SA-CARNEIRO, Mario de was one of great Protugese writer. In 1911 he enrolled at the Coimbra University law school but did not attend classes. The next year he followed the same procedure at the Sorbonne in Paris Dunne his lifetime he published two collections of short narratives. Pnm ipio (1914; beginning) and Ctu em fogo (1915; the heavens ablaze); one novel. A confistdo de Lucio (1914; Lucio’s confession); and a volume of verse. Dnperulo (1914; dispersal). Except for occasional trips to Lisbon, he remained in Paris from 1912 until his suicide in 1916.
In 1915 S.-C. and his friend Fernando PESSOA edited the second number of Orpheii. the maga/inc that introduced MODERNISM to Portugal. They prepared a third issue but were unable to finance its publication. During his stay in Paris S.-C. was in a state of increasing mental instability. He discussed his problems in his letters to his friend, published in Cartas a Fernando Pessoa. During these years Pessoa was his only intimate friend, and S.-C. depended on him for moral and occasional financial support. Pessoa. although only two years his senior, was also his literary mentor. In return, Pessoa learned from S.-C. about Parisian literary life and through him was first brought into touch with CUBISM and FUTURISM. The two men and Jos£ Almada-Negreiros (1893-1970), a painter and writer, were the leading figures of Portuguese modernism.
Why SA-CARNEIRO, Mario de Has Been Best Portuguese Writer
S.-C. wrote almost all his poetry between 1912 and 1916. moving from SYMBOLISM to modernism. The influence of Rimbaud and Mallarme is evident in the abstract imagery and oneiric symbols of Dispersdo. Among the Portuguese symbolists, Camilo Pessanha (1867-1926) is probably closest to him in his poetic achievement, his narcisism. and his extreme sensitivity. Although Pessanha did not commit suicide, he did destroy himself through his addiction to drugs. S.-C. had been introduced to Pessanha’s work by Pessoa; the influence of Pessoa’spaultsmo (postsymbolism).
its surprising associations of ideas, and of the same writer’s mterseccionismo (a form of futurism), with its juxtaposition of present and past, and present and distant, are to be seen in many of the poems of S.-C.’s posthumously published Induios de aim (1937; traces of gold).
The themes of suicide, incest, and loss of personal identity and the scenes of sexual promiscuity and deviance in S.-C.’s fiction recall the French Decadents. In both his fiction and poetry he is concerned with dream states and the subconscious, and he betrays in these concerns his schi/oid personality, his constant anxiety, his alienation, and especially his abysmally low self-image, with its resultant identity diffusion. One example is in the sonnet “Aqueloutro” (that other one) in Ultirnvs poenuis (last poems), published in the posthumous collection Poesias (1946; poems). Speaking directly to his readers, he calls himself a presumptuous fool and a fat sphinx. Another example is in the prose narrative “Ku-proprio o outro” (I myself the other) in Ceu em fogo. in which he creates a persona who has two individual existences.
S.-C. is one of the two great poets of the Portuguese modernist period, and with Pessoa and Pessanha one of the greatest poets of the century . He published only fifty-one poems, but he deserves such high regard because of his originality and intensity and his creative, experimental use of language and imagery, which develops through the abstraction and vagueness of the early poems to the vivid symbols and personal, colloquial style of his self-destructive last poems, where he belittles himself and calls for ridicule and merriment at his death.