Álvares de Azevedo

In the history of Brazilian literature, few individuals shine as brightly—and as briefly—as Manuel Antônio Álvares de Azevedo (1831–1852). A prodigy of the Ultra-Romantic movement, Azevedo’s existence was a fleeting comet of poetic brilliance, characterized by melancholy, morbidity, and a fixation on love and death. His works, released posthumously, became cult classics, shaping the influence of generations of Gothic and Romantic authors. This article delves into his tumultuous life, his literary impact, and the tragic fate that secured his status as Brazil’s equivalent to Lord Byron.

Born on September 12, 1831, in São Paulo, Álvares de Azevedo was the offspring of a law student and hailed from an affluent family. His formative years were marred by sorrow when his younger brother passed away in 1835, an incident that left a lasting impression on his mind and later influenced his writing with motifs of mortality.

Azevedo was recognized as a child prodigy, acquiring proficiency in Latin, French, and English at a young age. He attended the esteemed Colégio Pedro II in Rio de Janeiro, where he delved into European Romantic literature, especially the works of Lord Byron, Goethe, and Alfred de Musset. By 1848, he had enrolled in the Law School at the University of São Paulo, yet his genuine enthusiasm resided in poetry and the bohemian lifestyle shared with fellow writers such as Bernardo Guimarães and Aureliano Lessa. Together, they established the "Epicurean Society," a literary group that celebrated decadence, existential angst, and the joys of wine and poetry.

Tragedy befell Azevedo in 1852 when he, already suffering from tuberculosis, encountered a fatal horse-riding accident. He sustained a hip fracture, and following a failed surgical procedure, he passed away at the tender age of 20, uttering his final words: "What fatality, my father!" His funeral included a recitation of his poem "Se Eu Morresse Amanhã" (If I Died Tomorrow)—a chilling foretelling of his own end.

Azevedo never witnessed the publication of his works during his lifetime. His manuscripts, gathered by friends and family, showcase a mind caught between an idealized notion of love and a morbid fascination with death. His most renowned works include:

1. Lira dos Vinte Anos (1853)

Azevedo’s magnum opus, Lira dos Vinte Anos (Lyre of Twenty Years), is a compilation of poems that fluctuate between lyricism and despair. The book is structured into three sections:

The Romantic Ideal – Poems brimming with dreamy, platonic love, such as "Pálida à Luz da Lâmpada" ("Pale the Light of the Lamp"), where he portrays a virginal, angelic woman 15.

The Ironic and Sarcastic – Azevedo ridicules the excesses of Romanticism, merging dark humor with existential angst.

The Macabre – Poems like "Lembrança de Morrer" ("Memory of Death") unveil his fixation on dying young:

"I leave life as the weary traveler

Leaves the desert at dusk..."

2. Noite na Taverna (1855)

Released under the pseudonym Job Stern, this anthology of short stories marks Brazil’s initial venture into Gothic horror. Set within a tavern, the narratives encompass murder, madness, and supernatural curses, echoing the dark romanticism of Edgar Allan Poe 38.

3. Macário (1855)

A dramatic play that intertwines Faustian deals and Byronic antiheroes, Macário delves into themes of sin, redemption, and the futility of human aspirations.

Azevedo’s creations are characterized by duality—love and death, purity and corruption, idealism and cynicism. His style, shaped by Byron’s morbidity and Musset’s irony, became a defining feature of Brazil’s Ultra-Romanticism (or "Mal do Século"—the "Evil of the Century") 47.

Key Themes in His Work:

Death as Liberation – Numerous poems portray death as a means of escaping life’s suffering.

Idealized, Unattainable Love – The women in his poetry are depicted as either angelic or cruel, never truly real.

Bohemian Despair – His characters immerse themselves in wine and poetry to flee from existential dread.

His impact reaches beyond literature—Goth subcultures in Brazil hold him in high regard, and his works have inspired films, novels, and even a fictional encounter with Joy Division’s Ian Curtis in the afterlife in the book Ad Infinitum.

Álvares de Azevedo's existence was akin to a fleeting, radiant candle—snuffed out prematurely, yet leaving behind profound shadows. His literary contributions stand as a tribute to the anguished Romantic spirit, serving as a link between European Gothic influences and Brazil's unique literary heritage. Although he passed away at the young age of 20, his writings continue to resonate, softly speaking to those who, like him, discover beauty in sorrow.

As he once expressed:

"If I were to die tomorrow, I would only leave

The mere illusion of love behind..." 49

In that very illusion, his legacy persists.