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Joaquim Maria Machado de Assis

 
Britannica Concise Encyclopedia: Joaquim Maria Machado de Assis
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(born June 21, 1839, Rio de Janeiro, Braz. — died Sept. 29, 1908, Rio de Janeiro) Brazilian poet, novelist, and short-story writer. Machado began to write in his spare time while working as a printer's apprentice. By 1869 he was a successful man of letters. His witty, pessimistic works, rooted in European cultural traditions, include the eccentric first-person narrative Epitaph of a Small Winner (1881) and the novels Philosopher or Dog? (1891) and Dom Casmurro (1899), the latter his masterpiece. Considered the classic master of Brazilian literature, he became the first president of the Brazilian Academy of Letters in 1896.

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Biography: Joaquim Maria Machado de Assis
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The Brazilian novelist Joaquim Maria Machado de Assis (1839-1908), although only recently "discovered" outside Brazil, ranks among major world authors of the 19th century. His works are notable for their pessimistic view of human nature and their sophisticated psychological insights.

Joaquim Maria Machado de Assis never left Rio de Janeiro, where he was born. His father was a mulatto house painter, and the future novelist received most of his "formal" education in the kitchen of a girls' school where his stepmother was a dishwasher. At 17 he became a typographer's apprentice and later a proofreader. For most of his life he supported himself - and later his cultured Portuguese wife, 5 years his senior - from his earnings as a middle-ranking bureaucrat. He was sickly from childhood, suffered from epilepsy, and lived in fear that he would suffer an attack in public. As a poor mulatto, he considered himself inferior even when lionized by a public that, to be sure, never really understood him.

Although Machado de Assis began writing early and was widely acclaimed by the time he was 25 years old, it was not until a serious bout with illness and a long convalescence in the late 1870s that he developed his great insight into the human soul. Some critics note his intuitive awareness of the subconscious, his references to what would later be called fetishism, and his belief in man's irrationality, and they consider him a depth psychologist ahead of his time. In any case, his illness stripped from him the last vestiges of romanticism. During this period of illness he also had the opportunity for much reading in English, French, and German, although his artistic development is firmly rooted in the Brazilian milieu.

Machado de Assis' first novel in this new period was Epitaph for a Small Winner (1881). Told in the first person by a character who has already died, it recounts the petty concerns and meaningless acts of selfishness that typify the lives of ordinary men. Ten years later he wrote Philosopher or Dog?, a novel about a man who goes - or has always been - insane; one critic has dubbed Machado de Assis an encomiast of lunacy. The next novel of prominence was Dom Casmurro (1900), the theme of which is man's inability to love.

Machado de Assis also wrote many short stories, some of which have been translated into English. Apart from the potboilers he turned out for serialized publication in Sunday supplements, he left a substantial collection of novels and stories that are rich, perceptive, and humane.

Further Reading

Four of Machado de Assis' novels and a collection of short stories are available in English. José Bettencourt Machado, The Life and Times of Machado de Assis (1953), is adulatory. Helen Caldwell studied one of his novels in The Brazilian Othello of Machado de Assis: A Study of Dom Casmurro (1960) and wrote the biography Machado de Assis: The Brazilian Master and His Novels (1970). Dorothy Scott Loos pays him much attention in The Naturalistic Novel of Brazil (1963).

 
Columbia Encyclopedia: Joaquim Maria Machado de Assis
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Machado de Assis, Joaquim Maria (zhwäkēm' mərē'ə məshä'dʊ dĭ əsēz'), 1839-1908, Brazilian novelist, b. Rio de Janeiro. The grandson of African slaves, he was educated by a priest and became a typesetter, a proofreader, and finally a journalist. His poetry, plays, and short stories were well received, but his reputation as the greatest of Brazilian writers rests upon his realistic novels. His major novels are Memórias póstumas de Brás Cubas (1881, tr. Epitaph of a Small Winner, 1952, The Posthumous Memoirs of Bras Cubas, 1998), Quincas Borba (1891, tr. Philosopher or Dog?, 1954, 1998), and Dom Casmurro (1900, tr. 1953, 1998). They are distinguished by psychological insight, a lack of illusions, a profound awareness of social conditions, and a dark humor, and their objective attitude stands in sharp contrast to the prevalent romantic tendency of the time. His pessimistic view of life is impelled by irony and a profound cynicism.

Bibliography

See studies by H. Caldwell (1970) and J. Gledson (1984).

Wikipedia: Joaquim Maria Machado de Assis
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Machado de Assis

Machado de Assis in his later years.
Born June 21, 1839(1839-06-21)
Rio de Janeiro
Died September 29, 1908 (aged 69)
Rio de Janeiro
Pen name Machado de Assis, Machado, "The Warlock from Cosme Velho"
Occupation Novelist, short story writer, poet, literary critic
Nationality Brazilian
Writing period 1864–1908
Literary movement Romanticism, Realism
Signature

Joaquim Maria Machado de Assis (Portuguese pronunciation: [ʒoaˈkĩ maˈriɐ maˈʃadu dʒi aˈsis]), often known as Machado de Assis, Machado, or Bruxo do Cosme Velho[1] (June 21, 1839, Rio de Janeiro—September 29, 1908, Rio de Janeiro), was a Brazilian novelist, poet, playwright, short story writer and liberal monarchist. He is widely regarded as the greatest writer of Brazilian literature.[2][3][4] However, he did not gain widespread popularity outside Brazil in his own lifetime.

Machado's works had a great influence on Brazilian literary schools of the late 19th century and 20th century. José Saramago, Carlos Fuentes, Susan Sontag and Harold Bloom are among his admirers[5] and Bloom calls him "the supreme black literary artist to date."[6]

Contents

Biography

Birth and adolescence

Joaquim Maria Machado de Assis was born in 21 June 1839 in Rio de Janeiro, then capital of the Empire of Brazil.[7][8][9] His parents were Francisco José de Assis, a mulatto wall painter, and Maria Leopoldina da Câmara Machado, a Portuguese washerwoman.[10][11] His birth occurred in Livramento country house, owned by Dona Maria José de Mendonça Barro Pereira, widower of senator Bento Barroso Pereira, who protected his parents and allowed them to live with her.[12][13] Dona Maria José became Joaquim’s godmother and her brother-in-law, commendatory Joaquim Alberto de Sousa da Silveira, the godfather, and both were paid homage by giving their names to the baby.[14][15] He also had a sister who died young.[16] Joaquim studied in a public school, but was not a good student.[17] While helping celebrate masses he met Father Silveira Sarmento who became his Latin teacher and also friend.[18][19]

When he was ten year old, his mother died, and his father carried him along as they moved to São Cristóvão, where Francisco de Assis met the mulatto Maria Inês da Silva and later got married to her in 1854.[20][21][22] Joaquim had classes in a school for girls only, thanks to his stepmother who worked there making candies, and at night he learned French with an immigrant baker.[23] In his adolescence he met the mulatto Francisco de Paula Brito, who owned a bookstore, a newspaper and typography.[24] In 12 January 1855, Francisco de Paula published the poem Ella (“Her”) written by Joaquim, then 15 years old, in the newspaper Marmota Fluminense.[25][26][27] In the following year he was hired as typographer’s apprentice in the Imprensa Oficial, where he received the incentive to follow the literary career from Manuel Antônio de Almeida, the newspaper’s director and also a novelist.[28] There he also met Francisco Otaviano, journalist and later liberal senator, and Quintino Bocaiúva, who decades later would become known for his role as a republican orator.[29]

Early notoriety and marriage

Machado de Assis when he was 25 years old, 1864.

Francisco Otaviano hired him to work on the newspaper Correio Mercantil as a proof-reader on 1858.[30][31] Joaquim continued to write for the Marmota Fluminense and also in several other newspapers, but he did not earn much and thus had a humble life.[32][33] He did not live with the father anymore, and it was common for him to eat only once per day for lack of money.[34] Around this time, he became a friend of the writer and liberal politician José de Alencar, who taught him English. From English literature he would be influenced by Laurence Sterne, William Shakespeare, Lord Byron and Jonathan Swift. He would learn German years later and in old age, Greek.[35] He was invited by Bocaiúva to work at his newspaper Diário do Rio de Janeiro in 1860.[36][37] Joaquim had a passion for theater and wrote several plays, but for a short time, as his friend Bocaiúva concluded: “Your works are meant to be read and not to be played.”[38][39] He had, at that point, achieved some notoriety, and by signing his writings as J. M. Machado de Assis he would immortalize the way he would be known for posterity: Machado de Assis.[40]

Francisco de Assis died in 1864. Joaquim learned of his father's death through acquaintances, and felt remorse for having distanced himself from Francisco. He dedicated to his father his compilation of poetries called “Crisálidas”: “To the Memory of Francisco José de Assis and Maria Leopoldina Machado de Assis, my Parents.”[41] With the ascension of the Liberal Party to power in the country around that time, Machado believed that he would be remembered by his friends and would receive a public office that could improve his quality of life, but all in vain. To his surprise, the aid came from the one he least expected: Emperor Dom Pedro II, who not only hired him as director-assistant in the Diário Oficial in 1867, but also made him a knight[42] and later in 1888 officer of the Order of the Rose.[43]

In 1868 Machado met the Portuguese Carolina Augusta Xavier de Novais, five years older than him[44] and also Faustino Xavier de Novais’ sister, for whom he worked in the magazine O Futuro.[45][46] Machado was afflicted with a stammer, was also extremely shy, short and lean and was not a handsome man, but was very intelligent and well-learned.[47] He married Carolina in 12 November 1869, although with the disapproval of Miguel and Adelaide (Faustino had already died due to a disease that drove him insane), Carolina’s siblings, who did not accept her marriage to a mulatto.[48][49] No children were born from their marriage.[50]

Masterpieces

Machado de Assis around age 41, c.1880.

Machado managed to rise in his bureaucratic career, and was called to work in the Agriculture Department and three years later he became the head of a section in it.[51][52] Meanwhile, he published two poetry books: Falenas, in 1870, and Americanas, in 1875.[53] Their weak reception made him look after other literary genres, which made him write several romantic novels, such as: Ressurreição, A Mão e Luva, Helena and Iaiá Garcia.[54] The books were a success of public, but in literary terms they were considered little more than mediocre.[55] Everything changed when Machado suffered repeated epileptic attacks that he had never had before and after he heard of the death of his old friend José de Alencar. Both occurrences left him melancholic, pessimistic and fixed on death.[56] The result was one of his masterpieces published in 1881 that was marked by “a skeptical and realistic tone”: The Posthumous Memoirs of Bras Cubas.[57] By the end of the 1880s, he is widely renowned as a writer.[58]

Although Machado was opposed to slavery, he never spoke against it in public.[59] He avoided discussing politics[60] and because of that he was heavily criticized by the abolitionist José do Patrocínio and by the writer Lima Barreto for abstaining himself of dealing with political matters, mainly slavery abolition.[61] He was also criticized by them for having got married with a white woman.[62] Machado was caught by surprise with the monarchy overthrown in November 15, 1889.[63] Machado had no sympathy towards republicanism,[64] as he considered himself a liberal monarchist[65] and venerated Pedro II, whom he perceived as “a humble, honest, well-learned and patriotic man, who knew how to make of a throne a chair [for his simplicity], without diminishing its greatness and respect.”[66] When a commission went to the public office where he worked to remove the picture of the former emperor, the shy Machado defied them: “The picture got in here by an order and it shall leave only by another order.”[67]

The birth of the Brazilian republic made Machado become more critical and observer of the Brazilian society of his time.[68] From then on he wrote “not only the greatest novels of his time, but the greatest of all time of Brazilian literature.”[69] His works such as Quincas Borba (1891), Dom Casmurro (1899), Esaú e Jacó (1904) and Memorial de Aires (1908), considered masterpieces,[70] are a success of both critic and public.[71] In 1893 he published A Missa do Galo, considered his greatest short story.[72]

Later years

Machado de Assis, along with other fellow monarchists such as Joaquim Nabuco, Manuel de Oliveira Lima, Afonso Celso de Assis and Alfredo d'Escragnolle Taunay and other writers and intellectuals, founded the Brazilian Academy of Letters and was its first president from 1897 to 1908, when he died.[73][74] For many years he requested to the government to grant a proper headquarter to the academy, which he managed to succeed on 1905.[75] On 1902 he was transferred to the accountancy’s directing board of the Ministry of Industry.[76] His wife Carolina Novais died in October 20, 1904, after thirty five years of a “perfect marriage couple life”.[77][78][79] Feeling depressed and lonely, Machado did not survive her for much longer, and died at 3h20m in September 29, 1908.[80]

Narrative style

Machado's style is unique, and several literary critics have tried to explain it since 1897.[81] He is considered by many the greatest Brazilian writer of all times, and one of the world's greatest novelists and short story writers. His chronicles do not share the same status and his poems show a curious difference with the rest of his work: while his Machado's prose is serene and elegant, his poems are often shocking for the use of crude terms, sometimes similar to those of Augusto dos Anjos, another Brazilian writer.

Machado de Assis was included on American literary critic Harold Bloom's list of the greatest 100 geniuses of literature, alongside writers such as Dante, Shakespeare and Cervantes. Bloom even considers him the greatest black writer in Western literature (although his characterization as a black man is derived from perceptions of race, such as hypodescent, predominant in the United States but almost nonexistent in Brazil). His works have been recently studied by critics in various countries of the world, such as Giusepe Alpi (Italy), Lourdes Andreassi (Portugal), Albert Bagby Jr. (United States), Abel Barros Baptista (Portugal), Hennio Morgan Birchal (Brazil), Edoardo Bizzarri (Italy), Jean-Michel Massa (France), Helen Caldwell (United States), John Gledson (England), Adrien Delpech (France), Albert Dessau (Germany), Paul B. Dixon (United States), Keith Ellis (United States), Edith Fowke (Canada), Anatole France (France), Richard Graham (United States), Pierre Hourcade (France), David Jackson (United States), Linda Murphy Kelley (United States), John C. Kinnear, Alfred Mac Adam (United States), Victor Orban (France), Houwens Post (Italy), Samuel Putnam (United States), John Hyde Schmitt, Tony Tanner (England), Jack E. Tomlins (United States), Carmelo Virgillo (United States), Dieter Woll (Germany) and Susan Sontag (United States).[82]

Critics are divided as to the very nature of Machado de Assis's writing. Some, such as Abel Barros Baptista, classify Machado as a staunch anti-realist, and argue that his writing attacks Realism, aiming to negate the possibility of representation or even the very existence of a meaningful objective reality. Realist critics such as John Gledson are more likely to regard Machado's work as a faithful transcription of Brazilian reality--but a transcription executed with daring innovative technique. Historians such as Sydney Chalhoub argue that Machado's prose constitutes an exposé of the social, political and economic dysfunction of Second Empire Brazil. One area in which critics are largely in agreement, however, is best represented by the analysis of Roberto Schwarz. Schwarz points out that Machado's extraordinary innovations in prose narrative are driven by his need to expose the hypocrisies, contradictions and dysfunction of nineteenth-century Brazil. Schwartz argues that Machado inverts many of the narrative and intellectual conventions of his day in order to reveal the pernicious ends to which they are used.

Machado's literary style has inspired many Brazilian writers and his works have been adapted to television, theater and cinema. In 1975 the Comissão Machado de Assis ("Machado de Assis Commission"), organized by the Brazilian Ministry of Education and Culture, organized and published critical editions of Machado's works, in 15 volumes. His main works were translated to many languages and great contemporary writers such as Salman Rushdie, Cabrera Infante and Carlos Fuentes and film director Woody Allen have confessed being fans of his fiction.[citation needed]

In his works, Machado involves the reader, breaking the so called fourth wall. This may be one of the earliest uses of this technique.

Works

Novels

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Plays

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Short stories

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Poetry

Machado de Assis' first published works were poetry, but his output in this genre is not as well considered as his prose.

  • Crisálidas (1864)
  • Falenas (1870)
  • Americanas (1875)

List of works

  • 1864 - Crisálidas (Chrysalids; poetry)
  • 1870 - Falenas (Phalaenae; poetry)
  • 1870 - Contos Fluminenses (Fluminensis Tales)
  • 1872 - Ressurreição (Resurrection)
  • 1873 - Histórias da Meia Noite (Stories of Midnight)
  • 1874 - A Mão e a Luva (The Hand and the Glove)
  • 1875 - Americanas (poetry)
  • 1876 - Helena
  • 1878 - Iaiá Garcia (Mistress Garcia)
  • 1881 - Memórias Póstumas de Brás Cubas (The Posthumous Memoirs of Bras Cubas, also known in English as Epitaph for a Small Winner)
  • 1882 - Papéis Avulsos (Single Papers)
  • 1882 - O alienista (also known in English as The alienist or The psychiatrist)
  • 1884 - Histórias sem data (Undated Stories)
  • 1891 - Quincas Borba (also known in English as Philosopher or Dog?)
  • 1896 - Várias histórias (Several Stories)
  • 1899 - Páginas recolhidas (Retained Pages)
  • 1899 - Dom Casmurro (Sir Dour)
  • 1901 - Poesias completas (Complete poetries)
  • 1904 - Esaú e Jacó (Esau and Jacob)
  • 1906 - Relíquias da Casa Velha (Relics of the Old House)
  • 1908 - Memorial de Aires (Counselor Aires's Memoirs)

Titles and honours

Titles

Honours

Bibliography

References

  • Bueno, Eduardo. Brasil: uma História. 1. ed. São Paulo: Ática, 2003. (Portuguese)
  • Encilopédia Barsa. Volume 10: Judô – Mercúrio. Rio de Janeiro: Encyclopaedia Britannica do Brasil, 1987. (Portuguese)
  • Scarano, Júlia Maria Leonor. Grandes Personagens da Nossa História. São Paulo: Abril Cultural, 1969. (Portuguese)
  • Vainfas, Ronaldo. Dicionário do Brasil Imperial. Rio de Janeiro: Objetiva, 2002. (Portuguese)

Further reading

  • Andrade; Mário. (1943) Aspectos da literatura brasileira. Rio de Janeiro: Americ. Ed.
  • Aranha; Graça. (1923) Machado de Assis e Joaquim Nabuco: Comentários e notas à correspondência. São Paulo: Monteiro Lobato.
  • Barreto Filho. (1947) Introdução a Machado de Assis. Rio de Janeiro: Agir.
  • Bosi; Alfredo. (Organizador) Machado de Assis.
  • Bosi; Alfredo. (2000) Machado de Assis: o enigma do olhar. São Paulo: Ática.
  • Bosi; Alfredo. Folha explica Machado de Assis.
  • Broca; Brito. Machado de Assis e a política.
  • Chalhoub; Sidney. (2003) Machado de Assis, historiador. São Paulo: Companhia das Letras.
  • Faoro; Raimundo (1974) Machado de Assis: pirâmide e o trapézio. São Paulo: Cia. Ed. Nacional.
  • Gledson; John. Machado de Assis: ficção e história.
  • Gomes; Eugênio. Influências inglesas em Machado de Assis.
  • Graham; Richard (ed.). (1999) Machado de Assis: Reflections on a Brazilian Master Writer. Austin, TX: University of Texas Press.
  • Magalhães Jr.; Raimundo. Vida e obra de Machado de Assis.
  • Massa; Jean-Michel. A juventude de Machado de Assis.
  • Meyer; Augusto. (1935) Machado de Assis. Porto Alegre: Globo.
  • Meyer; Augusto. (1958) Machado de Assis 1935-1958. Rio de Janeiro: Livraria São José.
  • Paes; José Paulo. Gregos e baianos.
  • Pereira; Astrogildo. (1944) Interpretação. Rio de Janeiro: Casa do Estudante do Brasil.
  • Miguel-Pereira; Lúcia. (1936) Machado de Assis: Estudo critíco e biográfico. São Paulo: Cia. Ed. Nacional.
  • Schwarz; Roberto. Ao vencedor as batatas.
  • Schwarz; Roberto. Duas meninas.
  • Schwarz; Roberto. (1990) Um mestre na periferia do capitalismo. São Paulo: Duas Cidades. Trans. as A Master on the Periphery of Capitalism. Trans. and intro. John Gledson. Durham: Duke UP, 2001.
  • Taylor; David. (2002) Wry modernist of Brazil's past. Américas Nov.-Dec. issue. Washington, DC.
  • Veríssimo; José. História da Literatura Brasileira.

Footnotes

  1. ^ Vainfas, p.505
  2. ^ Candido; Antonio. (1970) Vários escritos. São Paulo: Duas Cidades. p.18
  3. ^ Caldwell, Helen (1970) Machado de Assis: The Brazilian Master and his Novels. Berkeley, Los Angeles and London, University of California Press.
  4. ^ Fernandez, Oscar Machado de Assis: The Brazilian Master and His Novels The Modern Language Journal, Vol. 55, No. 4 (Apr., 1971), pp. 255-256
  5. ^ João Cezar de Castro Rocha, "Introduction". Portuguese Literature and Cultural Studies 13/14 (2006): xxiv.
  6. ^ Harold Bloom, Genius: A Mosaic of One Hundred Exemplary Creative Minds (New York: Warner Books), 674. Note however that, in Brazil, Machado de Assis is not often referred to as a black man; there, when at all noted, his ethnicity is usually defined as pardo.
  7. ^ Scarano, p.766
  8. ^ Vainfas, p.504
  9. ^ Enciclopédia Barsa, p.267
  10. ^ Scarano, p.765
  11. ^ Vainfas, p.504
  12. ^ Scarano, p.766
  13. ^ Vainfas, p.504
  14. ^ Scarano, p.766
  15. ^ Vainfas, p.504
  16. ^ Enciclopédia Barsa, p.267
  17. ^ Scarano, p.766
  18. ^ Scarano, p.766
  19. ^ Vainfas, p.504
  20. ^ Scarano, p.766
  21. ^ Vainfas, p.504
  22. ^ Enciclopédia Barsa, p.267
  23. ^ Scarano, p.766
  24. ^ Scarano, p.766
  25. ^ Scarano, p.766
  26. ^ Vainfas, p.504
  27. ^ Enciclopédia Barsa, p.267
  28. ^ Scarano, p.766
  29. ^ Scarano, p.767
  30. ^ Scarano, p.767
  31. ^ Enciclopédia Barsa, p.267
  32. ^ Scarano, p.767
  33. ^ Enciclopédia Barsa, p.267
  34. ^ Scarano, p.767
  35. ^ Scarano, p.767
  36. ^ Scarano, p.769
  37. ^ Vainfas, p.504
  38. ^ Scarano, p.769
  39. ^ Vainfas, p.504
  40. ^ Scarano, p.769
  41. ^ Scarano, p.770
  42. ^ Scarano, p.770
  43. ^ Enciclopédia Barsa, p.
  44. ^ Scarano, p.770
  45. ^ Scarano, p.767
  46. ^ Enciclopédia Barsa, p.267
  47. ^ Scarano, p.770
  48. ^ Scarano, p.770
  49. ^ Vainfas, p.504
  50. ^ Scarano, p.780
  51. ^ Scarano, p.773
  52. ^ Vainfas, p.504
  53. ^ Scarano, p.773
  54. ^ Scarano, p.773
  55. ^ Scarano, p.773
  56. ^ Scarano, PP.774-774
  57. ^ Scarano, p.774
  58. ^ Enciclopédia Barsa, p.267
  59. ^ Scarano, p.773
  60. ^ Scarano, p.774
  61. ^ Vainfas, p.505
  62. ^ Vainfas, p.505
  63. ^ Scarano, p.774
  64. ^ Scarano, p.774
  65. ^ Bueno, p.310
  66. ^ Vainfas, p.201 "Machado de Assis, porém, soube definí-lo em rápidos traços: um homem lhano, probo, instruído, patriota, que soube fazer do sólio uma poltrona, sem lhe diminuir a grandeza e a consideração."
  67. ^ Scarano, p.774
  68. ^ Bueno, p.311
  69. ^ Bueno, p.310
  70. ^ Bueno, p.310
  71. ^ Scarano, p.777
  72. ^ Scarano, p.775
  73. ^ Enciclopédia Barsa, p.267
  74. ^ Vainfas, p.505
  75. ^ Scarano, p.778
  76. ^ Scarano, p.778
  77. ^ Enciclopédia Barsa, p.267 “vida conjugal perfeita”
  78. ^ Scarano, p.778
  79. ^ Vainfas, p.505
  80. ^ Scarano, p.780
  81. ^ Romero, Silvio (1897) Machado de Assis: Estudo Comparativo da Literatura Brasileira. Rio de janeiro: Laemmert.
  82. ^ Sontag, Susan. Forward. Epitaph of a Small Winner. By J.M. Machado de Assis. Trans. William Grossman. New York: Farrar, Strauss and Giroux, 1990. xi-xxiv.'

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