Eça de Queiroz was born in Póvoa de Varzim, Portugal, in 1845. An illegitimate child, he was officially recorded as the son of José Maria de Almeida Teixeira de Queiroz and Carolina Augusta Pereira d'Eça. His unmarried mother left home so that her son could be born away from social scandal. Although his parents married when he was four years old, he lived with his paternal grandparents until he was ten.[5]
At age 16, he went to Coimbra to study law at the University of Coimbra; there he met the poet Antero de Quental. Eça's first work was a series of prose poems, published in the Gazeta de Portugal magazine, which eventually appeared in book form in a posthumous collection edited by Batalha Reis entitled Prosas Bárbaras ("Barbarous texts"). He worked as a journalist at Évora, then returned to Lisbon and, with his former school friend Ramalho Ortigão and others, created the Correspondence of the fictional adventurer Fradique Mendes. This amusing work was first published in 1900.
Statue of Eça in Póvoa de Varzim; a couple of metres from his birthplace
In 1869 and 1870, Eça de Queiroz travelled to Egypt and watched the opening of the Suez Canal, which inspired several of his works, most notably O Mistério da Estrada de Sintra ("The Mystery of the Sintra Road", 1870), written in collaboration with Ramalho Ortigão, in which Fradique Mendes appears. A Relíquia ("The Relic") was also written at this period but was published only in 1887. The work was strongly influenced by Memorie di Giuda ("Memoirs of Judas") by Ferdinando Petruccelli della Gattina, such as to lead some scholars to accuse the Portuguese writer of plagiarism.[6]
When he was later dispatched to Leiria to work as a municipal administrator, Eça de Queiroz wrote his first realist novel, O Crime do Padre Amaro ("The Crime of Father Amaro"), which is set in the city and first appeared in 1875.
Plaque in Grey Street, Newcastle
Eça then worked in the Portuguese consular service and after two years' service at Havana was stationed, from late 1874 until April 1879, at 53 Grey Street, Newcastle upon Tyne, where there is a memorial plaque in his honour.[7] His diplomatic duties included the dispatch of detailed reports to the Portuguese foreign office concerning the unrest in the Northumberland and Durham coalfields – in which, as he points out, the miners earned twice as much as those in South Wales, along with free housing and a weekly supply of coal. The Newcastle years were among the most productive of his literary career. He published the second version of O Crime de Padre Amaro in 1876 and another celebrated novel, O Primo Basílio ("Cousin Bazilio") in 1878, as well as working on a number of other projects. These included the first of his "Cartas de Londres" ("Letters from London") which were printed in the Lisbon daily newspaper Diário de Notícias and afterwards appeared in book form as Cartas de Inglaterra. As early as 1878 he had at least given a name to his masterpiece Os Maias ("The Maias"), though this was largely written during his later residence in Bristol and was published only in 1888.[5]
In February 1886, he married Maria Emília de Castro in Lisbon and she joined him in Bristol, with the couple staying in Stoke Bishop. However, Maria Emília was not happy there. As a result they decided to rent a house in Notting Hill, London, and Eça would commute to his work in Bristol. It is unlikely that he would have been unhappy with this arrangement as his earlier letters indicate that he had already made frequent visits to London.[5]
Eça, a cosmopolite widely read in English literature, was not enamoured of English society, but he was fascinated by its oddity. In Bristol he wrote:『Everything about this society is disagreeable to me – from its limited way of thinking to its indecent manner of cooking vegetables.』As often happens when a writer is unhappy, the weather is endlessly bad. Nevertheless, he was rarely bored and was content to stay in England for some fifteen years. "I detest England, but this does not stop me from declaring that as a thinking nation, she is probably the foremost." It may be said that England acted as a constant stimulus and a corrective to Eça's traditionally Portuguese Francophilia.
Eça's politics were of the Liberal stamp, although he was also influenced by the ideas of Pierre-Joseph Proudhon.[8] In 1898, upon growing more pessimistic about the future of Portugal and Europe, he described himself as a "vague, saddened anarchist".[9]
São Cristóvão, published in English in 2015 as Saint Christopher. Originally published in Portuguese as part of the volume Últimas páginas ("Last Pages") (1912, Posthumous)
[edit]Statue of Eça de Queroz on Rua do Alecrim in Lisbon
The works of Eça have been translated into about 20 languages, including English.
Since 2002 English versions of eight of his novels and two volumes of novellas and short stories, translated by Margaret Jull Costa, have been published in the UK by Dedalus Books.
A capital (To the Capital): translation by John Vetch, Carcanet Press (UK), 1995.
A Cidade e as serras (The City and the Mountains): translation by Roy Campbell, Ohio University Press, 1968.
A Ilustre Casa de Ramires (The illustrious house of Ramires): translation by Ann Stevens, Ohio University Press, 1968; translation by Margaret Jull Costa, Dedalus Books, 2017
A Relíquia (The Relic): translation by Aubrey F. Bell, A. A. Knopf, 1925. Also published as The Reliquary, Reinhardt, 1954.
Alves & Cia (Alves & Co.): translation by Robert M. Fedorchek, University Press of America, 1988.
Cartas da Inglaterra (Letters from England): translation by Ann Stevens, Bodley Head, 1970. Also published as Eça's English Letters, Carcanet Press, 2000.
O Crime do Padre Amaro (El crimen del Padre Amaro): Versión de Ramón del Valle – Inclan, Editorial Maucci, 1911
O Crime do Padre Amaro (The Sin of Father Amaro): translation by Nan Flanagan, Bodley Head, 1962. Also published as The Crime of Father Amaro, Carcanet Press, 2002.
O Mandarim (The Mandarin in The Mandarin and Other Stories): translation by Richard Frank Goldman, Ohio University Press, 1965. Also published by Bodley Head, 1966; and Hippocrene Books, 1993.
Um Poeta Lírico (A Lyric Poet in The Mandarin and Other Stories): translation by Richard Frank Goldman, Ohio University Press, 1965. Also published by Bodley Head, 1966; and Hippocrene Books, 1993.
Singularidades de uma Rapariga Loura (Peculiarities of a Fair-haired Girl in The Mandarin and Other Stories): translation by Richard Frank Goldman, Ohio University Press, 1965. Also published by Bodley Head, 1966; and Hippocrene Books, 1993.
José Mathias (José Mathias in The Mandarin and Other Stories): translation by Richard Frank Goldman, Ohio University Press, 1965. Also published by Bodley Head, 1966; and Hippocrene Books, 1993.
O Mandarim (The MandarininThe Mandarin and Other Stories): translation by Margaret Jull Costa, Hippocrene Books, 1983.
Singularidades de uma Rapariga Loura (Idiosyncrasies of a young blonde woman in The Mandarin and Other Stories): translation by Margaret Jull Costa, Dedalus Books, 2009.
O Primo Basílio (Dragon's teeth): translation by Mary Jane Serrano, R. F. Fenno & Co., 1896.
O Primo Basílio (Cousin Bazilio): translation by Roy Campbell, Noonday Press, 1953.
Suave milagre (The Sweet Miracle): translation by Edgar Prestage, David Nutt, 1905. Also published as The Fisher of Men, T. B. Mosher, 1905; The Sweetest Miracle, T. B. Mosher, 1906; The Sweet Miracle, B. H. Blakwell, 1914.
Os Maias (The Maias): translation by Ann Stevens and Patricia McGowan Pinheiro, St. Martin's Press, 1965.
O Defunto (Our Lady of the Pillar): translation by Edgar Prestage, Archibald Constable, 1906.
Pacheco (Pacheco): translation by Edgar Prestage, Basil Blackwell, 1922.
A Perfeição (Perfection): translation by Charles Marriott, Selwyn & Blovnt, 1923.
José Mathias (José Mathias in José Mathias and A Man of Talent): translation by Luís Marques, George G. Harap & Co., 1947.
Pacheco (A man of talent in José Mathias and A Man of Talent): translation by Luís Marques, George G. Harap & Co., 1947.
Alves & Cia (The Yellow Sofa in Yellow Sofa and Three Portraits): translation by John Vetch, Carcanet Press, 1993. Also published by New Directions, 1996. Published as Alves & Co. by Dedalus in 2012.
Um Poeta Lírico (Lyric Poet in Yellow Sofa and Three Portraits): translation by John Vetch, Carcanet Press, 1993. Also published by New Directions, 1996.
José Mathias (José Mathias in Yellow Sofa and Three Portraits): translation by Luís Marques, Carcanet Press, 1993. Also published by New Directions, 1996.
Pacheco (A man of talent in Yellow Sofa and Three Portraits): translation by Luís Marques, Carcanet Press, 1993. Also published by New Directions, 1996.
O Mistério da Estrada de Sintra (The Mystery of the Sintra Road): translation by Margaret Jull Costa, Dedalus Books, 2013
São Cristóvão (Saint Christopher): translation by Gregory Rabassa and Earl E. Fritz, Tagus Press, 2015
There have been two film versions of O Crime do Padre Amaro, a Mexican one in 2002 and a Portuguese version in 2005 which was edited out of a SIC television series,[11][12][13] released shortly after the film (the film was by then the most seen Portuguese movie ever, though very badly received by critics, but the TV series, maybe due to being a slightly longer version of the same thing seen by a big share of Portuguese population, flopped and was rather ignored by audiences and critics).
Eça's works have been also adapted on Brazilian television. In 1988 Rede Globo produced O Primo Basílio in 35 episodes.[14] Later, in 2007, a movie adaptation of the same novel was made by director Daniel Filho.[15] In 2001 Rede Globo produced an acclaimed adaptation of Os Maias as a television serial in 40 episodes.
A movie adaptation of O Mistério da Estrada de Sintra was produced in 2007.[16] The director had shortly before directed a series inspired in a whodunit involving the descendants of the original novel's characters (Nome de Código Sintra, Code Name Sintra), and some of the historical flashback scenes (reporting to the book's events) of the series were used in the new movie. The movie was more centered on Eça's and Ramalho Ortigão's writing and publishing of the original serial and the controversy it created and less around the book's plot itself.
Galleon Theatre Company, the resident producing company at the Greenwich Playhouse, London, has staged theatre adaptations by Alice de Sousa of Eça de Queiroz' novels. In 2001 the company presented Cousin Basílio, and in 2002 The Maias.[21]
