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Encyclopedia Britannica - Main :: SAC-SAR |
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SADE, DONATIEN ALPHONSE FRANCOIS, COUNT [usually called the MARQUIS DE SADEj (1740-1814), French licentious writer, was born in Paris on the 2nd of June 1740. He entered the light-horse at fourteen and saw considerable military service before returning to Paris in 1766. Here his vicious practices became notorious, and in 1772 he was condemned to death at Aix for an unnatural offence, and for poisoning. He fled to Italy, but in 1777 he was arrested in Paris, removed to Aix for trial, and there found guilty. In 1778 he escaped from prison, but was soon re-arrested and finally committed to the Bastille. Here he began to write plays and obscene novels. In 1789 he was removed to the Charenton Lunatic Asylum, but was diss charged in 1790, only to be recommitted as incurable in 1803. He died there on the 2nd of December 1814. Among his works, all of the type indicated, were Justine (1791), Juliette (1792), Philosophic dons le boudoir (1793) and Les Crimes de l'amour (1800). The word Sadism, meaning a form of sexual perversion, is derived from his name. SA DE MIRANDA, FRANCISCO DE (1485-1558), Portuguese poet, was the son of a canon of Coimbra belonging to the ancient and noble family of Sae and passed his early years by the banks of the river Mondego, the source of inspiration to poets in every age. He probably made his first studies of Greek, Latin and philosophy in one of the colleges of the Old City, and in 1505 went to Lisbon University, beginning at the same time to frequent the court. Verse-making and gallantry occupied much of his time there, and by virtue of his talents and name he became one of a group comprising the greatest nobles and most celebrated poets of the age, including Bernadim Ribeiro and Christovao Falcao, who surrounded the beautiful and gifted D. Leonor de Mascarenhas. He seems to have resided for the most part in the capital down to 1521, dividing his time between the palace and the university, in the latter of which he had taken the degree of doctor
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In the middle of July 1520 he set out across Spain for Italy, and spent the years 1521 to 1525 abroad, visiting Milan, Venice, Florence, Rome, Naples and Sicily " with leisure and curiosity." He enjoyed intimacy with Giovanni Ruccellai, Lattanzio Tolomei and Sanazarro; he saluted the illustrious Vittoria Colonna, a distant connexion of his family, and in her house he probably talked with Bembo
Returning home in 1525, he brought with him the sonnet and anzone of Petrarch, the tercet of Dante, the ottava rima of Ariosto, the eclogue in the manner of Sanazarro, and Italian endecasyllabic verse. He did not, however, like his disciple Antonio Ferreira (q.v.), abandon the national redondilha, but rather continued to employ it and carried it to perfection in his Cartas. Settling down in Coimbra or its environs, he lived there from 1526-1527 until 1532. The visit of King John III. and his court to the city enabled him to resume his old relations with the reigning house and the cultivated members of the nobility, who received him affably and listened with interest
The year 1532 had marked his passage from the active to the contemplative life, and the eclogue Basto, in the form of a pastoral
exile of Bernardim Ribeiro, and his defence of his friend, seem to have offended that powerful grandee, the count of Castanheira, and probably hastened his retirement from court, and the royal gift of a Commenda of the Order of Christ, situate by the river Neiva on the borders of Galicia, came opportunely, because the rents Si de Miranda drew from it and a small private fortune enabled him to live in modest comfort at the neighbouring Quinta da Tapada. Poetry with him was never a mere pastime, and, after a short period of repose, the gift of a MS. of the verses of Garcilasso and Boscan, founders of the Italian school in Castile, encouraged him to resume the work of reform commenced at Coimbra; between 1535 and 1538 he composed five eclogues in endecasyllables, four in Spanish and one in Portuguese, whichshow evident traces of their influence. Before long he heard echoes of his new song, first from the province, then from the court. In 1536 he married D. Briolanja de Azevedo, a lady of rare qualities and education, belonging to an illustrious Minho family. He spent the rest of his life in retirement at the Quinta da Tapada, which became a centre from which the reform of Portuguese poetry spread; for he developed great poetical activity in his retreat, and while he read and annotated Homer in the original Greek, he did not disdain domestic pleasures and country sports. His evenings were occupied by music and the performance of comedies and mimes, and by readings of Bembo
In 1538 he wrote his second classical prose comedy, the Vilhalpandos, which was played before the Cardinal Infant Henry, afterwards king, at his request, and on the poet's death that prince saw to the printing of this and the earlier comedy. During the years 1543 to 1553, except for a few occasional poems Si de Miranda kept silence, and the cause is not far to seek; the Inquisition had got to work, and the Jesuits had acquired control of the university and displaced the humanists. When the king and court lent their presence to autos da ft and organized public penances, initiating a reign of fanaticisms and sadness, there was no place for poetry. Si de Miranda could only deplore in private the misfortunes of his country and devote himself to polishing his verses and educating his children. His life's work was done, for the year 1550 saw Camoens writing his admirable sonnets; canzons and elegies, and the Italian school had definitely triumphed. The last eight years of Si de Miranda's life produced a cycle of beautiful poems evoked by the personality of Prince John, the heir -apparent, who loved letters and especially poetry, and whose precocity of talent made him the hope of all patriots. In 1S5o and 1551, after the prince's visit to the university of Coimbra, he honoured the master by asking for a collection of his poems, and on three occasions we find the latter despatching portions of his song-book to Lisbon accompanied by dedicatory sonnets. Moreover, he had the further gratification of receiving verses from Antonio Ferreira, Jorge de Montemayor, Diogo Bernardes, and Andre Falcao de Resende, which were so many proofs of the vitality of his school. Three misfortunes, however, came on him in quick
He was not a great writer and never entered into the hearts of his countrymen, remaining the poet of the cultured, who could understand him and pardon his metrical imperfections. He led the way, however, in a revolution in literature, and especially in poetry, which under his influence became higher in aim, purer in tone and broader in sympathy. He is obviously not at ease in the new forms which he had introduced, and his verse is, as a rule, austere, unharmonious and often difficult of understanding, but these remarks do not, of course, apply to his redondilhas. Some of his sonnets are, however, admirable, and display a grave tenderness of feeling, a refinement of thought, and a simplicity of expression which give them a high value. As examples it is only necessary to mention the one beginning " 0 sol he grande ...," and the lines he composed on the death of his wife. Si de Miranda wrote much and successfully in Castilian, several of his best eclogues being in that language. The charm of these compositions lies in their convincing descriptions of natural scenery and country life, which he loved and comprehended to perfection. SA de Miranda's works were first published in 1595, but the admirable critical edition of Madame Michaelis de Vasconcellos (Halle, 1885), containing life, notes and glossary, supersedes all others so far as the poems are concerned. His plays can best be read in the 1784 edition of the collected works. No modern or critical edition is available. See also Oswald
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