Recopila‹o dos successos principaes da historia sagrada em verso É. Segunda impressa› [sic], augmentada, correcta, e addicionada com hum index alphabetico, que lhe serve de annotaoens.

Lisbon, Na Off. de Antonio Rodrigues Galhardo, Impressor da Serenissima Casa do Infantado, 1793.. 8¡, contemporary sheep (slight wear), smooth spine with gilt fillets and crimson morocco lettering piece, short title lettered gilt, marbled endleaves, text-block edges sprinkled green. Woodcut vignette of a laurel wreath on title page. Typographical headpieces. In very good condition. Old ink manuscript inscription on upper portion of second front free endleaf recto: "Este Livro he // de Francisca Ignacia // da Silveira". Bibliographical notes in pencil on verso. 184 pp. A-L8, M4. *** Third and best edition of this poem in 1,998 verses, considerably expanded from the first edition of Lisbon, 1776 and the second edition of Porto, 1792, by the addition of a lengthy index (pp. 77-184). Innocncio and Blake state, incorrectly according to Borba de Moraes, that the first edition had only appeared in 1792. A fourth edition - actually a reissue - appeared in 1819 with a different title (Hist—ria sagrada em verso) and without the index. The poem is a summary of events in Scripture, meant for the use and edification of Portuguese youth. It appeared well before the author's major collection of poetry, Viola de Lereno, published in 1798 and 1826. Wilson Martins (II, 76) cites the appearance of this third edition, along with Francisco de Mello Franco's Reino da estupidez and Gonzaga's Marilia de Dirceu, as signs of "amadurecimento nacional no qual a tradi‹o e a ambi‹o se absorvem dialeticamente uma na outra."Caldas Barbosa was probably born in Rio de Janeiro in 1740; his mixed parentage (father Portuguese, mother African) led some nineteenth-century critics to dub him the "Mulatto Muse." When his satirical poetry offended some powerful citizens of his native city, he was sent to serve in the army at Colonia do Sacramento, in present-day Uruguay, for several years, until 1762. After another 7 or 8 years in Rio de Janeiro he moved to Lisbon, where he became the protŽgŽ of the Count of Pombeiro and was widely acclaimed as a singer and poet until his sudden death in 1800. Varnhagen describes the author's popularity in Lisbon society: his presence "se tornou quase uma necessidade de todas as festas, sobretudo nas partidas do campo. Nas aristocr‡ticas reuni›es das Caldas, nos cansados banhos de mar, nos pitorescos passeios de Sintra, em Belas, em Queluz, em Benfica, sociedade onde n‹o se ahcava o fulo Caldas com sua viola n‹o se julgava completa" (FlorilŽgio da poesia brasileira, quoted in W. Martins II:7, n. 578).A founder and president of the major literary establishment in Portugal during the eighteenth century, the Nova Arcadia, Caldas Barbosa's nom-de-plume was "Lereno" - hence Viola de Lereno, "Lereno's guitar." Bandeira describes Caldas Barbosa as the "first Brazilian whose poetry has an entirely native flavor" (Brief History of Brazilian Literature p. 61). He introduced Afro-Brazilian folk themes to Portugal by composing lundas, comic popular songs of African origin in which Brazilian-Indian and African speech were used, and wrote many modinhas, sentimental songs without music taken from Portuguese modas.S’lvio Romero gives evidence of Caldas Barbosa's popularity in Brazil: "Quase todas as cantigas de Lereno correm de boca em boca nas classes plebŽias truncadas ou ampliadas. Formam um material de que o povo se apoderou, modelando-o ao seu sabor. Tenho dsse fato uma prova direita. Quando em algumas provincias do norte collig’ grande c—pia de can›es populares, repetidas vzes, colh’ cantigas de Caldas Barbosa, como an™nimas, repetidas por analfabetos. Foi depois preciso compulsar as obras do poeta par expungir da cole‹o an™nima os versos que lhe pertenciam. ƒ o maior elogio que, sob o ponto de vista etnogr‡fico, se lhe pode fazer" (quoted in the Rio de Janeiro, 1944 edition of Viola de Lereno, ed. Francisco de Assis Barbosa, I, xvii-xviii).*** Borba de Moraes (1983) I, 72; Per’odo colonial pp. 45-6. Blake II, 198: giving the title as Recapitula‹o dos successos .... Innocncio II, 186: "consideravelmente melhorada." JCB, Portuguese and Brazilian Books 793/1.Not in Bosch or Rodrigues. Not in Palha. Not in Welsh, Greenlee Catalogue or Ticknor Catalogue. Not in Azevedo-Samod‹es, Ameal, Avila-Perez or Monteverde. See also Jong, Four Hundred Years of Brazilian Literature p. 72 and Porter, "Padre Domingos Caldas Barbosa, Afro-Brazilian Poet," Phylon XII (1951), 264-71. W. Martins, Hist—ria da inteligncia brasileira II, 76; see also II, 7-11, 176. Porbase locates two copies at Biblioteca Nacional de Portugal; of the Lisbon, 1776 edition, one copy each at Biblioteca Nacional de Portugal and Biblioteca Municipal de Elvas; of the Porto, 1792 edition, no copy. Jisc locates a single copy, at British Library. NUC: DLC-P4.