armor of1 Januario da Cunha Barbosa, asserts that he was born at sea: Januario da Cunha Barbosa,"Domingos Caldas Barbosa," Revista do Instituto Historico e Geografico Brasileiro, v. 4, 1842,p. 210; Haroldo Paranhos states that he was born in 1738 in Rio de Janeiro in Historia doRomantismo no Brasil (Sao Paulo, 1937), p. 265; Arthur Motta gives 1738 as the year ofCaldas' birth and Rio de Janeiro as the place of birth. Arthur Motta, Historia da LitteraturaBrasileira (Sao Paulo, 1930), p. 319; Silvio Romero in his Historia da Literatura Brasileira

(Rio de Janeiro, 1943) p. 146 and F. A. Varnhagen in his Florilegio da Poesia (Rio de Janeiro,1946), v. 2, p. 98 give the year of birth as 1740.2 Francisco A. de Varnhagen, Florilegio da Poesia Brazileira (Rio de Janeiro, 1946), v. 2, p. 125.264

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BARBOSAa Portuguese admiral was one of the artist's best works. Today, it hangsin the Hall of Sessions of the Municipal Council of Rio de Janeiro. It wasthis very Viceroy who, yielding to political pressure, gave satisfaction topersons who had been offended by the satires of Caldas, by ordering himrecruited into the army. Caldas was sent to the colony of Sacramento, amilitary outpost, founded in 1680, at the head of the Prata River and inBarbosa's time the Gilbralta of America. In 1762, the fortress was takenby the Spanish and Caldas returned to Rio de Janeiro, where he was suc-cessful in obtaining a release from the army.

After eight or ten years more in Rio de Janeiro, Caldas made up hismind to seek a less restricted life in Europe. He wished to be free of anenvironment where hate prevailed against people of color. His fatheraided him by giving him a small monthly allowance which, with carefulhusbanding, sustained him for some while. While in Vianno do Minha,Portugal, Caldas received the news of the death of his father which wastantamount to declaring Caldas Barbosa a pauper. In lines of sad remem-brance, the poet wrote on the death of his father:Assim de remoto climaDeixei do sul o cruzeiroVi do norte a estrella em cimaDe muito maior luzeiro;Nos margens do claro Lima

Eu me vi orfao primeoro,E entao da fortuna opimaVi o dia derradeiro.3While in this city of Vianno do Minha, the still youthful poet composed

Tempestrade.In the course of time, Caldas Barbosa journeyed to Lisbon. In 1775,for the inauguration held on June sixth of the equestrian statue of KingDon Jose, Caldas, among others, celebrated this occasion with a numberof poetic compositions, presented under the title Colegao de Poesias Feitasna Feliz Inauguragio da Estdtua d'Elrei Nosso Senhor D. Jose I, em 6

Junho de 1775. To this same King he also dedicated Lebreida (Hare Hunt),a poem whose theme was a real hare hunt at which the author was present.It is said that with this poem he hoped to gain the protection of themonarch.Fortune came to our poet at last, for in Lisbon he secured the patronageof the two brothers of the Viceroy of Brazil, Jose and Luiz de Vasconcellose Sousa. Jose was the Count of Pombeiro, later Marques de Belas, andLuiz, the Count of Figueiro, later Marques de Castelo Melhor. Jose deVasconcellos e Sousa was Chief Justice in Porto, at the time that he be-

came the protector of Caldas Barbosa. Continuing his studies, Caldas Bar-bosa became a secular presbyter and was named Chaplain to the Casa da3 Varnhagen, op. cit., v. 2, p. 87.

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PHYLONSupplicagao (Court of Petitions). A member of the Vasconcellos families,living first with one then the other, Caldas Barbosa also enjoyed the bestsociety of the Court. There his improvisations sung to the accompanimentof the viola gained great popularity for him. In fact, he was the centerof attraction at the literary gatherings which occurred on Wednesdaysin the palace of the Count of Pombeiro.

This was the age of the Arcadias or literary societies in Europe. Manyof the poets of the century were members of these groups which wereformed especially to cultivate bucolic poetry and other classic formalitiesof verse-making. The Portuguese Arcadias of the 1750's aimed to freePortuguese literature from foreign influence and to restore the purity ofthe language. In the eighteenth century, Arcadianism attempted to breakthe shackles of Spanish influence and gongorismo which had persisted inthe seventeenth century.4

Caldas Barbosa, with the Portuguese poets Manuel Maria Barbosa duBocage (1765-1805), Jose Agostinho Macedo (1761-1831), Belchoir ManuelCurvi Semedo (1766-1838), Nuno Alvares Pereira Pato Moniz (1781-1827),and others, founded the Academia de Belas Letras which later becameNova Arcadia. Barbosa was once the President of the Academia de BelasLetras, the former Academia das Humanidades. Inspired by the Arcadiade Roma, Barbosa took the pseudonymn Lereno Selinuntino.5

Caldas Barbosa's prestige enabled him to be often of use to his col-leagues; but, envious of him, they in turn used him badly. From slyinnuendo they turned to open hostile slurs and satirical denunciation.In a short time, most of those who had been associated with him in theNova Arcadia had withdrawn from his friendship. Only Macedo, who inan elaborate poem addressed to "Lereno's" patron had praised Barbosa,remained loyal. He seemed to hold the poet in esteem. At least he grantedhim the laurels he had truly won. Macedo spoke of Barbosa as sublimeconjuror of sonorous verse to the pulsation of the lyre:

Eia sublime, sonorosa CaldasImproviso cantor, eu pulso a Lyra,Que Apollo enasta de frondosa rama:O fogo que respiraNos versos teus com rutilante chama,Com que a voluvel fantasia escaldas,Eu sigo: e o voo rapido qu'erguesteDo ninho Americano, onde Nasceste.6Other reasons for the satirical attacks against "Lereno" were his color,his enormous talent as an improvisator and interpreter of the popularspirit, and his great popularity in Portugal which included the nobilityand particularly those nobles who had influence at court.4 Aubrey F. G. Bell, Portuguese Literature (Oxford, 1922) p. 270-273.5 Paranhos, op. cit., p. 323.6 Varnhagen, op. cit., p. 92.

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BARBOSABocage, however, never abated his contempt for his fellow Arcadianand spoke derisively of his art, calling him "Papagaio," meaning parrot.

Varnhagen suggests that the rival poets may have been more angered byBarbosa's abstention from licentiousness or pornographic imagery. WhileBocage and Macedo indulged in licentiousness and immorality, PadreCaldas Barbosa, simple and modest, continued to rise in general esteem;nor was he disturbed by the obsession of his rivals to criticize him for thecolor of his skin. Barbosa was not ashamed of his dark color and concern-ing the circumstances of his birth, he wrote as follows:Desde o triste nascimentoFundara minhas razoesSe f6ra aqui meu intentoIr desculpar geragoes:E tenho em conhecimentoQue nao houve dois Adoes.7Earlier he had been called in Brazil "Caldas de Cobre" in order to distin-guish him from his white contemporary Padre Antonio Pereira de SouzaCaldas (1772-1814), who was called "Caldas de Prata." Caldas himselfstrengthened this tradition as the following stanza suggests:Tu es Caldas, eu sou Caldas;Tu es rico, e eu sou pobre;Tu es o Caldas de prata;Eu sou o Caldas de Cobre.8

Varnhagen assumes that Barbosa had a timid or submissive characterdue to his consciousness of race. This Romero calls a grave and unjustappraisal. In fact, Romero states that he possessed a lovable, happy anddiverting temperament, and like many Brazilian mulattoes, was inclinedto musical expression and was the possessor of an optimistic outlook.9The popularity of Caldas Barbosa's poetry was probably due to hiscapacity as an improvisator or to his social virtues, but also to the simplecharacter of his spontaneous lyrics which lent themselves so admirablyto the accompaniment of the viola. The simplicity of his verses was incontrast to the involved rhetoric of Macedo and Bocage and the unappeal-ing intonation strewn throughout their work.As this genuine troubador sang, he pleased all. The slight emotionsand tender sentiments of his unpretentious compositions, for he was nota great poet, endeared him to the people. Many honors were bestowedupon him. His presence became a necessity at all festivities. In the aristo-cratic gatherings, at the seashore resorts, in the picturesque regions of thecity of Cintra, in Bellas, in Queluz, in Bemfica, and wherever societyfound itself, Caldas was there with his viola to give a complete entertain-ment. Many of the poems which appear in Barbosa's Viola de Lereno are7 Ibid., p. 86.8 Alfredo de Assis, "Os Domingos Barbosa." Revista das Academias de Letras, Anno III, No.9, April, 1939, p. 332.9 Silvio Romero, Historia da Literatura Brasileira (Rio de Janeiro, 1943), v. 2, p. 146.

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PHYLONdedicated to his friends and patrons, applauding their virtues, and cele-brating in verse their various anniversaries.The Modinha, the poetic form in which Caldas Barbosa cast many of hissongs, contained a note of appeal for the coquettish women and fashion-able men who caroused at the evening parties at Bemposta or at the coun-try estates of Queluz and Belem. Modinhas were very much in vogue dur-ing the time of Queen Dona Maria I (1777-1816) and were a variation ofthe Portuguese Serranilha, which one finds in many of the verses of Sa' deMiranda. When recited, it was always accompanied by a melodic sentidawhich adapted itself to each type of composition. Almost all the poets ofthe Arcadias made use of this decor for their verses. The term Modinhais derived from the diminutive moda of the Portuguese. Caldas' Modinhasmay be described as Brazilian urban songs of sentimental character, most-ly in a minor key with flexible rhythm. These sentimental airs weregreatly influenced by the Italian Cantabile.10

In addition to the popular Modinhas, Caldas composed Lundus, a genretype of composition in which genuine Brazilian words formed from Indianand African speech were used. The Lundu, a popular song, is definitely ofAfrican origin.ll

From the palaces of Ajuda and the salons of the Count of CastelhoMelhor these Modinhas of Barbosa descended to the streets of Mouraviaand Bairro Alto where they were sung by the common people who, as theypassed them from mouth to mouth, abridged, mutilated, or amplified themas they desired. Some of the Brazilian literary historians who encounteredthe lyrics of Caldas Barbosa during their researches have noted thechanges made in them as they were incorporated into the songs of thepeople. Romero, who was the first to give importance to "Lereno," foundmany an anonymous or modified version of the poems of our ecclesiasticalpoet when he went into the northern part of Brazil to collect popularverses. 12 Sim6es Lopes Neto in his Cancioneiro Quasca gives in the anony-mous section many quatrains which are fragments from Barbosa's Violade Lereno.

The Portuguese writers Agostinho de Campos and Alberto de Oliveirohave likewise cited the disfigurement of the sweet songs of Caldas whichhad become anonymous rhymes of popular Portuguese inspiration.13It was this mulatto poet, son of a Portuguese father and an Africanmother, who transported to the mother country to which he had emi-

10 See Renato Almeida, Hist6ria da Musica Brasileira. 2d ed. (Rio de Janeiro, 1942), pp. 62-72,for explanation of Modinhas; See also Lord Beckford's analysis of Modinhas. He was anassidious frequenter of the courts and described the Modinhas of Caldas as he heard themsung by the ladies in waiting to the Queen. Lord Beckford in a letter dated 1787 also de-scribes the enthusiasm which Lisboan Society had for the Brazilian Modinhas and the suc-cess which Caldas Barbosa had in Lisbon with his type of poetry. Paranhos, op. cit., pp.264-65.11 Ibid., pp. 72-78 has a section on Lundus.12 Romero, op. cit., 147.13 Paranhos, op. cit., p. 268.

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BARBOSAgrated, the accents and rhythms of the Brazilian Modinhas. He was, asManuel Bandeiro recognizes, the first Brazilian with whom there arisesa poetry that is entirely Brazilian in feeling.14 In addition he was the firstartist to introduce typically Brazilian music into the drawing rooms ofPortugal.Caldas Barbosa, a mulatto, signifies the social ascension which severalmulattoes of the eighteenth century achieved, among whom were AntonioFrancisco Lisboa, the great sculptor, Padre Jose Mauricio, the musician,and Manuel da Cunha, the slave painter.The best work of CaldasBarbosa was published in his Viola de Lereno:Collecgaode Seus Cantigas. Offerecidasaos Seus Amigos. Volume I of thistitle appeared in Lisbon in 1798,a second edition in Baia in 1806,a thirdedition in Baia in 1813,and a fourth edition in Lisbon in 1819. Volume IIof the Viola de Lereno was published in Lisbon in 1826. There was also aBrazilian edition in 1825. In 1944,almost one hundred and fifty years afterthe publication of Volume I of Viola de Lereno, a two-volume edition waspublished in the series known as Biblioteca Popular de Instituto Nacionaldo Livro, no. XIV. This edition contains a small portrait of the poet.Caldas also wrote quintilhas in the classic taste, sonnets, and twoEpistles to Arminda in which the rules of metrification are explained.He composed a canto in blank verse entitled O Jardim as well as a letterin verse dedicated to Mme.Deshoulieres, a lady who wished to be poetized.In 1792,he published in Porto a thirty-two page work in verse, recountingthe principal events in sacred history. Among his scholarly productionsare to be found his translation of an ode of Horace and translations ofpoems and dramas from the French and Italian.

Today, in the United States original publications of this poet's verseare rarely to be found. Harvard University, The Hispanic Society in NewYork City, Catholic University Library, The Library of Congress andTexas University have original copies, according to the Union Cataloguein the Library of Congress. The 1944reprint of his Viola de Lereno is tobe found in several libraries.Barbosa must be credited with having excited much attention by hisbrilliant artistry. Certainly the new type of poetry which he introducedinto Portugal greatly recommended Brazilian colonial culture to themother country. In the light of these achievements this brief essay seemsjustified. By the same token it is hard to understand how Samuel Putnamfailed even to mention him in his Marvelous Journey, A Survey of FourCenturies of Brazilian Writing (New York, 1948); nor for that matterdid Aubrey Bell include him in his Portuguese Literature (Oxford, 1922).Moreover, Caldas Barbosa, the eighteenth century Brazilian poet, alongwith Greg6rio de Matos Guerra (1633-1692), the seventeenth century14 Fernando de Azevedo, Brazilian Culture (New York, 1950), p. 201.

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PHYLONBrazilian poet, best established the character of the Mestizo in the populargenre of early Brazilian poetry.

Domingos Caldas Barbosa died on November 9, 1800, in Lisbon, of sucha sudden illness that it hardly permitted him to receive the blessed sacra-ments. His body was at first placed in a Chapel of the Palace of Bempostaon the estate of Pombeiro. Later it was interred in the Catholic churchof Nossa Senhora dos Anjos, where the poet remains for eternity.15BIBLIOGRAPHY OF THE WORKS OFDOMINGOS CALDAS BARBOSA

1. Collecgio de poesias feitas por oc-casido de se inaugurar a estatua deD. Jose I, em 6-7-1775. [Lisboa, naRegia Officina, Typ. 1775] 27p.Contains five odes and six sonnetsof Caldas Barbosa which are alsoincluded in the volume-Nar-ragao dos applausos corn que ajuiz do povo ... Lisb6a, 1775.2. A doenca, poema offerecido agrati-ddo. Lisb6a, na Regia Officina Typ.1777. 49p.A poem of four cantos.Varnhagen cites a posthumousedition dated - Lisb6a, 1801.3. Epithaldmio nas felicissisimas nup-cias do Ex. Sr. Conde da Colheta,na Regia Officina Typ. 1777. 7p.4. Lebreida: poema em 50 decimasrimadas escrito por ocasido da in-auguragco da estatua equestre dorei D. Jose de 1778.

5. Recopilagdo dos successos princi-paes da escriptura sagrada (emversos). Porto, na Officina de PedroRibeiro Franga, 1792. 32p.Inocencio cites a second, enlargededition with a full index pub-lished in Lisbon in 1819. Mottasuggests that two more editions-a third published in Lisbon in1819 and a fourth with a biog-raphy of the author, by JoaquimCaetano Fernandes Pinheiro, Riode Janeiro, 1865.6. Almanach das Musas, offerecido aogenio portuguez. Lisb6a, 1793, 4vols.

A large number of the poems inthis work are signed Lereno Se-linintino.7. Os viajantes ditoso: drama jocoso,em musica para se representar notheatro da Salitre, no anno de 1790.Lisboa, 1790. 96p.8. A saloia namorada ou o remedioe casar: pequena farga dramaticaque as senhoras portuguezas offer-ecem a dedicam Domingos Caporal-lini e Miguel Cavani, representadapor elles e por outros no real theatrode S. Carlos. Lisboa, Simao ThadeoFerreira, 1793. 22p.9. A vinganga da cigana: drama jocoserio em um acto, para ser repre-sentado no real theatro de S. Car-los. Lisboa, pela companhia Lisboa,1794. 47p.10. A escola dos ciosos: drama jocosoem um so acto, traduzido livremen-te do italiano, em versos portu-guezes, para se representar em mu-sica no real theatro de Sao Carlos.Lisboa, 1795. 66p.11. A viola de Lereno: collecgdo de suascantigas. Lisboa, 1798.- The same. 2a. ed. Lisboa, 1806.- The same. 3a. ed. Bahia, 1813.--The same. 4a. ed. Vols. I-II.Lisboa, 1819-1826.A fifth edition is supposed to havebeen published in Brazil in 1825.12. Descripcdo da grandiosa quinta dossenhores de Bellas e noticia do seumelhoramento. Lisboa, na RegiaTyp. Silviana, 1799. 87p.A unique work in prose.

15 Domingos Caldas Barbosa, Viola de Lereno (Rio de Janeiro, 1944), p. xii.

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BLUES IN THE NEIGHBORHOODLUES IN THE NEIGHBORHOOD13. Poema Mariano, ou Narragdo dos 14. Henrique IV: poema epico, tradu-mais espantosos e extraorde N. Sen- zido do original francez. Lisboa,

hora da Penha . . por Domingos 1807. 203p.Published posthumously by theCaldas, natural da Bahia, dada a luz poet's protector, the Marquez depor Ignacio Felix de Alvarenga Bellas. It is a translation of Vol-Salles, etc. Victoria, 1854. taire's Henriade.The above list is cited from Arthur

Motta, Historia da Litteratura Brasileira(Porto Alegre, 1943).

By M. CARL HOLMAN

Blues in the NeighborhoodThe Germans blanched their steps with brush and lye,Fed birds behind a wall and a green gate,Saw daylight through you with a cold blue eye,Wore clothes like armor, and would contemplateSome text of Luther lurking near their shoes,When stone-faced Sonny played his westbound blues.The Irishers we knew were fond of drink,Prone to curse Hoover in an argument;Lounged, and gave ladies a collective wink;Paused, when the evening and their cash was spent,Listening like owls with only sleep to lose,When stone-faced Sonny played his westbound blues.Italians sprinkled language like confetti,Rode God upon their shoulders in parades,Sang stagily on snails and rich spaghetti,Suffered policemen in infrequent raids;Smiled, to deny harsh sounds could leave a bruise,When stone-faced Sonny played his westbound blues.The Negroes hung their loves and quarrels in air,Bore cold beer to the basement where, alone,Doomed, but not destined for that golden stair,The man who haunted them turned into stone;Wept for all ends which are not ours to choose,When stone-faced Sonny played his westbound blues.

13. Poema Mariano, ou Narragdo dos 14. Henrique IV: poema epico, tradu-mais espantosos e extraorde N. Sen- zido do original francez. Lisboa,hora da Penha . . por Domingos 1807. 203p.Published posthumously by theCaldas, natural da Bahia, dada a luz poet's protector, the Marquez depor Ignacio Felix de Alvarenga Bellas. It is a translation of Vol-Salles, etc. Victoria, 1854. taire's Henriade.

The above list is cited from ArthurMotta, Historia da Litteratura Brasileira(Porto Alegre, 1943).

By M. CARL HOLMAN

Blues in the NeighborhoodThe Germans blanched their steps with brush and lye,Fed birds behind a wall and a green gate,Saw daylight through you with a cold blue eye,Wore clothes like armor, and would contemplateSome text of Luther lurking near their shoes,When stone-faced Sonny played his westbound blues.The Irishers we knew were fond of drink,Prone to curse Hoover in an argument;Lounged, and gave ladies a collective wink;Paused, when the evening and their cash was spent,Listening like owls with only sleep to lose,When stone-faced Sonny played his westbound blues.Italians sprinkled language like confetti,Rode God upon their shoulders in parades,Sang stagily on snails and rich spaghetti,Suffered policemen in infrequent raids;Smiled, to deny harsh sounds could leave a bruise,When stone-faced Sonny played his westbound blues.The Negroes hung their loves and quarrels in air,Bore cold beer to the basement where, alone,Doomed, but not destined for that golden stair,The man who haunted them turned into stone;Wept for all ends which are not ours to choose,When stone-faced Sonny played his westbound blues.

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Padre Domingos Caldas Barbosa: Afro-Brazilian Poet

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