Orpheu Nº1 by José de Almada Negreiros et al.

(10 User reviews)   3904
By Rebecca King Posted on Jan 2, 2026
In Category - Theology
Sá-Carneiro, Mário de, 1890-1916 Sá-Carneiro, Mário de, 1890-1916
Portuguese
Ever felt like the world around you was just a bit too dull, a bit too predictable? That's exactly what a group of young Portuguese artists felt in 1915, and they decided to do something about it. 'Orpheu Nº1' isn't a single story, but an explosive magazine—a literary grenade thrown at the polite society of Lisbon. It's a raw, chaotic, and beautiful collection of poems, essays, and art that screams, 'We're here, we're modern, and we're not going to be quiet about it.' Reading it feels like being in the room for the birth of a revolution, where every page crackles with the energy of creators who knew they were changing everything. If you've ever wanted to witness the exact moment a new artistic era begins, start here.
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unguarded moment, a manifest Scotticism slips into their conversation. There is a portion of the semi-educated working population, again, who, imitating the snobbish element of the middle grade, speak Scotch freely only in their working clothes. On Sundays, and extra occasions, when dressed in their very best, there is just about as much Scotch in their talk as will show one how poorly they can speak English, and just about enough English to render their Scotch ridiculous. Observing all this, and taking it in conjunction with the other denationalising tendencies of the age, there are those who predict that the time is not far distant when Burns’s poems, Scott’s novels, and Hogg’s tales will be sealed books to the partially educated Scotsman. That there is a growing tendency in the direction indicated is quite true, but the disease, I believe, is only skin deep as yet, and the bone and sinew of the country remain quite unaffected. That there will be a sudden reaction in the patient must be the sincere desire of every patriotic Scot. If the prediction of obsoletism is ever to be realized, then, “the mair’s the pity.” Scotland will not stand where she did. For very much—oh, so much—of what has made her glorious among the nations of the world will have passed away, taking the sheen of her glory with it. What Scotsmen, as Scotsmen, should ever prize most is bound up inseparably with the native language. Ours is a matured country, and the stirring scenes of her history on which the mind of the individual delights to dwell, are so frequently enshrined in spirited ballad and song, couched in the pithy Scottish vernacular, that, to suppose these latter dead—they are not translatable into English—is to suppose the best part of Scottish history dead and buried beyond the hope of resurrection. For its own sake alone the Scottish tongue is eminently deserving of regard—of cultivation and preservation. Scotsmen should be—and so all well-conditioned Scotsmen surely are—as proud of their native tongue as they are of their far-famed native bens and glens. For why, the rugged grandeur of the physical features of our country are not more worthy of admiration than the language in which their glories have been most fittingly extolled. They have characteristics in common; for rugged grandeur is as truly a feature of the Scottish language as it is the dominant feature of Scottish scenery. True, its various dialects are somewhat tantalising. The Forfar man is vividly identified by his “foo’s” and his “fa’s,” and his “fat’s” and his “fans”; and the Renfrewshire man by his “weans,” his “wee weans,” and his “yin pound yin and yinpence,” etc. Taking a simple phrase as an example—(_Anglice_):—“The spoon is on the loom.” The Aberdonian will tell you that “The speen’s on the leem.” The Perthshire man will say “That spun’s on the luim”; and the Glasgow citizen will inform you that “The spin’s on the lim.” In a fuller example, a Renfrewshire person will vouchsafe the information that he “Saw a seybo synd’t doon the syvor till it sank in the stank.” A native of Perthshire will only about half understand what the speaker has said, and may threaten to “rax a rung frae the boggars o’ the hoose and reeshil his rumple wi’t,” without sending terror to the soul of his West country confederate. Latterly, an Aberdonian may come on the scene and ask, “Fa’ fuppit the loonie?” and neither of the forenamed parties will at once perceive the drift of his inquiry. To illustrate how difficult it may be for the East and...

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Okay, let's clear this up first: Orpheu Nº1 isn't a novel. It's a magazine, a single explosive issue published in Lisbon in 1915. Think of it less as a book you read from cover to cover, and more as a time capsule of artistic rebellion. The plot, if there is one, is the story of its creation. A handful of brilliant, restless young men—like the poet Mário de Sá-Carneiro and the painter-writer José de Almada Negreiros—got together and decided to blow up the old rules of Portuguese art and literature. They filled these pages with wild, experimental poetry, provocative essays, and bold illustrations that deliberately shocked and confused the establishment.

Why You Should Read It

This isn't just history; it's pure, uncut creative energy. Sá-Carneiro's poems drip with a strange, beautiful sadness and a fascination with the artificial. Almada Negreiros's writing feels like a manifesto shouted from a rooftop. Reading it, you get the incredible sensation of watching modernism being invented in real time. These weren't dusty academics—they were young artists fuelled by passion, doubt, and a desperate need to say something new. You can almost feel their urgency jumping off the page.

Final Verdict

This is perfect for anyone who loves to see where movements like Modernism really start—in messy, passionate bursts rather than tidy textbooks. It's for poetry fans who enjoy work that feels risky, for history lovers curious about cultural turning points, and for any creative person who needs a jolt of inspiration from artists who dared to be completely, bewilderingly themselves. It's a short, intense shot of avant-garde spirit.



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Richard Brown
9 months ago

I was skeptical at first, but the narrative structure is incredibly compelling. Exceeded all my expectations.

Ava Rodriguez
1 year ago

Finally a version with clear text and no errors.

Oliver Rodriguez
1 year ago

Helped me clear up some confusion on the topic.

Jackson Martinez
1 year ago

Helped me clear up some confusion on the topic.

Christopher Martin
1 year ago

Beautifully written.

5
5 out of 5 (10 User reviews )

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