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Brazilian literature - Cristo Raul

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6 BRAZILIAN LITERATURE<br />

we aspire to the possession of the Infinite, only to lose<br />

ourselves at once In the Nirvana of Inaction and daydreaming."<br />

Benedlcto Costa ^ has likened this same<br />

imagination to the <strong>Brazilian</strong> forest, with Its "disorder and<br />

opulence. Its vigour and languor; trees that last for cen-<br />

turies and flowers that bloom but a few moments; lianas<br />

that live upon the sap of other growths; the brilliancy of<br />

orchids, the voices of birds of Iridescent coloration, the<br />

heat. . . . There Is In the soul of every <strong>Brazilian</strong> the<br />

same contrasts that characterize the tropical forest." "*<br />

Brazil, however. Is not all forest any more than. In-<br />

tellectually, it Is all tropical confusion. There are<br />

mountains and valleys and extensive coasts, and each<br />

region has a distinguishing Influence upon the inhabitant.<br />

Thus the chmate of the sertao ^ (Interior highlands) Is<br />

less variable and far more salubrious than that of the<br />

littoral. "Man here represents perfectly the traits of<br />

3Le Roman au Bresil. Paris, 1918.<br />

4 Sylvio Romero (See Lltteratura Contemporanea, Rio de Janeiro, no<br />

date, pages 45-46, chapter upon the poet Luiz Murat) refers in char-<br />

acteristic fashion to the <strong>Brazilian</strong> habit of overstating the case of the<br />

native imagination. There is no audacious flight, he declares; no soaring<br />

of eagles and condors. "Whether we examine the popular litera-<br />

ture or the cultured, we find overwhelming proof of this assertion.<br />

Our popular novels and anonymous songs are scant in plot, ingenious<br />

imaginings, marvelous imagery, which are so common in their Slavic,<br />

Celtic, Greek and Germanic congeners. And the contribution brought<br />

by the negroes and indigenous tribes are even poorer than the part<br />

that came to us from the Portuguese. Cultivated <strong>literature</strong> . . . is even<br />

inferior to the popular productions from the standpoint of the imagina-<br />

tion. . . . Our<br />

imagination, which is of simply decorative type, is the<br />

imagination of lyric spirits, of the sweet, monodic poetry of new souls<br />

and young peoples."<br />

^Sertao. iLkerally, interior, midland part. It refers here to the<br />

plateau of the <strong>Brazilian</strong> interior. In the opening pages of his excellent<br />

A <strong>Brazilian</strong> Mystic, R. B. Cunninghame-Graham suggests as a periphrasis,<br />

"wooded, back-lying highlands." The German hinterland conveys<br />

something of the idea.

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