[73] No portrait of Azurara exists, and his signatures form the only relic of him that we possess.
Critical Remarks.
Azurara belongs to the line of Portuguese Chroniclers who rendered illustrious the fifteenth and sixteenth centuries, a line that began with Fernão Lopes and culminated in Damião de Goes and João de Barros, both of whom were almost historians in the modern sense of the term, and at the same time masters of prose style. He is indeed the connecting link between the chronicler and the historian, between the Mediæval writers and those of the Renaissance; for, while he possesses much of the sympathetic ingenuousness of Lopes, yet he cannot resist displaying his erudition and talents by quotations and philosophical reflections, as quaint as they are often unnecessary, proving that he wrote under the influence of that wave of foreign literature which had swept in with the new monarchy.
Three literary tendencies may be said to have prevailed in Portugal during the fifteenth century—firstly, a monomania for classical learning; secondly, an increased taste for the mediæval Epics and prose Romances, due to the English influence that had entered with Queen Philippa, daughter of timeserving Lancaster, though it must be remembered that Amadis de Gaula, the most famous romance of the Middle Ages, was compiled in the preceding century and by a Portuguese hand; and lastly, an admiration for Spanish poetry, which had made wonderful strides since the great Italians, Dante and Petrarch, had become known in the Peninsula. In philosophy, Aristotle, as expounded by Averroes, was the chief authority—Azurara calls him "the Philosopher"—and following him Egidius and Pedro Hispano, the Portuguese Pope and scholar, enjoyed the widest influence. Platonic philosophy was introduced at a much later period, chiefly through the medium of Italian poetry, and it never took root.
To the reader of Azurara's writings, it often seems as though the author were overburdened by his knowledge, which was in truth very extensive, if at times somewhat superficial; and the Chronicles bear witness to the fact that Portugal had not remained foreign to the literary impulse of the Renaissance. Besides citations from many books of the Bible, the following classical writers appear in his pages:—Herodotus, Homer, Hesiod, Aristotle, Cæsar, Livy, Cicero, Sallust, Valerius Maximus, Pliny, Lucan, the two Senecas, Vegetius, Ovid, Josephus and Ptolemy. Among early Christian and mediæval authors he mentions Orosius, St. Gregory, Isidore of Seville, Lucas of Tuy, the Arabic astronomer Alfragan, Gualter, Marco Polo, Roderick of Toledo, Egidius, St. Jerome, Albertus Magnus, St. Bernard, St. Chrysostom, St. Thomas Aquinas, St. Augustine, and Peter Lombard; while he has heard the legend of the voyages of St. Brandan and knows the author of the Amadis de Gaula. He was acquainted with the Chronicles and Romances of the chief European nations,[[74]] and had studied the best Italian and Spanish authors. Added to this, he had mastered the geographical system of the Ancients,[[75]] together with their astrology, and his knowledge of the latter probably came from the famous Opus Quadripartitum of Ptolemy. Although he obtained his education in the time of D. Duarte, or early in the reign of Affonso V, an age which had ceased to believe in sidereal influences, as appears from the Leal Conselheiro, his writings show that he possessed a fervent faith in astrology as explaining the character and acts, as well as governing the destinies, of man.[[76]] Various opinions have been emitted about his style; for, while such a good judge as Goes condemns his "antiquated words and prolix reasoning, full of metaphors or figures that are out of place in the historical style", Barros speaks of his "clear style" that, together with his diligence, rendered him worthy of the office he held.[[77]] But perhaps the most perspicuous criticism thereon is that of Corrêa da Serra, who declares, with reference to the opinions just cited:—"Both may well be right, for the style of Gomes Eannes is not uniform, and seems the work of two different men. As a rule his narrative is simple, full of sound sense, and not without elegance; but, from time to time, he remembers the rude rhetoric he had learnt so late in life, and writes (if I may say so) in a falsetto style. The first was what nature had bestowed upon him, the last came from his immature studies. But these very defects are of interest now, for they give an idea of the learning and taste of that age."[[78]] And, in spite of all his pedantry, Azurara rises at times to a true eloquence, some of his pages being equal to the best in Portuguese prose. The grandeur of chapter ii of the Chronica de Guiné, and the heartfelt pity of Chapter XXV, which relates the division of the captives, prove conclusively that he could accommodate the style to the subject like all writers worthy ofthe name. Had he lived a century later, he would have certainly been placed in the first rank of Portuguese prosists; while, as it is, his antiquated and at times inflated language has gone far to prevent him from being appreciated, or even read, by any save the studious.[[79]]
As an historian he had an unbounded respect for authority, on his own confession, and the speeches he puts in the mouths of his heroes remind the reader at times of Livy, and make it clear that he was writing under the immediate influence of classical models.[[80]] The historical importance of his Chronicles is of the first order. They are contemporary with the events they relate, and contain the history of the Portuguese expeditions to and rule in Mauritania from the reign of João I down to that of Affonso V, and furnish a complete account of all the voyages of discovery along the African Coast, due to the initiative of D. Henrique, until 1448. True, the Chronica de Guiné omits to mention some other voyages that were the result of private enterprise, for Azurara wrote it in the capacity of Chronicler to the King and as a panegyric of the Prince, and never intended to relate discoveries unconnected with his hero and with the land that gives his book its title. The Chronica de Guiné must, of course, always take rank as Azurara's masterpiece. It was the first book written by a European on the lands south of Cape Bojador, and it restores to us, in great part, the lost work of Cerveira entitled a History of the Portuguese Conquests on the Coast of Africa, on which it is founded, besides making up for the regrettable disappearance of the naval archives of the early period of modern discovery.
Azurara's credibility as a narrator is both unquestioned and unquestionable, for his position enabled him to get at the truth, and he took pains to record nothing but the truth, thereby proving himself a genuine disciple of his master, Fernão Lopes. He was moved, as a rule, neither by human respect nor by petty jealousies, and accuracy seems with him to have amounted to a passion.[[81]] So truthful was he that he preferred to leave the relation of facts incomplete rather than tell of them without having received exact information from eye-witnesses. He was quite conscious of what he calls his "want of polish and small knowledge", and his humility is shown by the declaration that he only regarded the Chronica de Guiné as material for some future historian who would perpetuate the great deeds of D. Henrique in "a loftier and clearer style".[[82]]
His attitude towards the Moors, those hereditary enemies of Portugal, was only what we should expect, for, while he is strictly impartial in distributing praise and blame to them equally with Christians, he leaves us in no doubt on which side his sympathies lay. In the Chronica de Guiné, for example, after descanting on the universal praise of the Infant's life and work, he admits that a discordant note in the general chorus was struck by the Moors whom the Prince had warred with and slain, or, to quote his own words, "Some other voices, very contrary to those I have until now described, sounded in my ears, for which I should have felt a great pity, had I not seen them to come from men outside our Law".[[83]]
It has been already noted that Azurara, though he wrote under the very shadow of the Palace, was anything but a flatterer of the great; indeed, he has been accused by some of insisting too much on the defects in his heroes.[[84]] On the other hand, it must be confessed that he shows a marked partiality, if not a blind admiration, for D. Henrique in the Chronica de Ceuta as well as in the Chronica de Guiné. In the former he attributes to the Prince the chief part in the capture of the city, while in the latter he shows himself ever ready to defend him from his dispraisers, and to convict of foolishness out of their own mouths the opponents of the voyages of discovery. Nay, more, he even finds an explanation for D. Henrique's neglect to defend his brother Pedro from being done to death at Alfarrobeira, a neglect which is hard to explain satisfactorily and must remain a blot on the Prince's fair fame. But this bias may readily be accounted for by the fact that Azurara passed much of his time in close intimacy with D. Henrique, and drew a great part of the information for his Chronicles of Ceuta and Guinea from that source, besides which he can hardly be blamed for the love he felt and displayed for a great and good man, the initiator and hero of modern discovery.
Finally, while no serious critic would admit Azurara within the circle of great historians, few would dispute his title to be named a great Chronicler. That he was a laborious and truthful writer his pages make clear; that he could tell a simple story vividly—nay, dramatically—and that he had at times flashes of inspiration, the Chronica de Guiné attests, though, even bearing this work in mind, it is easy to perceive his inferiority in the matter of style to Fernào Lopes, a point constantly insisted on by Portuguese critics. In a word, if, as Southey said, Lopes is "beyond all comparison the best Chronicler of any age or nation", it may well be that Azurara, "notwithstanding an occasional display of pedantry, is equal in merit to any Chronicler, except his unequalled predecessor".[[85]]