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Afonso Arinos

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Afonso Arinos
Portrait of Afonso Arinos
Portrait of Arinos, published in the 1910s
Born
Afonso de Melo Franco

(1868-05-01)1 May 1868
Paracatu, Minas Gerais, Empire of Brazil
Died19 February 1916(1916-02-19) (aged 47)
Barcelona, Spain
Pen nameOlívio de Barros
Occupation
  • Writer
  • journalist
  • lawyer
  • professor
LanguagePortuguese
Alma materLaw School, University of São Paulo
Genre
  • Short story
  • novel
  • essay
  • drama
Literary movementRegionalism
Notable works
  • Pelo sertão
  • Os jagunços
SpouseAntonieta da Silva Prado
Children0
Relatives
Afrânio de Melo Franco (brother)

Afonso Arinos de Melo Franco (jurist) (nephew) Virgílio de Melo Franco (nephew) Rodrigo Melo Franco (nephew) Affonso Arinos de Mello Franco (grandnephew)

Afonso Arinos de Melo Franco (1 May 1868 – 19 February 1916), usually known as Afonso Arinos, was a Brazilian writer, journalist, lawyer and professor. He wrote short stories, novels, political commentary, historical fiction and studies of folklore. His best-known books are Pelo sertão, a collection of short fiction, and Os jagunços, a novel about the War of Canudos, both published in 1898.

Born in Paracatu, Minas Gerais, Arinos graduated from the Faculty of Law of São Paulo in 1889. He practised law and taught in Ouro Preto, where he helped found the Faculdade Livre de Direito de Minas Gerais. A monarchist after the Proclamation of the Republic, he wrote for newspapers in Minas Gerais before moving to São Paulo to direct O Comércio de São Paulo. His journalism defended political and cultural continuity with the Empire and criticized the republican government's neglect of the Brazilian interior.

The sertão connected Arinos's literary and political thought. In Pelo sertão, he drew on the speech, oral narratives, landscapes and social life of Minas Gerais and Goiás. He argued that Brazilian literature should develop from the country's own histories and customs, rejecting the imitation of European models and the concentration on urban life along the coast. His nationalism gave the sertanejo a place within Brazilian culture while retaining a hierarchical and paternalistic view of social authority.

Arinos applied these ideas to Canudos in Os jagunços, first serialized in 1897 under the pseudonym Olívio de Barros. The novel portrayed the followers of Antônio Conselheiro as members of an abandoned rural population and blamed the conflict on government neglect and military force. Published four years before Euclides da Cunha's Os Sertões, it was among the earliest fictional accounts of the war. Arinos was elected to the Academia Brasileira de Letras in 1901 and received into Chair 40 in 1903. He later lived in Paris and continued collecting Brazilian folklore, returning to Brazil in 1915 to lecture on popular traditions and national unity. He died in Barcelona the following year. Literary histories have placed him among Brazil's regionalist writers, while later scholarship has also examined his fiction, journalism and folklore studies as parts of the nationalist current in Brazilian letters.

Early life, family and education

[edit]

Afonso Arinos de Melo Franco was born in Paracatu, Minas Gerais, on 1 May 1868. His parents were Virgílio Martins de Melo Franco and Ana Leopoldina de Melo Franco.[1][2] The Melo Franco family had lived in Paracatu since the mid-eighteenth century. His forebears included the physician and writer Francisco de Melo Franco, author of the satirical poem O Reino da Estupidez. His father worked as a magistrate in Minas Gerais and Goiás, served in the provincial and national legislatures, and sat in the Minas Gerais Senate from 1892 to 1923.[3]

"Arinos" was not on Afonso's baptismal record. Virgílio added the name, taken from the Arinos River in Mato Grosso, in keeping with the late nineteenth-century fashion for names drawn from Indigenous languages and Brazilian geography. He gave similar names to his other children, but only Afonso kept his. By the time he entered law school in 1885, he was using Arinos as a surname.[4][5] His father's judicial posts took the family through cities in Minas Gerais and Goiás. Arinos began school in Goiás, and the family also spent time in Barbacena. In São João del-Rei, he attended a school run by Cônego Antônio José da Costa Machado. He completed his preparatory studies at the Ateneu Fluminense in Rio de Janeiro.[1][5]

Arinos entered the Faculty of Law of São Paulo in 1885 and graduated in 1889. He began writing short stories while he was a student.[1] Paulo Prado studied at the faculty during the same years. Arinos later married Prado's sister Antonieta da Silva Prado, whose father was the São Paulo politician Antônio Prado. Their uncle Eduardo Prado was a monarchist writer and journalist. Arinos and Antonieta had no children.[4][6]

After graduating, Arinos moved with his family to Ouro Preto, then the capital of Minas Gerais. He opened a law office there in 1891. After finishing first in a competitive examination for a chair in Brazilian history, he taught at the Liceu Mineiro.[1][5][6] In December 1892, Arinos, his father and his younger brother Afrânio de Melo Franco took part in founding the Faculdade Livre de Direito de Minas Gerais. Arinos taught criminal law there. The school moved to Belo Horizonte in 1898 and joined the University of Minas Gerais in 1927. It is now the Faculty of Law of the Federal University of Minas Gerais.[1][3][7]

Afrânio went on to work as a diplomat and legislator and served as minister of foreign affairs. He was the father of the jurist and politician Afonso Arinos de Melo Franco (1905–1990). The younger Afonso was not given Arinos at baptism. He adopted his uncle's name after the writer's death.[8][4][5]

Arinos's sister Dália de Melo Franco married Rodrigo Bretas de Andrade. Their son, Rodrigo Melo Franco de Andrade, lost his father at the age of three. From 1910 to 1914, he lived with Arinos and Antonieta in Paris while attending secondary school. Arinos regarded his nephew as a son. Rodrigo became the first director of the Serviço do Patrimônio Histórico e Artístico Nacional, later renamed the Instituto do Patrimônio Histórico e Artístico Nacional.[6][9]

Journalism and politics

[edit]

Arinos remained a monarchist after the Proclamation of the Republic in 1889, although his father and brother accepted the new regime. He judged republican government unsuited to Brazil's past and its population, and criticized its conduct during the presidency of Floriano Peixoto. While working as a lawyer and teacher in Ouro Preto, he began publishing articles in O Estado de Minas.[10][11]

During the repression surrounding the Revolta da Armada in 1893, writers who had left Rio de Janeiro found refuge in Ouro Preto, which lay outside the federal state of siege. Arinos opened his home and law office to them. The gatherings brought him into contact with Olavo Bilac, Coelho Neto and other writers active in the Rio press. From 1895, his work was published regularly in José Veríssimo's Revista Brasileira.[11][10] Eduardo Prado invited Arinos to join O Comércio de São Paulo, a daily newspaper founded in 1893 that had adopted a firmly monarchist editorial line by 1896. Arinos moved to São Paulo and took charge of the paper in 1897. He directed it from 1897 to 1900 and returned for a second period from 1902 to 1903.[12]

The newspaper was one of the chief outlets for monarchist opposition in São Paulo. It printed political articles by members of Prado's circle and serialized their literary and historical writing. Its offices were wrecked in 1897 amid accusations that monarchists were assisting the followers of Antônio Conselheiro at Canudos. Prado left Brazil soon afterward. Under Arinos, the paper kept its monarchist position but adopted a less combative tone. It expanded its commercial, financial and news coverage while retaining political commentary and literary serials.[12][11]

Arinos defended the monarchy, Catholicism and continuity with institutions inherited from the Empire. He also accepted scientific and economic modernization, provided that it did not discard Brazilian customs in favor of European models. The society he imagined remained hierarchical and patriarchal, with political authority guiding the country's development. His nationalism drew much of its material from the interior, where he believed Brazilian speech and customs had been less altered by the cosmopolitan culture of the coastal cities.[11][10]

The War of Canudos became the main subject of his journalism in 1897. O Comércio de São Paulo carried frequent reports on the fighting. On 9 October, shortly after the destruction of Belo Monte, Arinos published the editorial "Campanha de Canudos: o epílogo da guerra". He rejected the claim that Antônio Conselheiro's followers formed part of a monarchist conspiracy and blamed the bloodshed on the neglect of the authorities. In his view, the government had sent soldiers before trying to understand the region or the causes of the settlement's growth.[13][14]

Arinos argued that the government concentrated its attention and money on immigration, coastal cities and foreign institutions while knowing little about the people of central Brazil. Canudos had forced those people into national debate through violence. He wanted the sertanejos incorporated into the country without another military campaign, although his proposal still assumed that they would be assimilated into a civilization directed from above.[13][12] Beginning in October 1897, he carried the same argument into fiction when O Comércio de São Paulo serialized Os jagunços under the pseudonym Olívio de Barros.[15]

In 1900, Arinos published Notas do dia, which gathered journalism written between 1895 and 1899 for O Estado de Minas, O Comércio de São Paulo and Revista Brasileira. The articles dealt with politics and episodes from the Brazilian past, including the monarchy, independence and Canudos.[10][16]

After Prado's death in 1901, a dispute arose over ownership of O Comércio de São Paulo. Arinos returned as provisional director at the end of January 1902 and stayed until the issue of 22 July 1903. During this second period, the newspaper serialized his unfinished novel Ouro, Ouro. He then left São Paulo for Rio de Janeiro.[12]

Literary career

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Short fiction and Pelo sertão

[edit]
Cover of Pelo Sertão, 1898 edition

Arinos wrote most of the stories later collected in Pelo sertão between 1888 and 1895, during his final years at law school and the beginning of his professional life. Several first appeared in newspapers and literary reviews. From 1895, his work appeared regularly in Revista Brasileira, then edited by José Veríssimo.[11]

One of these stories, "A esteireira", placed second in a competition held by Gazeta de Notícias in 1894, from more than ninety entries. A member of the judging panel, the critic Joaquim Alves, questioned whether the violence attributed to the story's rural characters was credible. Arinos answered in the essay "Nacionalização da arte: parecer de um curioso". He defended the use of people and events drawn from the Brazilian interior and argued that literature should express the experience of the society from which it emerged.[11] The exchange set out ideas that he later developed in his fiction and political writing.

Pelo sertão: histórias e paisagens, his first book, was published by Laemmert in 1898. The first edition contained twelve pieces: "Assombramento", "A cadeirinha", "Buriti perdido", "A esteireira", "Manuel Lúcio", "Paisagem alpestre", "Desamparados", "A velhinha", "A fuga", "O contratador dos diamantes", "Joaquim Mironga" and "Pedro Barqueiro".[17][18] Arinos acknowledged in a prefatory note that the stories had been written at different times and did not form a unified narrative.[17]

The collection combines short stories, historical episodes, legends and descriptive sketches. Its settings draw mainly on the interior of Minas Gerais and Goiás. Tropeiros, cattle workers, boatmen, miners, landowners and itinerant laborers appear within the routines of travel, agricultural work, religious observance and local festivity. Arinos reproduced regional vocabulary and placed several narratives in the mouths of travelers or older inhabitants, giving oral testimony a structural role in the stories.[19][11]

The subjects vary within the collection. "Assombramento" follows a traveler whose stay in an abandoned house becomes an experience of fear and mental disorientation, joining regional space to beliefs about haunting and the supernatural. "O contratador dos diamantes" turns to eighteenth-century mining society, while "Buriti perdido" and "Paisagem alpestre" give the physical environment much of the narrative attention. Other stories examine personal violence, family honor, labor and the precarious position of travelers in sparsely governed territory.[19][20]

The book entered histories of Brazilian literature as an early example of regionalist prose. Its method was tied to Arinos's political thought: speech, stories and social types from the interior supplied the material through which he tried to define a national literature.[21]

Os jagunços and Canudos

[edit]

Arinos began writing about the War of Canudos before publishing his novel on the conflict. On 9 October 1897, four days after the destruction of Canudos, O Comércio de São Paulo printed his article "Campanha de Canudos: o epílogo da guerra". He rejected claims that the settlement formed part of an organized monarchist conspiracy. He traced the conflict instead to the government's ignorance of the sertão, its neglect of the local population and its decision to employ military force before examining the settlement and its grievances.[13][22]

Os jagunços began appearing as a serial in O Comércio de São Paulo later that month and continued through November 1897. Arinos used the pseudonym Olívio de Barros. The newspaper's press issued the story as a two-volume book in 1898 under the subtitle novela sertaneja.[15][23] The book preceded Euclides da Cunha's Os Sertões by four years and was among the first fictional treatments of Canudos.[24]

The novel is divided into two parts. Its first four chapters establish the social and religious life of the sertão through fictional characters, especially the cattle worker Luís Pachola, and through scenes at the Periperi farm and a Festival of the Holy Spirit. The remaining five chapters follow the formation of Belo Monte and the military campaign against it, joining these fictional lives to people and events from the conflict.[15][13] The change in scale allows the war to be narrated from within the sertanejo community instead of solely through the movements and reports of the army.

The book uses reports reaching São Paulo, Arinos's knowledge of life in the interior and literary invention. Thomas Beebee classifies it with the first three Canudos narratives that combined history and fiction, together with Manoel Benício's O rei dos jagunços and Emídio Dantas Barreto's Acidentes da guerra.[25] This mixed form distinguishes the novel from military memoirs and newspaper correspondence, although Arinos had not witnessed the campaign.

Arinos presented Antônio Conselheiro's followers as members of an abandoned rural population, not as a foreign body within Brazil. He condemned the government's failure to understand them and the scale of the repression. His proposed solution remained paternalistic. The sertanejo was to be incorporated through education, administration and direction from the political center, within a social order that Arinos regarded as hierarchical.[13][10]

The book edition had a print run of one hundred copies and was distributed chiefly to subscribers of O Comércio de São Paulo. It received little contemporary critical attention and was not issued separately again until its inclusion in Arinos's collected works in 1969.[15] Its limited circulation helps account for the greater prominence later given to Os Sertões in literary accounts of Canudos.

Regionalism and nationalism

[edit]

Arinos wrote during a period in which the abolition of slavery, the fall of the Empire and the first years of the Republic had reopened debates about the population, territory and culture that could represent Brazil. The contrast between the coastal cities and the sertão became one of the recurring ways in which writers and social thinkers approached these questions.[24]

For Arinos, regional material served a national purpose. His 1894 essay "Nacionalização da arte" maintained that Brazilian literature could not be produced by copying European subjects or the social life of Rio de Janeiro and São Paulo. He sought its material in local histories, speech, landscape and popular memory. Pelo sertão put this position into practice, while Os jagunços applied it to the political exclusion of the interior.[11][10]

Carvalho argues that the term "regionalist" is too narrow for Arinos because it can detach his fiction from the nationalist literary movement of the late nineteenth and early twentieth centuries. In this reading, the region was the point from which Arinos approached the nation. Carvalho also traces elements of this program in the writings of Olavo Bilac and the early work of Mário de Andrade.[21]

His conception of nationality contained a persistent tension. He treated rural communities as repositories of language, memory and custom, yet also regarded them as populations requiring guidance from educated elites. His monarchism supplied an image of national continuity that he set against the federalism and political conflict of the early Republic. The resulting nationalism defended the cultural place of the sertanejo while retaining a conservative view of social authority.[11][10][13]

Arinos continued collecting folklore after moving to Paris, returning to Brazil to gather material for books, plays and lectures. His interests extended to popular music and performance, including the samba musicians Donga and Pixinguinha. In 1915 he presented a series of lectures titled "Lendas e tradições brasileiras" at the Sociedade de Cultura Artística in São Paulo, treating dances, religious festivals and dramatic traditions such as the cateretê, reisado, chegança and bumba meu boi.[6] These activities carried the same concern with regional memory and oral culture beyond his short fiction.

Works

[edit]

Arinos published three books during his lifetime. Five more volumes appeared between 1917 and 1921, containing fiction, a play, lectures and prose that had remained uncollected when he died. His publications range from short stories and a novel to newspaper commentary and studies of folklore.[26][19]

Publications during his lifetime

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Pelo sertão: histórias e paisagens. São Paulo: Laemmert, 1898. Arinos's first book contains twelve stories written between 1888 and 1895. They had previously circulated in newspapers and literary reviews. The first edition has 199 pages.[17][18]

Os jagunços: novela sertaneja. São Paulo: Tipografia de O Comércio de São Paulo, 1898. Published in two volumes under the pseudonym Olívio de Barros, the novel had run as a serial in O Comércio de São Paulo in October and November 1897. The book edition was limited to one hundred copies.[23][15]

Notas do dia: commemorando. São Paulo: Tipografia Andrade & Mello, 1900. The 308-page volume collects articles printed between 1895 and 1899 in O Estado de Minas, O Comércio de São Paulo and Revista Brasileira, together with lectures delivered in Ouro Preto. Its subjects include the Inconfidência Mineira, Christopher Columbus, the French Revolution, Pedro II, the death of the Viscount of Taunay and political events of the early Republic.[27][10][19]

Posthumous publications

[edit]

O contratador dos diamantes. Rio de Janeiro: Livraria Francisco Alves, 1917. This historical play in three acts and one tableau grew from the story of the same name in Pelo sertão. Set in the Tijuco mining district in 1752 and 1753, it centers on the diamond contractor Felisberto Caldeira Brant and his conflict with the Portuguese colonial administration.[19][28] It was first staged at the Theatro Municipal of São Paulo in May 1919, with incidental music by Francisco Braga. Francisco Mignone based his 1921 opera O contratador dos diamantes on the play.[29][30]

A unidade da Pátria. Rio de Janeiro: Livraria Francisco Alves, 1917. The book prints a lecture delivered at the Municipal Theatre of Belo Horizonte in 1915 during an event for people affected by the drought in northeastern Brazil. Arinos discussed regional divisions, migration through the interior and the work of ordinary Brazilians in maintaining the country's territorial unity.[11][31]

Lendas e tradições brasileiras. São Paulo: Tipografia Levi, 1917. The book contains lectures given in 1915 at the Sociedade de Cultura Artística in São Paulo. Arinos wrote about Amazonian legends, stories of the São Francisco River, churches and shrines, Marian observances, popular saints, superstition, festivals and dances. The first edition, issued as volume three of the society's publications, has a preface by Olavo Bilac and was printed in a run of fifty copies.[32]

O mestre de campo: romance do século dezoito. Rio de Janeiro: Livraria Francisco Alves, 1918. Despite its occasional classification as a play in biographical summaries, the work is a historical novel. It returns to eighteenth-century Minas Gerais and the disputes surrounding royal authority in the mining districts.[33][26]

Histórias e paisagens. Rio de Janeiro: Livraria Francisco Alves, 1921. This collection brought together prose left outside Pelo sertão. Its stories include "A garupa", "Menestrel do sertão", "Feiticeira", "O mão-pelada" and "Árvore do pranto". The book also contains "Nacionalização da arte", Arinos's 1894 defense of regional subjects in Brazilian fiction.[34][19][11]

Collected editions

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The Instituto Nacional do Livro published Obra completa in 1969 as the second volume of its Coleção Centenário. Organized under the direction of Afrânio Coutinho, the 901-page edition brought Arinos's books, journalism, lectures and uncollected prose into one volume.[35][26]

In 2006, Walnice Nogueira Galvão prepared a new edition of Arinos's short fiction under the title Contos: Pelo sertão, Histórias e paisagens, A rola encantada. It contains the twelve stories from Pelo sertão, five from Histórias e paisagens and "A rola encantada", a manuscript tale first printed in 1990.[36][19]

Academia Brasileira de Letras

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In February 1901, Arinos was elected a corresponding member of the Brazilian Historic and Geographic Institute. On 31 December of that year, the Academia Brasileira de Letras elected him as the second occupant of Chair 40. He succeeded his friend and political ally Eduardo Prado, who had died four months earlier. Olavo Bilac formally received Arinos on 18 September 1903.[1][37]

Arinos devoted much of his induction address to Prado. He presented Prado's monarchism as a defence of Brazilian customs and political continuity, and used the term "Americanism" for the work of forming nations in the Americas from their populations, territories and existing customs. The speech brought the political ideas shared by the two writers into the Academy.[38] Bilac answered that Arinos's fiction had earned him the seat. He singled out the stories "Pedro Barqueiro" and "Assombramento" and rejected Arinos's modest claim that his friendship with Prado explained the election.[39]

On 9 November 1907, Arinos received Admiral Artur Jaceguai into Chair 6. His reply drew on Jaceguai's service in the Paraguayan War and his writing on Brazilian naval history. Arinos also warned that an academy could become a refuge for ideas already rejected by a younger generation, and argued that the institution should remain open to work outside belles-lettres.[40][41]

Final years and death

[edit]

Arinos moved to Paris in 1904 and opened an import and export office. He and Antonieta received Brazilian writers passing through the city, among them Graça Aranha and the young Alceu Amoroso Lima. His nephew Rodrigo Melo Franco de Andrade lived with them from 1910 to 1914 while attending secondary school. Arinos had no children and regarded Rodrigo as a son.[5][6]

Arinos was visiting Brazil when the First World War began in 1914 and remained in the country. Between February and December 1915, he delivered six lectures on Brazilian legends and popular traditions in São Paulo. The Sociedade de Cultura Artística hosted four of the talks, while the Municipal Theatre of São Paulo hosted two. Arinos organized a musical recital at the theatre on 28 December to close the course. The musicians came from Rio de Janeiro under the direction of guitarist João Pernambuco. Mário de Andrade, then a student at the city's music conservatory, attended the recital.[5]

He also delivered the lecture A unidade da pátria in Belo Horizonte in 1915. Arinos presented the movement of people between Brazil's regions and through the sertão as the force that held the country together, while criticizing educated elites for neglecting that work.[11][5]

Early in 1916, Arinos sailed for Europe. He became ill aboard the ship and died after reaching Barcelona, Spain, on 19 February 1916. He was 47.[1][2]

Much of his writing was still unpublished. Three books followed in 1917: the historical drama O contratador de diamantes, the lecture A unidade da Pátria, and Lendas e tradições brasileiras. The last of these grew out of his 1915 lectures and was issued by the Sociedade de Cultura Artística. The drama O mestre de campo followed in 1918, and Histórias e paisagens in 1921.[26][32]

Reception

[edit]

Contemporary responses

[edit]

Arinos's stories attracted notice before the publication of Pelo sertão. "A esteireira" took second place among more than ninety entries in a competition held by the Gazeta de Notícias in 1894. Joaquim Alves, writing in A Semana, found its tale of jealousy and murder excessively violent and implausible. Arinos answered with the essay "Nacionalização da arte", arguing that the criticism came from unfamiliarity with the sertão and that Brazilian fiction should draw its subjects from the country itself.[11]

The reception of "Pedro Barqueiro" was warmer. After the story appeared in Revista Brasileira in January 1895, Bilac wrote to Arinos that he had read it three times and counted it among the strongest fiction then written in Brazil.[21] Bilac returned to these stories in his 1903 Academy speech, where he called Arinos a national writer and based that judgment on Pelo sertão, especially "Pedro Barqueiro" and "Assombramento".[39]

Critical assessment and editions

[edit]

The regionalist label has guided much of the criticism of Arinos. Lúcia Miguel Pereira praised his ability to write human characters and the natural world as parts of the same scene.[1] Alfredo Bosi valued the precision and restraint of the stories in Pelo sertão, especially their portrayals of cattle drivers, farm hands and overseers, although he found occasional passages too ornate.[42]

Later criticism has questioned literary histories that dismissed turn-of-the-century regionalist writing as picturesque or mannered. Juliana Santini argues that this approach leaves little room for the social tensions and formal experiments found in writers of the period.[43] Ricardo Souza de Carvalho likewise argues that regionalism is too narrow a category for Arinos. He reads the stories, political essays and 1915 lectures as parts of the nationalist current in Brazilian letters and examines their reception by Bilac and Mário de Andrade.[21]

Alceu Amoroso Lima published the first book-length study of Arinos in 1922 under the name Tristão de Athayde. The book praised Arinos's choice of the sertão as literary material and presented him as an early advocate of a national literature.[44][11] The Instituto Nacional do Livro issued Obra completa in 1969 under the direction of Afrânio Coutinho. It brought the fiction, drama, speeches and uncollected prose into one volume.[45] Walnice Nogueira Galvão prepared the introduction to a new selection of his stories, published by Martins Fontes in 2006.[5]

Readings of Os jagunços

[edit]

The publication of Os jagunços in 1898, four years before Euclides da Cunha's Os Sertões, has made it part of critical discussions about the first literary responses to Canudos. The novel had first run in O Comércio de São Paulo and was issued in two volumes by the newspaper's press under the name Olívio de Barros.[23]

Flávio Raimundo Giarola reads the novel as an attempt to view Brazil from the interior and as an attack on a republic that excluded the sertanejo population. Arinos blamed government neglect and military force for the destruction of Canudos and wrote with sympathy for its inhabitants. His proposed answer was still assimilation. He expected the sertanejos to enter the civilization and national order that he believed the Republic had failed to extend to them.[13]

The chronology has led critics to examine possible relations between Os jagunços and Os Sertões. César Gonçalves de Oliveira studies material from Arinos and Bilac that may have reached Euclides before the publication of his book.[46] Leopoldo Bernucci also discusses intertextual relations between the two works. Their forms differ: Arinos openly wrote a novel, while Euclides joined scientific argument, historical narrative and literary prose in a book whose genre has remained disputed.[47]

Commemoration

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The former settlement of Barra da Vaca, in northwestern Minas Gerais, was renamed Arinos in 1923, when it became a district of São Romão. The name honored Afonso Arinos. The district was elevated to municipality status in 1962, and its municipal government was installed on 1 March 1963.[48]

In what is now the municipality of Comendador Levy Gasparian, in the state of Rio de Janeiro, the former Barra Longa railway station and surrounding locality were also renamed Afonso Arinos in honor of the writer. The locality became the municipality's second district when Comendador Levy Gasparian was established in 1991.[49][50]

Praça Afonso Arinos in Belo Horizonte contains a monument to the writer created by sculptor Celso Antônio de Menezes and inaugurated on 1 August 1929. It consists of a granite column surmounted by a medallion bearing Arinos's portrait. Its sides depict a solitary buriti palm, referring to his short story "Buriti perdido".[51]

In 2011, a state law named the public primary and secondary school in Arinos the Centro Estadual de Educação Continuada Afonso Arinos.[52]

See also

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References

[edit]
  1. 1 2 3 4 5 6 7 8 "Afonso Arinos: biografia". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  2. 1 2 "Afonso Arinos". Enciclopédia Itaú Cultural de Arte e Cultura Brasileira (in Portuguese). Itaú Cultural. Retrieved 20 July 2026.
  3. 1 2 "Afrânio de Melo Franco" (PDF). Dicionário Histórico-Biográfico Brasileiro (in Portuguese). Centro de Pesquisa e Documentação de História Contemporânea do Brasil, Fundação Getulio Vargas. Retrieved 20 July 2026.
  4. 1 2 3 Afonso Arinos, filho (2011). Afonso Arinos. Série Essencial (in Portuguese). Academia Brasileira de Letras. Retrieved 20 July 2026.
  5. 1 2 3 4 5 6 7 8 Cavalcanti, Maria Laura Viveiros de Castro (2025). "A formação do moderno: Afonso Arinos, as conferências e o sarau musical de 1915". Revista Eco-Pós (in Portuguese). 28 (3): 13–32. doi:10.29146/eco-ps.v28i3.28553. Retrieved 20 July 2026.
  6. 1 2 3 4 5 Pinheiro, Maria Lúcia Bressan (2023). "Antes do Sphan: notas biográficas sobre a trajetória de Rodrigo Melo Franco de Andrade nas décadas de 1920 e 1930". Anais do Museu Paulista: História e Cultura Material (in Portuguese). 31: 1–40. doi:10.11606/1982-02672023v31e22. Retrieved 20 July 2026.
  7. ↑ "Histórico". Faculdade de Direito da UFMG (in Portuguese). Universidade Federal de Minas Gerais. Retrieved 20 July 2026.
  8. ↑ "Afonso Arinos". Dicionário Histórico-Biográfico Brasileiro (in Portuguese). Centro de Pesquisa e Documentação de História Contemporânea do Brasil, Fundação Getulio Vargas. Retrieved 20 July 2026.
  9. ↑ "Rodrigo Melo Franco de Andrade". Enciclopédia Itaú Cultural de Arte e Cultura Brasileira (in Portuguese). Itaú Cultural. Retrieved 20 July 2026.
  10. 1 2 3 4 5 6 7 8 Gaburo, Vanderson Roberto Pedruzzi (2009). O sertão vai virar gente: sertão e identidade nacional em Afonso Arinos [The sertão will become people: the sertão and national identity in Afonso Arinos] (PDF) (Master's thesis) (in Portuguese). Federal University of Espírito Santo. pp. 13–15, 53–86. Retrieved 20 July 2026.
  11. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Lazzari, Alexandre (2008). Longe do sertão: literatura, política e nacionalismo em Afonso Arinos [Far from the sertão: literature, politics and nationalism in Afonso Arinos] (PDF). XIII Encontro de História ANPUH-Rio: Identidades (in Portuguese). Associação Nacional de História. pp. 1–8. Retrieved 20 July 2026.
  12. 1 2 3 4 Giarola, Flávio Raimundo (2015). Do "triunfo nos trópicos" ao "fim da civilização": "raça", história e nacionalidade na perspectiva dos intelectuais monarquistas-católicos, 1889–1917 [From "triumph in the tropics" to the "end of civilization": race, history and nationality from the perspective of monarchist-Catholic intellectuals, 1889–1917] (PhD thesis) (in Portuguese). Federal University of Minas Gerais. pp. 57–64, 79–80, 231–239. hdl:1843/BUBD-9XHKB5. Retrieved 20 July 2026.
  13. 1 2 3 4 5 6 7 Giarola, Flávio Raimundo (2013). "A guerra dos jagunços: o conflito de Canudos e o sertanejo nos escritos de Afonso Arinos" [The war of the jagunços: the Canudos conflict and the sertanejo in the writings of Afonso Arinos]. Revista de História (in Portuguese). 5 (1–2): 205–219. ISSN 1984-6894. Retrieved 20 July 2026.
  14. ↑ "Campanha de Canudos: o epílogo da guerra". O Commercio de São Paulo (in Portuguese). No. 1334. 9 October 1897. p. 1. Retrieved 20 July 2026 – via Biblioteca Digital da UNESP.
  15. 1 2 3 4 5 Weinhardt, Marilene (1990). "Os jagunços ou os tortuosos caminhos da nacionalidade" [Os jagunços, or the tortuous paths of nationality]. Revista Letras (in Portuguese) (39): 47–62. doi:10.5380/rel.v39i0.19157. Retrieved 20 July 2026.
  16. ↑ "Notas do Dia". Biblioteca Digital de Literatura de Países Lusófonos (in Portuguese). Federal University of Santa Catarina. Retrieved 20 July 2026.
  17. 1 2 3 "Pelo Sertão: historias e paizagens". Biblioteca Digital do Ministério da Justiça e Segurança Pública (in Portuguese). Ministry of Justice and Public Security. 1898. Retrieved 20 July 2026.
  18. 1 2 "Pelo sertão". Literatura Brasileira: Textos Literários em Meio Eletrônico (in Portuguese). Universidade Federal de Santa Catarina. Retrieved 20 July 2026.
  19. 1 2 3 4 5 6 7 Silva, Bruna de Carvalho Teixeira (2008). O espaço e o imaginário popular nos contos de Afonso Arinos (Master's thesis) (in Portuguese). Universidade Federal de Uberlândia. Retrieved 20 July 2026.
  20. ↑ Pimenta, Fernando Januário (2022). "O conto Assombramento, de Afonso Arinos: o medo, a mente e o horror entre símbolos e sombras". Literartes (in Portuguese). doi:10.11606/issn.2316-9826.literartes.2022.188028. Retrieved 20 July 2026.
  21. 1 2 3 4 Carvalho, Ricardo Souza de (2008). "Através do Brasil com Afonso Arinos". Revista do Instituto de Estudos Brasileiros (in Portuguese) (46): 201–216. doi:10.11606/issn.2316-901X.v0i46p201-216. Retrieved 20 July 2026.
  22. ↑ "Campanha de Canudos: o epílogo da guerra". O Comércio de São Paulo (in Portuguese). No. 1334. 9 October 1897. Retrieved 20 July 2026.
  23. 1 2 3 "Os jagunços". Biblioteca Brasiliana Guita e José Mindlin (in Portuguese). Universidade de São Paulo. 1898. Retrieved 20 July 2026.
  24. 1 2 Oliveira, Lúcia Lippi (1998). "A conquista do espaço: sertão e fronteira no pensamento brasileiro". História, Ciências, Saúde – Manguinhos (in Portuguese). 5 (Supplement): 195–215. Retrieved 20 July 2026.
  25. ↑ Beebee, Thomas O. (2007). "The Canudos Perplex: Three Early 'Factions'". Terra Roxa e Outras Terras. 10: 3–20. doi:10.5433/1678-2054.2007v10p3. Retrieved 20 July 2026.
  26. 1 2 3 4 "Afonso Arinos: Bibliografia". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  27. ↑ Arinos, Afonso (1900). Notas do dia: commemorando (PDF) (in Portuguese). São Paulo: Tipografia Andrade & Mello.
  28. ↑ Cardoso, André (2011). "Introdução a 'Gavota' e 'Minueto', de O contratador dos diamantes, de Francisco Braga". Revista Brasileira de Música (in Portuguese). 24 (1): 223–228. Retrieved 20 July 2026.
  29. ↑ A presença negra no acervo do Theatro Municipal de São Paulo: índice de fontes (PDF) (Report) (in Portuguese). Fundação Theatro Municipal de São Paulo. pp. 37–40. Retrieved 20 July 2026.
  30. ↑ "O Contractador dos Diamantes". Academia Brasileira de Música (in Portuguese). Retrieved 20 July 2026.
  31. ↑ "A Unidade da Pátria: Conferência". Biblioteca Digital de Literatura de Países Lusófonos (in Portuguese). Universidade Federal de Santa Catarina. Retrieved 20 July 2026.
  32. 1 2 "Lendas e tradições brasileiras". Biblioteca Brasiliana Guita e José Mindlin (in Portuguese). Universidade de São Paulo. 1917. Retrieved 20 July 2026.
  33. ↑ Arinos, Afonso (1918). O mestre de campo: romance do século dezoito (in Portuguese). Rio de Janeiro: Livraria Francisco Alves.
  34. ↑ "Histórias e Paisagens". Biblioteca Digital de Literatura de Países Lusófonos (in Portuguese). Universidade Federal de Santa Catarina. Retrieved 20 July 2026.
  35. ↑ Arinos, Afonso (1969). Coutinho, Afrânio (ed.). Obra completa (in Portuguese). Rio de Janeiro: Instituto Nacional do Livro. p. 901.
  36. ↑ Arinos, Afonso (2006). Galvão, Walnice Nogueira (ed.). Contos: Pelo sertão, Histórias e paisagens, A rola encantada (in Portuguese). São Paulo: Martins Fontes. ISBN 9788533622494.
  37. ↑ "Afonso Arinos". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  38. ↑ Afonso Arinos. "Discurso de posse". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  39. 1 2 Bilac, Olavo (18 September 1903). "Discurso de recepção a Afonso Arinos". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  40. ↑ "Artur Jaceguai". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  41. ↑ Afonso Arinos (9 November 1907). "Discurso de recepção a Artur Jaceguai". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  42. ↑ Bosi, Alfredo (2006). História concisa da literatura brasileira (in Portuguese) (43rd ed.). São Paulo: Cultrix. p. 210.
  43. ↑ Santini, Juliana (2011). "A Formação da Literatura Brasileira e o regionalismo". O Eixo e a Roda: Revista de Literatura Brasileira (in Portuguese). 20 (1): 69–85. doi:10.17851/2358-9787.20.1.69-85. Retrieved 20 July 2026.
  44. ↑ "Bibliografia: Alceu Amoroso Lima". Academia Brasileira de Letras (in Portuguese). Retrieved 20 July 2026.
  45. ↑ "Obra Completa: Afonso Arinos". Biblioteca Digital de Literatura de Países Lusófonos (in Portuguese). Universidade Federal de Santa Catarina. 1969. Retrieved 20 July 2026.
  46. ↑ Oliveira, César Gonçalves de (2009). "Estilhaços literários da Guerra de Canudos". Em Tese (in Portuguese). 13: 14–23. doi:10.17851/1982-0739.13.14-23. Retrieved 20 July 2026.
  47. ↑ Bernucci, Leopoldo M. (1998). "A ontologia discursiva de Os sertões". História, Ciências, Saúde – Manguinhos (in Portuguese). 5 (supplement): 57–72. doi:10.1590/S0104-59701998000400004. Retrieved 20 July 2026.
  48. ↑ "História da cidade de Arinos-MG". Prefeitura Municipal de Arinos (in Portuguese). 30 May 2019. Retrieved 20 July 2026.
  49. ↑ "Afonso Arinos". Estações Ferroviárias do Estado do Rio de Janeiro (in Portuguese). Retrieved 20 July 2026.
  50. ↑ "Lei nº 1.923, de 23 de dezembro de 1991" (PDF) (in Portuguese). Government of the State of Rio de Janeiro. Retrieved 20 July 2026.
  51. ↑ "Monumento à Affonso Arinos". Portal Oficial de Belo Horizonte (in Portuguese). Empresa Municipal de Turismo de Belo Horizonte. Retrieved 20 July 2026.
  52. ↑ "Lei nº 19.506, de 19 de maio de 2011". Assembleia Legislativa de Minas Gerais (in Portuguese). Retrieved 20 July 2026.

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