Camilo Castelo Branco
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| - | La traduction de Flaubert, Stendhal et Zola créera des émules à travers le monde. En [[Italie]] se développe un courant réaliste national appelé le [[vérisme]] et illustré par les écrivains [[Sicile|siciliens]] [[Giovanni Verga]] et [[Luigi Capuana]]. Ces auteurs dépeignent les classes populaires de la société, dans les régions périphériques du pays, dans un style dépouillé et avec des dialogues reflétant la langue parlée. Le courant se poursuit dans les premières années du {{s-|XX|e}} avec des romanciers régionalistes, comme [[Matilde Serao]] à [[Naples]], Renato Fucini en [[Toscane]], et [[Grazia Deledda]] en [[Sardaigne]]. En [[Espagne]], [[Benito Pérez Galdós]], à côté de ses très nombreux romans historiques, écrit plusieurs romans sociaux d'inspiration balzacienne, tout comme [[Camilo Castelo Branco]] et [[Eça de Queiroz]] au [[Portugal]] dans les mêmes années. | + | '''Camilo Ferreira Botelho Castelo-Branco''','''1st Viscount de Correia Botelho''' ({{IPA-pt|kɐˈmilu kɐʃˈtɛlu ˈbɾɐ̃ku}}; March 16, 1825 – June 1, 1890), was a prolific [[Portugal|Portuguese]] writer of the 19th century, having authored over 260 books (mainly [[novels]], [[Play (theatre)|plays]] and [[essays]]). His writing is, overall, considered original in that it combines the dramatic and sentimental spirit of [[Romanticism]] with a highly personal combination of [[sarcasm]], bitterness and [[dark humour]]. He is also celebrated for his peculiar [[wit]] and anecdotal character, as well as for his turbulent (and ultimately tragical) life. |
| - | En [[Scandinavie]] et en [[Russie]], le mouvement est repris par des auteurs dramatiques, qui s'inspirent de faits quotidiens pour leurs pièces et représentent des gestes et des paroles tirés de la vie de tous les jours. Le Norvégien [[Henrik Ibsen]], le Suédois [[August Strindberg]], et les Russes [[Anton Tchekhov]] et [[Maxime Gorki]] écrivent des pièces qui restent encore aujourd'hui parmi les plus jouées du répertoire en suivant les enseignements du réalisme. | + | His writing, which is centered in the local and the picturesque and is in a general sense affiliated with the Romantic tradition, is often regarded in contrast to that of [[Eça de Queiroz]] - a cosmopolitan [[dandy]] and a fervorous proponent of [[Realism (arts)|Realism]], who was Camilo's literary contemporary in spite of being 20 years younger. In this ''tension'' between Camilo and Eça - often dubbed by critics ''the literary [[guerrilla]]'' - many have interpreted a synthesis of the two great tendencies present in the Portuguese literature of the 19th century. |
| - | Le réalisme traverse ensuite l'Atlantique avec quelques décennies de retard - le temps que les œuvres des auteurs français et anglais cités fassent leur chemin. Aux [[États-Unis]], le courant réaliste est associé au mouvement progressiste, qui cherche à réformer les conditions de vie, d'hygiène et de travail des classes laborieuses en dénonçant les abus du « [[capitalisme sauvage]] » qui atteint son apogée dans les [[années 1890]]. [[Upton Sinclair]] expose les conditions infâmes des abattoirs de [[Chicago]] dans ''[[La Jungle (roman)|The Jungle]]'', publié en 1906, tandis que [[Theodore Dreiser]] décrit la vie difficile d'une femme de la classe ouvrière dans ''Jennie Gerhardt'' (1911), et la chute d'une femme issue d'une petite ville et happée par les tentations et les dangers de [[New York]] dans ''Sister Carrie'' (publié en 1900, mais diffusé seulement après 1912). Sinclair se tourne rapidement vers la politique, mais Dreiser poursuit sa carrière d'écrivain, et est rejoint par [[Sinclair Lewis]] qui dans ''Main Street'' dépeint une ''Madame Bovary'' américaine. Le mouvement se poursuit au Canada anglais dans les [[années 1920]] et 1930 avec [[Frederick Philip Grove]] et [[Morley Callaghan]], et en Amérique latine avec entre autres l'Argentin Manuel Gálvez. | + | ==Biography== |
| + | Camilo was born out of wedlock and orphaned in infancy. He spent his early years in a village in [[Trás-os-Montes (region)|Trás-os-Montes]], where he was educated at home by three unmarried aunts. At the age of 13, he enrolled at the catholic seminary of nearby [[Vila Real, Portugal|Vila Real]], where he was educated by catholic priests. During his teenage years, he fell in love with the poetry of [[Luís de Camões]] and [[Manuel Maria Barbosa de Bocage]], while [[Fernão Mendes Pinto]] gave him a lust for adventure. In spite of this interest in [[literature]], and of his remarkable abilities in [[Greek language|Greek]] and [[Latin]], Camilo was a distracted student and grew up to be undisciplined and proud. | ||
| - | ==Le réalisme socialiste== | + | From the age of 17 to his early 20's, he intermittently studied medicine and theology in [[Oporto]] and [[Coimbra]] and eventually chose to become a writer. After a spell of journalistic work in [[Oporto]] and [[Lisbon]] he proceeded to the [[Bishop|episcopal]] seminary in Oporto in order to study for the priesthood. During this period Camilo wrote a number of religious works and translated the work of [[François-René de Chateaubriand]]. Camilo actually took minor holy orders, but his restless nature drew him away from the priesthood and he devoted himself to literature for the rest of his life. He was arrested twice; the first time for having unearthed the remains of his first wife (whom he had married at the age of 16, and who had died at 24) and the second due to his adulterous affair with Ana Plácido, who was married at the time. |
| - | Alors que le mouvement réaliste touche à sa fin apparaît un de ses avatars qui en prolongera la durée pendant quelques années. Le succès de la [[Révolution russe]] d'octobre 1917 amène le premier gouvernement [[communisme|communiste]] au pouvoir. Le gouvernement se veut prolétaire et exalte une littérature qui dépeint la classe ouvrière et sa lutte pour renverser les conditions qui l'oppriment. Bientôt, le [[réalisme socialiste soviétique]] devient le seul mouvement littéraire admis en [[Union des républiques socialistes soviétiques|URSS]], tous les autres étant taxés de réactionnaires et bourgeois. Le mouvement s'étend après la [[Seconde Guerre mondiale]] alors que l'emprise de l'URSS s'étend aux pays d'Europe de l'Est et que son régime devient un pôle d'attraction à travers les pays qui cherchent à échapper à la colonisation. D'un point de vue littéraire, le réalisme socialiste n'a pas été un grand succès : ''[[Le Don paisible]]'' de [[Mikhaïl Cholokhov]] ne répond pas vraiment aux critères du mouvement, tandis que les romans qui obéissent strictement à ses canons, comme ceux de [[Fédor Gladkov]] sur l'industrialisation du pays, deviennent rapidement de simples curiosités historiques. En fait, le terme est surtout associé à la répression sévère des écrivains dissidents menée par [[Andreï Jdanov]] au lendemain de la guerre. Cependant, quelques écrivains d'Asie, d'Amérique latine et d'Afrique, parmi ceux décorés du [[Prix Lénine pour la paix]] pour leur obéissance au réalisme socialiste, ont une valeur indéniable, comme l'Égyptien [[Abd al-Rahman al-Charqawi]], le Cubain [[Nicolas Guillen]] ou le Brésilien [[Jorge Amado]] (dans sa première période) par exemple. Ou encore le poète chilien [[Pablo Neruda]], mais cet écrivain ne saurait facilement être confiné à un seul courant littéraire. Le mouvement disparaît dans les [[années 1960]], alors que les écrivains dissidents dominent la vie littéraire de l'Europe socialiste malgré leur difficulté à accéder aux canaux de distribution officiels. | + | |
| - | === Tendances du réalisme socialiste en France === | + | His first period of incarceration was short, apparently thanks to the intervention of Teixeira de Queiroz, an influential judge and, coincidentally, father of the renowned [[José Maria de Eça de Queiroz]]. During his second and longer incarceration he wrote what most consider to be his best and most characteristic work ''Amor de Perdição''. Later this phase of his life would also inspire him to write his ''Memórias do Cárcere'' (literally "Memories of Prison"), in which he describes the meanders of the then miserable and overcrowded prison of Relação, at the center of [[Oporto]], intertwined with intimate ramblings of the imagination and biographical fragments. |
| - | À l'époque du [[stalinisme]], tous les écrivains devaient normalement se plier aux canons de l'esthétique communiste qui prônait la sacralisation du peuple et dénonçait bourgeoisie et capitalisme. La littérature réaliste aurait dû s'inscrire dans ce schéma. En URSS même, la situation est ambigüe et beaucoup d'écrivains russes, de [[Boris Pasternak]] à [[Alexandre Soljenitsyne]] échappent à ce courant. | + | |
| + | Camilo was made a viscount ('''Visconde de Correia Botelho''') in 1885 in recognition of his contributions to literature, and when his health deteriorated and he could no longer write, parliament gave him a [[pension]] for life. Going blind (because of [[syphilis]]) and suffering from chronic nervous disease, Castelo Branco committed [[suicide]] with a revolver in 1890, while sitting in his now-famous wooden [[rocking chair]]. | ||
| + | |||
| + | ==Works== | ||
| + | Camilo Castelo Branco is probably the most prolific of all Portuguese writers, his work including novels, plays, verse, and essays. In addition, Camilo was the first Portuguese writer able to support himself financially from his writing alone. In all, his publications number about five hundred and sixty, but he is best known for his romances. Even though Camilo churned out a lot of work to pay the bills, he never lost his individuality. His familiarity with personalities allowed him to enliven his writing with a succession of memorable characters and Portuguese types, such as the "brasileiro" (a returned Portuguese emigrant who had made his fortune in [[Brazil]]), the old "Fidalgo" (nobleman) of the north of Portugal, and the [[Minho Province|Minho]] priest. | ||
| + | |||
| + | Camilo's novels may be divided into three periods. The first period comprises his romances of the imagination, of which ''Os Mistérios de Lisboa'', in the style of [[Victor Hugo]], is a fair example. | ||
| + | |||
| + | The second period includes his novels of manners, a style he developed and remained the chief exponent of until the appearance of ''O Crime de Padre Amaro'' by [[Eça de Queiroz]]. In these novels he combines realism and idealism, and perfectly captures the domestic and social life of Portugal in the early part of the 19th century. | ||
| + | |||
| + | The third period embraces his writings in the realms of history, biography and literary criticism. Among these may be cited ''Noites de Lamego'', ''Cousas leves e pesadas'', ''Cavar em ruínas'', ''Memórias do Bispo do Grão Pará'' and ''Boémia do Espírito''. | ||
| + | |||
| + | Among the most notable of his romances are ''O Romance de um Homem Rico'', his favorite, ''Retrato de Ricardina'', ''Amor de Perdição'', the collection of novellas ''Novelas do Minho'' and ''A Brasileira de Prazins''. Many of his novels are autobiographical, like ''Onde está a felicidade?'' and ''Memórias do Cárcere'' and ''Vinganca''. Castelo Branco is an admirable story-teller, largely because he was a brilliant ''improvisatore'', but he does not attempt character study. He has a richness of vocabulary probably unmatched in all Portuguese literature, often using obscure words. At the same time, few Portuguese authors have demonstrated so profound a knowledge of the vernacular tongue. Though nature had endowed Camilo with a poetic temperament, his verses are considered to be mediocre, while his best plays are cast in bold lines and contain powerfully dramatic situations, and his comedies are a triumph of the grotesque, with a mordant tone reminiscent of the work of [[Gil Vicente]]. | ||
| + | |||
| + | ==Selected bibliography== | ||
| + | {{commonscat|Camilo Castelo Branco}} | ||
| + | * ''Anátema'' (1851) | ||
| + | * ''Os Mistérios de Lisboa'' (1854) | ||
| + | * ''A Filha do Arcediago'' (1854) | ||
| + | * ''Livro Negro de Padre Dinis'' (1855) | ||
| + | * ''A Neta do Arcediago'' (1856) | ||
| + | * ''Onde Está a Felicidade?'' (1856) (English title: ''Where Is Happiness?'') | ||
| + | * ''Um Homem de Brios'' (1856) | ||
| + | * ''Lágrimas Abençoadas'' (1857) | ||
| + | * ''Cenas da Foz'' (1857) | ||
| + | * ''Carlota Ângela'' (1858) | ||
| + | * ''Vingança'' (1858) | ||
| + | * ''O Que Fazem Mulheres'' (1858) (English title: ''What Women Do'') | ||
| + | * ''Doze Casamentos Felizes'' (1861) | ||
| + | * ''O Romance de um Homem Rico'' (1861) | ||
| + | * ''As Três Irmãs'' | ||
| + | * ''Amor de Perdição'' (1862) (ISBN 0-85051-509-2) (English title: ''Love of Perdition'' (2000) - ISBN 0-943722-27-6) | ||
| + | * ''Coisas Espantosas'' (1862) | ||
| + | * ''O Irônico'' (1862) | ||
| + | * ''Coração, Cabeça e Estômago'' (1862) | ||
| + | * ''Estrelas Funestas'' (1862) | ||
| + | * ''Anos de Prosa'' (1858) | ||
| + | * ''Aventuras de Basílio Fernandes Enxertado'' (1863) | ||
| + | * ''O Bem e o Mal'' (1863) | ||
| + | * ''Estrelas Propícias'' (1863) | ||
| + | * ''Memórias de Guilherme do Amaral'' (1863) | ||
| + | * ''Agulha em Palheiro'' (1863) | ||
| + | * ''Amor de Salvação'' (1864) | ||
| + | * ''A Filha do Doutor Negro'' (1864) | ||
| + | * ''Vinte Horas de Liteira'' (1864) | ||
| + | * ''O Esqueleto'' (1865) | ||
| + | * ''A Sereia'' (1865) | ||
| + | * ''A Enjeitada'' (1866) | ||
| + | * ''O Judeu'' (1866) | ||
| + | * ''O Olho de Vidro'' (1866) | ||
| + | * ''A Queda dum Anjo'' (1866) | ||
| + | * ''O Santo da Montanha'' (1866) | ||
| + | * ''A Bruxa do Monte Córdova'' (1867) | ||
| + | * ''Os Mistérios de Fafe'' (1868) | ||
| + | * ''A Caveira da Mártir'' (1876) | ||
| + | * ''Novelas do Minho'' (1875–1877) | ||
| + | * ''Eusébio Macário'' (1879) | ||
| + | * ''A Corja'' (1880) | ||
| + | * ''Luiz de Camões: Notas Biographicas (1880) | ||
| + | * ''A Brasileira de Prazins'' (1882) (English title: ''The Brazilian Girl from Prazens'') | ||
| + | * ''D. Luiz de Portugal: Neto do Prior do Crato 1601-1660 (1883) | ||
| - | En France, deux courants vont dominer progressivement la scène littéraire, que l'on pourrait ramener à une confrontation entre les orthodoxes, qui respectent la norme fixée par [[Andreï Jdanov]] comme [[Louis Aragon]] et ceux qui, comme [[Roger Vailland]], sans être qualifiés de dissidents, gardent « une certaine marge de manœuvre ». Roger Vailland, pendant ce qu'il appelle sa « saison communiste » dans ses ''Écrits intimes'', ne s'est jamais tenu à l'écart des polémiques sur ce sujet qui ont marqué le [[Parti communiste français]], n'a pas pris parti sur le fond mais a toujours refusé sur ses écrits tout contrôle ou toute contrainte extérieure.<ref>« S'il y eut plusieurs façons d'être communiste, Vailland et Aragon n'incarnèrent pas la même. » écrit [[Alain Georges Leduc]] dans son livre ''Roger Vailland, un homme encombrant''</ref> | ||
| - | {{Article détaillé|amorce=Pour plus de détails, voir '''Vailland|L'Homme nouveau (cycle de romans)}}''' | ||
| {{GFDL}} | {{GFDL}} | ||
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Camilo Ferreira Botelho Castelo-Branco,1st Viscount de Correia Botelho (Template:IPA-pt; March 16, 1825 – June 1, 1890), was a prolific Portuguese writer of the 19th century, having authored over 260 books (mainly novels, plays and essays). His writing is, overall, considered original in that it combines the dramatic and sentimental spirit of Romanticism with a highly personal combination of sarcasm, bitterness and dark humour. He is also celebrated for his peculiar wit and anecdotal character, as well as for his turbulent (and ultimately tragical) life.
His writing, which is centered in the local and the picturesque and is in a general sense affiliated with the Romantic tradition, is often regarded in contrast to that of Eça de Queiroz - a cosmopolitan dandy and a fervorous proponent of Realism, who was Camilo's literary contemporary in spite of being 20 years younger. In this tension between Camilo and Eça - often dubbed by critics the literary guerrilla - many have interpreted a synthesis of the two great tendencies present in the Portuguese literature of the 19th century.
Biography
Camilo was born out of wedlock and orphaned in infancy. He spent his early years in a village in Trás-os-Montes, where he was educated at home by three unmarried aunts. At the age of 13, he enrolled at the catholic seminary of nearby Vila Real, where he was educated by catholic priests. During his teenage years, he fell in love with the poetry of Luís de Camões and Manuel Maria Barbosa de Bocage, while Fernão Mendes Pinto gave him a lust for adventure. In spite of this interest in literature, and of his remarkable abilities in Greek and Latin, Camilo was a distracted student and grew up to be undisciplined and proud.
From the age of 17 to his early 20's, he intermittently studied medicine and theology in Oporto and Coimbra and eventually chose to become a writer. After a spell of journalistic work in Oporto and Lisbon he proceeded to the episcopal seminary in Oporto in order to study for the priesthood. During this period Camilo wrote a number of religious works and translated the work of François-René de Chateaubriand. Camilo actually took minor holy orders, but his restless nature drew him away from the priesthood and he devoted himself to literature for the rest of his life. He was arrested twice; the first time for having unearthed the remains of his first wife (whom he had married at the age of 16, and who had died at 24) and the second due to his adulterous affair with Ana Plácido, who was married at the time.
His first period of incarceration was short, apparently thanks to the intervention of Teixeira de Queiroz, an influential judge and, coincidentally, father of the renowned José Maria de Eça de Queiroz. During his second and longer incarceration he wrote what most consider to be his best and most characteristic work Amor de Perdição. Later this phase of his life would also inspire him to write his Memórias do Cárcere (literally "Memories of Prison"), in which he describes the meanders of the then miserable and overcrowded prison of Relação, at the center of Oporto, intertwined with intimate ramblings of the imagination and biographical fragments.
Camilo was made a viscount (Visconde de Correia Botelho) in 1885 in recognition of his contributions to literature, and when his health deteriorated and he could no longer write, parliament gave him a pension for life. Going blind (because of syphilis) and suffering from chronic nervous disease, Castelo Branco committed suicide with a revolver in 1890, while sitting in his now-famous wooden rocking chair.
Works
Camilo Castelo Branco is probably the most prolific of all Portuguese writers, his work including novels, plays, verse, and essays. In addition, Camilo was the first Portuguese writer able to support himself financially from his writing alone. In all, his publications number about five hundred and sixty, but he is best known for his romances. Even though Camilo churned out a lot of work to pay the bills, he never lost his individuality. His familiarity with personalities allowed him to enliven his writing with a succession of memorable characters and Portuguese types, such as the "brasileiro" (a returned Portuguese emigrant who had made his fortune in Brazil), the old "Fidalgo" (nobleman) of the north of Portugal, and the Minho priest.
Camilo's novels may be divided into three periods. The first period comprises his romances of the imagination, of which Os Mistérios de Lisboa, in the style of Victor Hugo, is a fair example.
The second period includes his novels of manners, a style he developed and remained the chief exponent of until the appearance of O Crime de Padre Amaro by Eça de Queiroz. In these novels he combines realism and idealism, and perfectly captures the domestic and social life of Portugal in the early part of the 19th century.
The third period embraces his writings in the realms of history, biography and literary criticism. Among these may be cited Noites de Lamego, Cousas leves e pesadas, Cavar em ruínas, Memórias do Bispo do Grão Pará and Boémia do Espírito.
Among the most notable of his romances are O Romance de um Homem Rico, his favorite, Retrato de Ricardina, Amor de Perdição, the collection of novellas Novelas do Minho and A Brasileira de Prazins. Many of his novels are autobiographical, like Onde está a felicidade? and Memórias do Cárcere and Vinganca. Castelo Branco is an admirable story-teller, largely because he was a brilliant improvisatore, but he does not attempt character study. He has a richness of vocabulary probably unmatched in all Portuguese literature, often using obscure words. At the same time, few Portuguese authors have demonstrated so profound a knowledge of the vernacular tongue. Though nature had endowed Camilo with a poetic temperament, his verses are considered to be mediocre, while his best plays are cast in bold lines and contain powerfully dramatic situations, and his comedies are a triumph of the grotesque, with a mordant tone reminiscent of the work of Gil Vicente.
Selected bibliography
- Anátema (1851)
- Os Mistérios de Lisboa (1854)
- A Filha do Arcediago (1854)
- Livro Negro de Padre Dinis (1855)
- A Neta do Arcediago (1856)
- Onde Está a Felicidade? (1856) (English title: Where Is Happiness?)
- Um Homem de Brios (1856)
- Lágrimas Abençoadas (1857)
- Cenas da Foz (1857)
- Carlota Ângela (1858)
- Vingança (1858)
- O Que Fazem Mulheres (1858) (English title: What Women Do)
- Doze Casamentos Felizes (1861)
- O Romance de um Homem Rico (1861)
- As Três Irmãs
- Amor de Perdição (1862) (ISBN 0-85051-509-2) (English title: Love of Perdition (2000) - ISBN 0-943722-27-6)
- Coisas Espantosas (1862)
- O Irônico (1862)
- Coração, Cabeça e Estômago (1862)
- Estrelas Funestas (1862)
- Anos de Prosa (1858)
- Aventuras de Basílio Fernandes Enxertado (1863)
- O Bem e o Mal (1863)
- Estrelas Propícias (1863)
- Memórias de Guilherme do Amaral (1863)
- Agulha em Palheiro (1863)
- Amor de Salvação (1864)
- A Filha do Doutor Negro (1864)
- Vinte Horas de Liteira (1864)
- O Esqueleto (1865)
- A Sereia (1865)
- A Enjeitada (1866)
- O Judeu (1866)
- O Olho de Vidro (1866)
- A Queda dum Anjo (1866)
- O Santo da Montanha (1866)
- A Bruxa do Monte Córdova (1867)
- Os Mistérios de Fafe (1868)
- A Caveira da Mártir (1876)
- Novelas do Minho (1875–1877)
- Eusébio Macário (1879)
- A Corja (1880)
- Luiz de Camões: Notas Biographicas (1880)
- A Brasileira de Prazins (1882) (English title: The Brazilian Girl from Prazens)
- D. Luiz de Portugal: Neto do Prior do Crato 1601-1660 (1883)
