The Jesuit Order, also known as the Company of Jesus, appeared in Europe a few decades after Martin Luther (1483–1546) started a religious reform that caused a split in Western Christendom. Luther opposed the sale of indulgences by the Catholic Church and proposed a new theology that led to the appearance of Protestant denominations. The Jesuit Order was founded in 1540 by Ignatius of Loyola (1491–1556) and his followers, a group of students at the University of Paris. Wishing to defend the Spanish Counter-Reformation and moved by the spirit of the medieval crusades, they intended to march to the Holy Land to preach to the infidels. Soon after the Order was founded, the Jesuits started to become known in Europe and in European colonies throughout the world.
The Jesuits soon became known as excellent missionaries and educators owing to their superior education. Soon after the company was founded, Portugal granted the Jesuits the monopoly of the conversion of the infidels and gentiles in all of its Asian, African, and American colonies. The Portuguese King John III (1521–57) also directed the Jesuits to establish the educational system in Portugal and in the colonies. The University of Coimbra became one of the most important Jesuit educational centers.
In 1568 the Jesuits started the construction of a church in Rome. This Jesuit church, known as Del Gesù, is traditionally considered the first example of a new form of aesthetics. In the later part of the nineteenth century critics like Heinrich Wölfflin, who studied the artistic, literary, and musical production that emerged in Europe between the Renaissance and the Neoclassic periods, classified the new aesthetics as the Baroque. The Baroque emerged in Spain during the period of the Trent Concilium (1545–63).
The Jesuits and Baroque Culture in Brazil
In 1549, almost half a century after the landing of Cabral in Brazil, the Jesuit Manuel da Nóbrega (1517–70) arrived in Portuguese America. He came as part of the expedition led by Tomé de Sousa (ca. 1503–79), the first governor of the colony. The Jesuits were the first missionaries charged with the catechization of the Brazilian natives. From the second half of the sixteenth century until the middle of the eighteenth century the Jesuits not only worked among the natives, but also helped to shape the educational and cultural development of the new society. As Luiz Francisco de Alencastro points out, the company also became one of the wealthiest institutions in Portuguese America owing to its careful administration and the management of businesses that linked Brazil and Africa, particularly the slave trade. Dauril Alden also explains that because the company was free from taxation and received many donations, it was able to accumulate a great deal of wealth. Its patrimony included land, sugar plantations in rural areas, and lavish buildings and schools in urban centers.
Manuel da Nóbrega (1517–70), José de Anchieta (1534–97), and Antonio Vieira (1608–97) are the most distinguished Jesuits of colonial Brazil. Like other Jesuits who were engaged in missionary work, these three members of the company saw themselves as direct successors of the first Christians who sought to convert Romans and barbarians alike. The first Jesuit to arrive in Brazil, Father Manuel da Nóbrega, landed in the colony in 1549 with the royal governor, Tomé de Sousa. On his arrival, Nóbrega started to work directly with the natives in their villages, or aldeias. His major contribution to colonial Brazil consisted of his missionary work among the Indians, in which he promoted literature. His interest in finding effective ways to teach the natives led him to encourage José de Anchieta to write and direct theatrical plays aimed at facilitating the catechization of the natives. Nóbrega also added his own contributions to the literary field. His Diálogo sobre a conversão do gentio (1556) presents arguments both for and against the conversion of the natives. In the text, Nóbrega considers the American Indians to be no better and no worse than any other people, and he had no illusions about their inherent innocence. According to Nóbrega, the salvation of the natives would not be accomplished by divine miracle, but only by hard work and sacrifice on the part of the missionaries. In addition to the Diálogo, Nóbrega wrote an extensive number of letters to his Jesuit colleagues overseas, most of which was not published until the twentieth century. Those letters relating to his missionary experience in Brazil seem to alternate between optimism and pessimism. Although at times they express a gentle affection for the Indians, at other times Nóbrega seems to despise them and see the need to treat them with violent authoritarianism.
José de Anchieta was the most distinguished literary and religious figure of sixteenth-century Brazil. Because of his work among the natives, he became known among them as the Apóstolo do Brasil (Brazilian apostle). His literary work consists of poetry and plays. Born in the Spanish Canary Islands and educated in Coimbra, Portugal, Anchieta arrived in Brazil in 1553, three years after Manuel da Nóbrega had started his missionary work among the Tupi Indians. Anchieta’s writings were influenced by medieval and renaissance tradition, and he is best known for his theatrical production aimed at the evangelization of the natives. However, Anchieta is also famous for his two epic poems, De Beata Virgine Dei Matre and De gestis Mendi de Saa. Both poems link Anchieta to Medieval Marist epics and to the tradition of Virgil. De Beata Virgine was first written on beach sand during Anchieta’s captivity by the Tamoios Indians in 1563. After his release he reconstructed the whole epic. De gestis Mendi de Saa was dedicated to Mem de Sá (ca. 1500–72), the third Portuguese governor sent to Brazil. Mem de Sa played an instrumental role in freeing Anchieta from captivity. Unlike his epic poems, which were written in Latin, Anchieta’s lyric and verse plays were written in a combination of languages that included Tupi, Portuguese, and Spanish. They were primarily designed for presentation in Indian aldeias.
Anchieta’s plays were simple and straightforward. Since there were no formal theaters in the colony, his autos were performed in churchyards or in the central areas of small towns and Indian villages. The tropical forest was very often used as a backdrop, and the casts were always all-male and made up of local residents and natives who lived in the missions. Severino João Albuquerque, a literary critic of Brazilian and Latin American drama, has observed that although Anchieta’s theatre was introduced in Brazil as an instrument of indoctrination, “it had undeniable dramatic qualities” (107). Anchieta’s theatrical production consisted of tragedies written in Latin and autos based on Gil Vicente’s didactic t heater. The auto da pregação universal, written around 1567 and first published in 1672, is considered to be the first dramatic text written in Brazil. Written in a combination of Portuguese and Tupi, the auto was intended to appeal to natives and settlers alike. The auto was could also be performed in different places of the Portuguese America by changing the names of individuals and references to local events and geography. Due to the fact that early theatrical production was aimed at conversion and not publication, only a few of Anchieta’s works have survived. Of his surviving autos, Auto representado na festa de São Lourenço, written about 1583, reveals Anchieta’s talents as a playwright. According to Severino Albuquerque, Anchieta’s autos “reveal a remarkable feeling for spectacle, calling for the use of body paint, native costumes, song and dance, fights, torches, and processions” (106).
Toward the end of the sixteenth century, Bento Teixeira (1561–1600) wrote the first epic poem written in Portuguese in Brazil. Teixeira was a “New Christian,” or a descendant of converted Jews, who immigrated to Brazil as a young child and studied with the Jesuits. His epic, Prosopopéia, was written in the last years of the sixteenth century, at a time when Teixeira was being scrutinized by the Inquisition for suspicion of secretly practicing Judaism. The poem was published in Portugal in 1601, shortly after the writer had died in the jails of the Portuguese inquisition. The publication of his epic poem indicates that Bento Teixeira had connections with influential people, as the Inquisition generally prohibited the publication of texts by those persecuted as heretics. The poem was dedicated to Jerônimo de Albuquerque Coelho (1548–1618), a relative of Duarte Coelho (ca. 1485–1554), who was prestigious and influential both in Pernambuco and in Portugal. Teixeira lived in Pernambuco prior to his imprisonment by the Holy Office in Lisbon. It is possible that Teixeira dedicated the poem to Albuquerque in an attempt to gain his protection. It is also possible that Jerônimo de Albuquerque had something to do with the publication of the poem in Portugal.
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