THE Language of Romanticism presents greater formal freedom in relation to the rationality, balance and objectivity of the previous movement: Arcadism.
Thus, the language of romanticism — simpler, popular, subjective, melodious, confessional, idealized, eloquent and full of lyricism and dualisms — presents a break with the classic models (Greek-Roman culture), providing an approximation with the new consumer public by revealing its own desires: the bourgeoisie.
The most recurrent themes are: unrequited love (Platonic love), nature, religion, idealization of women, death, uncertainty, individualism, loneliness, the dramas of existence and suffering in general.
remember that the Romanticism it was a literary artistic movement that emerged in the 19th century in Brazil and in the world.
The literary production of romanticism developed in poetry and prose (shorts, novels, novels and plays).
In 1774, the publication of the work "The Sufferings of the Youth Werther” by the German writer Goethe, inaugurated the romantic movement in Europe, based on new historical, social and cultural values.
Learn more about the romantic movement in the article: Romanticism: Characteristics and Historical Context.
Figures of the Language of Romanticism
The main figures of speech used by romantic writers are:
- Metaphor
- Metalanguage
- Hyperbole
- Antithesis
- Sarcasm and Irony
In Brazil
O Romanticism in Brazil its initial milestone is the publication of the work "Poetic Sighs and Longing” by Gonçalves de Magalhães.
Note that the movement appears years after the country's independence (1822), which made the writers of that time feel away from the Lusitanian influence, in order to focus on the historical, linguistic, ethnic and cultural aspects of the country.
Although poetry is very much explored in this period, poetic prose had great prominence with Indianist, regionalist, historical and urban novels.
The vocabulary used contains more Brazilian expressions to the detriment of the Portuguese influence, notably seen in the language of Arcadianism, the previous period.
The Folhetins (excerpts from novels and novels published in newspapers) were the main drivers of romantic prose in Brazil. Thus, the writers that deserve to be highlighted in romantic prose are:
- José de Alencar and his work "iracema”
- Joaquim Manuel de Macedo and his work "the little brunette”
- Manuel Antônio de Almeida and his work "Memory of a Militia Sergeant”
- Viscount of Taunay and his work “Innocence”
- Bernardo Guimarães and his work “the slave Isaura”
Romantic Generations in Brazil
In Brazil, the romantic movement is divided into three phases, each of which has its own peculiar characteristics:
First Generation Romantic
Called the “Nationalist-Indianist Generation”, at this stage the exaltation of the land and the idealized figure of the Indian, elected national hero, is notorious.
No doubt, Gonçalves Dias it was what stood out the most in this phase, whether in poetry or theatre.
Second Generation Romantic
Also called the "Ultra-Romantic Generation", "Evil of the Century" or "Byronian Generation" (in reference to the English writer Lord Byron) this phase was marked by pessimism, melancholy, vices, morbidity, escape from reality (escapism), fantasy and the wish for death.
During this period, the writers who stood out the most were:
- Álvares de Azevedo
- Casimiro de Abreu
- Fagundes Varela
- Junqueira Freire
Third Generation Romantic
Called the “Condoreira Generation” (in reference to the condor, a bird symbol of freedom), this last phase of romanticism bet on freedom and justice inspired above all by the literature of the French writer Victor Hugo (Generation Hugoana).
Romantic poetry (lyrical, epic and social poetry) of this phase is marked by its social and political character. Castro Alves, the “Poet of Slaves” was the highlight of the moment.
To better understand the language of each romantic generation in Brazil, below are some examples:
First Generation (Excerpt from Poetry "I-Juca Pirama” by Gonçalves Dias)
Amidst the tabas of mild greens,
Surrounded by trunks - covered with flowers,
The roofs of the proud nation rise;
There are many children, in strong spirits,
Fearful in war, that in dense cohorts
They haunt the immense expanse of woods.
They are rude, severe, thirsty for glory,
Already prizes incite, already sing victory,
Tender already respond to the singer's voice:
They are all Timbiras, brave warriors!
Your name flies in people's mouths,
A wrath of wonders, glory and terror!
The neighboring tribes, without strength, without pride,
The weapons breaking, throwing them into the river,
The incense aspirated from their maracas:
Fearful of the wars that the strong ignite,
Costly ignoble taxes there yield,
To tough warriors subject to peace.
In the center of the taba there is a terrace,
Where the war council now takes place
From the lady tribe, from the servile tribes:
The seated old people practice in the past,
And the restless young men, who love the party,
They pour around an unhappy Indian.
Second Generation (Poetry "if i died tomorrow” by Álvares de Azevedo)
If I died tomorrow, I would at least come
Close my eyes my sad sister;
My homesick mother would die
If I died tomorrow!
How much glory I sense in my future!
What a dawn to come and what a morning!
I had lost crying those wreaths
If I died tomorrow!
What a sun! what a blue sky! how sweet on the morning
Wake up the wildest nature!
Hadn't hit me so much love in the chest
If I died tomorrow!
But this pain of life that devours
The yearning for glory, the aching eagerness...
The chest pain was at least muted
If I died tomorrow!
Third Generation (Excerpt from Poetry "the slave ship” by Castro Alves)
'We are at sea... doudo in space
Moonlight plays — golden butterfly;
And the vacancies after him run... get tired
Like restless infant mob.
'We are at sea... from the firmament
The stars leap like foams of gold...
The sea in turn lights up the ardentias,
— Constellations of the liquid treasure...
'We are at sea... two infinities
There they close in an insane embrace,
Blue, gold, placid, sublime...
Which of the two is heaven? which ocean...
'We are in the middle of the sea.... opening the candles
In the hot panting of seas,
Brigue sailboat runs to the flower of the seas,
How the swallows graze the wave...
In Portugal
O Romanticism in Portugal had as its starting point the publication of the poem by Almeida Garrett “Camões”, in 1825.
Besides him, the Portuguese romantic writers that deserve mention are: Camilo Castelo Branco, Júlio Dinis and Alexandre Herculano. To better understand the language of romanticism, follow the poetry below "this hell of loving" by Almeida Garrett:
This hell of loving—how I love! –
Who put me here in my soul... who was?
This flame that encourages and consumes,
Which is life - and which life destroys -
How did it come to light,
When — then when will she go out?
I don't know, don't remind me: the past,
The other life I lived before
It was a dream maybe... - It was a dream
What a serene peace I slept in!
Oh! how sweet was that dream...
Who came to me, alas!, to wake up?
It just reminds me that a beautiful day
I passed... gave the sun so much light!
And my eyes, which turned vaguely,
In his burning eyes I put them.
What did she do? I did it? “I don't know;
But at that time to live I started ...
Read too: Main works and authors of Romanticism and Questions about Romanticism.
