Castilho, António Feliciano de

born Jan. 28, 1800, Lisbon

died June 18, 1875, Lisbon

Portuguese poet.

Though blind from childhood, he became a classical scholar and by age 16 was publishing poems, translations, and pedagogical works. With his Obras completas (1837; "Complete Works"), he became a literary figure in Lisbon. As director of the important journal O panorama and later of the major cultural review Revista universal Lisbonense, he became a central figure in the Portuguese Romantic movement. After 1850 he gradually returned to a genteel traditionalism. His lifeless style so dominated literary taste that it provoked a rebellion by younger writers, and he was dethroned as literary arbiter.

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▪ Portuguese poet and translator

born Jan. 28, 1800, Lisbon

died June 18, 1875, Lisbon

 poet and translator, a central figure in the Portuguese Romantic movement.

      Although blind from childhood, he became a classical scholar and at the age of 16 published a series of poems, translations, and pedagogical works. Castilho's literary life may be divided into two phases, the midpoint occurring during the revolutionary period of the late 1840s. During the first he published a series of poems in which he tried to assimilate current Romantic trends while continuing to be guided by a basically Neoclassical spirit.

      With the publication of his Obras Completas in 1837, Castilho gained recognition and became a literary figure in Lisbon. In the same year he was offered the directorship of an important journal, O Panorama, and in 1838 he began to collaborate with Almeida Garrett, the leading Portuguese Romantic poet, in the revival of national theatre. His romantic narratives of the lives of Portuguese medieval heroes, Quadros Históricos de Portugal, were begun in 1838, and in 1842 he took charge of the Revista Universal Lisbonense, a major cultural review.

      The second phase of Castilho's career began after his return from a two-year residence in the Azores (approximately 1848–50), where he had promoted agriculture as a means of social reform. His acceptance of Romanticism was never wholehearted. Scholarly rather than imaginative, he began to return to a genteel traditionalism having much in common with the earlier generation of Portuguese arcadian poets. His personal prestige was at its height, however, and his lifeless style so dominated literary taste that it brought about a rebellion from the younger generation of writers. The attack against Castilho came from the young poet Antero de Quental, who wrote the pamphlet Bom-senso e Bom-gosto (1865; “Good Sense and Good Taste”) in reply to Castilho's criticism of certain younger writers. This riposte gave rise to one of the most celebrated polemics in Portuguese literature, the questão Coimbrã (“Coimbra question”), which eventually dethroned Castilho as literary dictator.

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