"With Varias Historias," he says in his studies of Brazilian letters, "Sr. Machado de Assis published his fifteenth volume and his fifth collection of tales ... To say that in our literature Machado de Assis is a figure apart, that he stands with good reason first among our writers of fiction, that he possesses a rare faculty of assimilation and evolution which makes him a writer of the second Romantic generation, always a contemporary, a modern, without on this account having sacrificed anything to the latest literary fashion or copied some brand-new aesthetic, above all conserving his own distinct, singular personality ... is but to repeat what has been said many times already. All these judgments are confirmed by his latest book, wherein may be noted the same impeccable correctness of language, the same firm grasp upon form, the same abundancy, force and originality of thought that make of him the only thinker among our writers of fiction, the same sad, bitter irony ...
"After this there was published another book by Sr. Machado de Assis, Yayá Garcia. Although this is really a new edition, we may well speak of it here since the first, published long before, is no longer remembered by the public. Moreover, this book has the delightful and honest charm of being in the writer's first manner.
"But let us understand at once, this reference to Machado de Assis's first manner. In this author more than once is justified the critical concept of the unity of works displayed by the great writers. All of Machado de Assis is practically present in his early works; in fact, he did not change, he scarcely developed. He is the most individual, the most personal, the most 'himself' of our writers; all the germs of this individuality that was to attain in Braz Cubas, in Quincas Borbas, in the Papeis Avulsos and in Varias Historias its maximum of virtuosity, may be discovered in his first poems and in his earliest tales. His second manner, then, of which these books are the best example, is only the logical, natural, spontaneous development of his first, or rather, it is the first manner with less of the romantic and more of the critical tendencies ... The distinguishing trait of Machado de Assis is that he is, in our literature, an artist and a philosopher. Up to a short time ago he was the only one answering to such a description. Those who come after him proceed consciously and unconsciously from him, some of them being mere worthless imitators. In this genre, if I am not misemploying that term, he remained without a peer. Add that this philosopher is a pessimist by temperament and by conviction, and you will have as complete a characterization as it is possible to design of so strong and complex a figure as his in two strokes of the pen.
"Yayá Garcia, like Resurreiçao and Helena, is a romantic account, perhaps the most romantic written by the author. Not only the most romantic, but perhaps the most emotional. In the books that followed it is easy to see how the emotion is, one might say, systematically repressed by the sad irony of a disillusioned man's realism." Verissimo goes on to imply that such a work as this merits comparison with the humane books of Tolstoi. But this only on the surface. "For at bottom, it contains the author's misanthropy. A social, amiable misanthropy, curious about everything, interested in everything,—what is, in the final analysis, a way of loving mankind without esteeming it...
"The excellency with which the author of Yayá Garcia writes our language is proverbial ... The highest distinction of the genius of Machado de Assis in Brazilian literature is that he is the only truly universal writer we possess, without ceasing on that account to be really Brazilian."
When the Brazilian Academy of letters was founded in 1897, Machado de Assis was unanimously elected president and held the position until his death. Oliveira Lima, who lectured at Harvard during the college season of 1915-1916, and who is himself one of the great intellectual forces of contemporary Brazil, has written of Machado de Assis: "By his extraordinary talent as writer, by his profound literary dignity, by the unity of a life that was entirely devoted to the cult of intellectual beauty, and by the prestige exerted about him by his work and by his personality, Machado de Assis succeeded, despite a nature that was averse to acclaim and little inclined to public appearance, in being considered and respected as the first among his country's men-of-letters: the head, if that word can denote the idea, of a youthful literature which already possesses its traditions and cherishes above all its glories ... His life was one of the most regulated and peaceful after he had given up active journalism, for like so many others, he began his career as a political reporter, paragrapher and dramatic critic."
Coelho Netto (Anselmo Ribas, 1864– ) is known to his countrymen as a professor of literature at Rio de Janeiro. His career has covered the fields of journalism, politics, education and fiction. Although his work is of uneven worth, no doubt because of his unceasing productivity, he is reckoned by so exacting a critic as Verissimo as one of Brazil's most important writers,—one of the few, in fact, that will be remembered by posterity. Among his best liked stories are "Death," "The Federal Capital," "Paradise," "The Conquest," and "Mirage." Netto's short stories are very popular; at one time every other youth in Brazil was imitating his every mannerism. He is particularly felicitous in his descriptions of tropical nature, which teem with glowing life and vivid picturesqueness.
Coelho Netto is considered one of the chief writers of the modern epoch. "He is really an idealist," writes Verissimo, "but an idealist who has drunk deeply of the strong, dangerous milk of French naturalism." He sees nature through his soul rather than his eyes, and has been much influenced by the mystics of Russia, Germany and Scandinavia. His style is derived chiefly from the Portuguese group of which Eça de Queiroz is the outstanding figure, and his language has been much affected by this attachment to the mother country. His chief stylistic quality is an epic note, tempered by a sentimental lyricism.
In his book Le Roman au Brésil (The Novel in Brazil, which I believe the author himself translated from the original Portuguese into French) Benedicto Costa, after considering Aluizio Azevedo as the exponent of Brazilian naturalism and the epicist of the race's sexual instincts, turns to Coelho Netto's neo-romanticism, as the "eternal praise of nature, the incessant, exaggerated exaltation of the landscape..." In Netto he perceives the most Brazilian, the least European of the republic's authors. "One may say of him what Taine said of Balzac: 'A sort of literary elephant, capable of bearing prodigious burdens, but heavy-footed.' And in fact ... he reveals a great resemblance to Balzac,—a relative Balzac, for the exclusive use of a people,—but a Balzac none the less."
Despite his lack of ideas, his mixture of archaisms, neologisms, his exuberance, his slow development of plots, his lack of proportion (noticeable, naturally, in his longer works rather than in his short fiction) he stands pre-eminent as a patron of the nation's intellectual youth and as the romancer of its opulent imagination.