Recitation of MY MISFORTUNE by Álvares de Azevedo (São Paulo, 1831-1852, Rio de Janeiro, Brazil)

About the Author:

Manoel Antônio Álvares de Azevedo (São Paulo, Province of São Paulo, Empire of Brazil, September 12, 1831 – Rio de Janeiro, Empire of Brazil, April 25, 1852) was a writer of the second romantic generation (Ultra-Romantic, Byronian or Mal-do-século), Brazilian short story writer, playwright, poet and essayist, author of Noite na Taverna.
Son of Inácio Manoel Álvares de Azevedo and Maria Luísa Silveira da Motta Azevedo, he spent his childhood in Rio de Janeiro, where he began his studies. He returned to São Paulo, in 1847, to study at the Faculty of Law of Largo de São Francisco, where he immediately gained fame for his brilliant and precocious literary productions. He stood out for his ability to learn languages and for his jovial and sentimental spirit.

During law school he translated the fifth act of Shakespeare's Othello; he translated Lord Byron's Parisina; founded the journal of the Sociedade Ensaio Filosófico Paulistano (1849); was part of the Epicurean Society; and began the epic poem O Conde Lopo, of which only fragments remain.

(Source: wikipedia)

Note: the poem MINHA DISGRAÇA composes the book LIRAS DOS TWENTY YEARS (1953) - work in public domain.

He did not complete the course, as he was stricken with pulmonary tuberculosis on vacation in 1851-52, which was aggravated by a tumor in the iliac fossa, caused by a fall from a horse, dying at the age of 20. [5] However, it is worth noting that the author's causa mortis is a historically controversial topic, with different hypotheses.

His work includes: Various poems, Poema do Frade, the drama Macário, the novel O Livro de Fra Gondicário, Noite na Taverna, Letters, several Essays (including "Literature and civilization in Portugal", "Lucano", "George Sand" and "Jacques Rolla") and Lira of the twenties

His main influences are: Goethe, François-René de Chateaubriand, but mainly Alfred de Musset.

Figure in the canon of Brazilian poetry. He was widely read until the first two decades of the twentieth century, with constant re-editions of his poetry and anthologies.[6] The last stagings of his drama Macário were in 1994 and 2001. He is patron of Chair 2 of the Brazilian Academy of Letters.