emperor Dom Pedro II as a translator
Entre línguas e culturas:
o imperador Dom Pedro II como tradutor
Sérgio Romanelli
ABSTRACT
In this article I present one of the projects developed by NUPROC (Center for study of creative processes) at the Department of Foreign Language and Literature at UFSC. This is an investigation into the translation process of Dom Pedro II. The process documents are made up of manuscripts of translations of several languages made by Emperor Dom Pedro II and letters exchanged throughout his life with several European and American intellectuals, as well as pages from his diaries that provide relevant information concerning this activity, not only of translation, but also intellectual broadly.
KEY WORDS
Emperor Dom Pedro II; The translation process; Italian Literature.
RESUMO
Neste artigo pretendo apresentar um dos projetos desenvolvidos pelo NUPROC (Núcleo de estudos de processos criativos) junto ao Departamento de Língua e Literatura Estrangeiras da UFSC. Trata-se de uma investigação acerca do processo tradutório de Dom Pedro II. Os documentos de processo constituem-se de manuscritos de traduções de várias línguas feitas pelo Imperador e de cartas trocadas ao longo de sua vida com vários intelectuais europeus e americanos, além de páginas de seus diários que trazem informações relevantes acerca dessa atividade, não somente de tradução, mas intelectual lato sensu.
PALAVRAS-CHAVE
Dom Pedro II; Estudo de processo tradutório; Literatura italiana.
The main focus of this analysis will be on the translation process inasmuch as it regards the translation from Italian into Portuguese of
oeuvres by Alessandro Manzoni (Il Cinque Maggio, L´Adelchi and Conte
di Carmagnola), with the objective of not only reconstituting the genesis
of the Emperor’s translations but also his relations to the Italian culture, language and literature.
Through the analysis of these documents I intend to trace his profile as a translator, his approach to the translated texts as well as to understand what place translation – as an intellectual activity – occupied in his life, considering the context of that period. This is not simply a specific study of a unique corpus, but also the study of a case inserted in a specific cultural, social and historical polysystem1 – the period of Imperial Brazil.
Actually, it is not a case, especially if we consider that translations and the Emperor had a fundamental role in the constitution of the cultural and social identity of Brazil in the 19th Century. Dom Pedro II or
O Magnânimo – The Magnanimus – was born on December 2nd 1825.
He governed Brazil in the period between 1840 and 1889, standing out as a significant patron of culture and education. But as time went by, he not only functioned as a patron but also as a dilettante translator. In his diaries he registered not only the observations of the world around him on a daily basis but also on various translated texts, from a variety of languages, Italian, among them. He studied with passion and discipline throughout his life and always found solace and pleasure in reading and in other intellectual activities, especially during the most difficult phases of his existence. The Emperor translated several texts: In his diaries one also finds notes regarding his own translations and the dates in which they were done; in addition, one finds titles of books and authors he had in mind for future translation, such as Victor Hugo, Longfellow, Manzoni, Schiller, Liégeard, Homer, Lamartine, among others2. With the
same disposition, he exchanged correspondence and promoted gatherings with numerous intellectuals, writers and poets from different parts of the world. Through endless conversations and mail exchange he gathered information, cleared doubts about words, asked for opinions and received the support of those who admired his efforts in translation.
1 Even-Zohar substitutes
univalent causal para-meters with polyvalent factors as an instrument for explaining the com-plexity of culture within a single community and be-tween communities. His polysystem theory (Even-Zohar 1990) analyzed sets of relations in lite-rature and language, but gradually shifted towards a more complex analysis of sociocultural systems.
2 I here want to cite the
pioneer research of my advisee Rosane de Souza which resulted in her Master’s dissertation at PGET – UFSC entitled The genesis of a translation process: The thousand
and one nights of Dom Pe-dro II, defended in 2010.
It was precisely in this way, through correspondence, that he came to know and admire the Italian poet and writer Alessandro Manzoni, and to translate, for example, his poem “Il Cinque Maggio”. According to Lyra (1938), his mail exchange with Manzoni started around the same period as his correspondence with Alexandre Herculano, and extended over a period of about twenty years. It started when he asked Manzoni for his autograph and for permission to translate some stanzas of his immortal Ode “Il Cinque Maggio” in July of 1851. The letters that followed reveal a warmer tone, and the Emperor, having become more familiar with Manzoni’s thoughts, allowed himself to appreciate more deeply his poetry and compare the poem in some translated versions. Manzoni and Dom Pedro II met personally in 1871 in Brussaglio.
The prototext of this study is constituted of digitalized manuscripts from the Historical Archives of the Imperial Museum (Museu Imperial) in Petrópolis and includes letters from Manzoni to Dom Pedro II and back (total of 15), a manuscript in Italian of Manzoni’s original, an autograph version of the translation of the poem “Il Cinque Maggio” by the Emperor and another manuscript version of the Barão da Barra (the Baron from Barra), an autograph version of the translation of the tragedy of Adelchi and a an autograph version of the translation of the tragedy Conte di Carmagnola.
Even though not all of the manuscripts found until now show traces of some process of rewriting, it seems to be relevant to present to the Brazilian public some of these documents, mostly forgotten in various archives in Brazil, for they may finally unveil an apparently under-researched characteristic of the Emperor.
Restating Claudia Amigo Pino, I emphasize that the objective of this study is not the search of an origin, but the search of a scriptural process that “[…] would simply point out relations amongst texts that could explain a scriptural movement” (2007, p. 103)3. In any case, this genetic
study is legitimate if we consider that we have in hands more than two texts (translations-manuscripts) of the oeuvres in question even though they do not always belong to the same author and because this research
as for the first time in Brazil Dom Pedro II’s activity as a translator is analyzed, in this specific case his translation from the Arabic.
3 [...] apontaria
simples-mente relações entre textos que pudessem dar conta de um mo-vimento escritural. All the translations from French, Portuguese and Italian are mine.
does not deal with the final versions. We have the manuscripts of the texts and of the letters, but not always those found up to now (there will be other missions in search of missing manuscripts) are sufficient for a thorough reconstitution of the textual process. But through the dossier of letters, diaries, and loose sheets it is possible to reconstitute the web of elements that lead the Emperor to weave close connections with several intellectuals whose work he has translated.
My intention is to study this peculiar web – centered on literature – which served as his main means to deal with obstacles and as a means to distance himself from his main role as a statesman. After all, it was the reading of the books he translated which lead him to contact intellectuals; it was this friendship and his desire to be appreciated and to reach these authors physically and intellectually that made him want to translate their work. Perhaps there was also an inner desire to show them his admiration for their work and the desire to become one of them that prompted his translation activities. As I analyze his journey I have the impression that he really sought to become one of them; he sought to be accepted in that era which Pascale Casanova called The World Republic of Letters – a republic with its own rules and limits, regardless of the writers´ roles and origin:
The great cosmopolitans (in general polyglots) are, in fact, a type of exchange agents, ‘brokers’, in charge of exporting from one space to another, texts whose literary value they determine. Valery Larbaud […] described the literates of the entire world as members of an invisible society, as some type of ‘legislators’ of The Republic of Letters. (2008, p. 43-44)4
Dom Pedro II is an irreverent artist, but very self-contained due to his role as Emperor; he most likely wanted to be a part of this invisible aristocracy, an aristocracy without power, without titles, a society of literates that was established and consecrated by great authors. Writers and translators have a relevant and indispensible role in this new world space established solely by texts: “In the same way as criticism, translation is valued and sanctified by itself […]” (CASANOVA, 2008, p. 46)5.
4 Les grands médiateurs (souvant polyglotte) sont en effet des sortes d’agents de change, des “cambistes” chargés d’exporter d’un espace à l’autre des textes dont ils fixent, par la même, la valeur littéraire. Valery Larbaud [...] grand cos-mopolite et grand traduc-teur, décrivait les lettrés Du monde entier comme les membres d’une so-ciété invisible, lês “lé-gislateurs”, en quelque
Pascale Casanova, as she cites the thought of Larbaud reminds us of the fundamental and triple role played by translators, who, as they translate, also increase their intellectual knowledge, enrich their national literature and honor their name. In the case of Dom Pedro II, in my opinion, and based on the analysis of this dossier, it is the first aspect that seems more relevant. In addition, I aim to understand what type of translator Dom Pedro II was and what he used translation for. Was he a translator who conformed to the translation procedures of his time and social class? This is the objective of the research conducted by many of my advisees, who are examining his translations from many languages – such as Arabic, French, English, Italian, Hebrew, German etc – into Portuguese in order to establish a common denominator within this vast and surprising creative activity. Are there laws and recurrences in this body of translations? What type of conception and project do these translations reveal? Or should they simply be understood as a typical activity of a bored nobleman of the 19th Century who tried to busy himself with the learning of
foreign languages and literatures of cultures in distant places? This thought is what prompted the title of this study, Dom Pedro II was an imperial translator, who, for that precise reason, translated as an Emperor, that is, as a representative of the elite, who at that time, had a precise/given behavior in relation to education and to the role of translation and of literature in this learning process and in the consolidation of its privileged prerogatives.
In this sense, the Emperor’s study habits went beyond the normal educational routine, “More than habit, reading and studying became his passion. Hiding in his palace, away from his parents, educated by strangers […] books became a world apart, where he could hide and protect himself” (DE CARVALHO, 2007, p. 29)6. The isolation
and unhappiness which the precocious role of emperor forced upon him, lead him not only to find comfort in reading but also affective compensation and self-affirmation in the intense epistolary relations
sorte, de la République des Lettres [...]. Due to
the impossibility of fin-ding an English version of this book, the translation of the citations is mine.
5 Comme la critique, la
traduction est, par elle-même, valorisation ou consécration [...].
6 Mais do que hábito,
leitura e estudo transfor-maram-se numa de suas paixões. Enfurnado no pa-lácio, longe dos pais, edu-cado por estranhos [...] fez dos livros um mundo à parte, em que podia isolar-se e proteger-se.
which from an early age he established with men and women, above all with intellectuals, the only ones who could share his need and thirst for knowledge in that invisible and transnational Republic of Letters.
This necessity to communicate beyond political affairs is witnessed in his diaries, which he maintained throughout his life in an almost feverish manner. According to De Carvalho, “The Emperor wrote 5500 pages of diaries, registered in pencil in 43 notebooks”;7 these pages
become fundamental in trying to trace the Emperor’s creative process, especially the ones related to his translation activities, his reading habits, his studies and meetings. In the following diary entries one can confirm the regularity of his translation activities, the importance of translation in his language and culture learning process and its role as a means to be acknowledged in the literary circles:
Nov. 21st 1872, a quarter after 5 - I had breakfast
and will now translate from the Hebrew.8
Nov. 18th 1876 – After lunch, while we waited, I
translated the Act of the Apostle’s with Henning […].9
July 8th 1887 […], a quarter after 3, I translated
from Sanskrit since 2 thirty, with Seibold. July 12th 1887 […] [sic] h 1/2. I just finished
translating from Arabic, after comparing a translation of Lusíadas from German with the original and continuing my translation of A
thousand and one nights, from the original, with
Seibold.10
May 1st 1888 […], eight forty-five – Couldn’t finish
translating Manzoni’s sonnet in which he talks about himself.
11 forty […] Translated the sonnet Manzoni made for himself […].11
In other diaries we observed that after writing his first version of a translation, almost always with the help of a specialist in the original language and culture, he had the version transcribed; and after that, sometimes, he would rewrite it; and sometimes, either before or after, he would send the version to friends, intellectuals, lovers and acquaintances, either to present them with his creativity or to receive their admiration, esteem and feedback as to the quality of his work:
7 O imperador escreveu 5500 páginas de diário, registradas a lápis em 43 cadernos. 8 21 de novembro de 1872 “5h ¼. Tomei o café e vou traduzir do hebreu.
VOLUME 14. Novembro 1872 e Julho de 1873.
9 18 de novembro de
1876 – Depois do almo-ço, enquanto não se se-guia traduzi os Atos dos Apóstolos com o Henning [...].VOLUME 18 2ª VIA-GEM AO EXTERIOR – 2ª PARTE(ORIENTE MÉ-DIO)11/14 TO 12/4/1876. 10 8 de julho de 1887 [...] 3h ½ Traduzi desde 2 ½ sânscrito com o Seibold. 12 de julho de 1887 [...] [sic] h ½. Acabei de tra-duzir árabe depois de comparar a tradução dos Lusíadas em alemão com o original e de continuar a traduzir as Mil e uma Noites no original com o Seibold. VOLUME 27 3ª
VIAGEM AO EXTERIOR – 1ª . PARTE 06/30/1887 TO 04/26/1888.
11 1 de maio de 1888 [...]
10 forty-five – Hebrew and Camões. I am almost finishing the comparison between the German translation of Lusíadas with the original. […] I read my translation of the Arabic of the short story A thousand and one nights, which is now with Mota Maia’s wife, who is now reading it, and while she does, he follows her in the French version. Apparently they both find my version good. Since I am continuing my translation in this blank notebook, I only left them the book of my translation, which is complete, and I will look for a previous to lend to them too […].12
And also testimonies of his sudden desire to translate a given poem, and the testimony of the deep study that followed such initial creative impetus, and the transcriptions that followed the translation before he would send them to trustworthy friends in search of their judgment and who would testify to his work. All of this confirms the regularity of the Emperor’s creative activity.
May 17th 1891 […] ten o’clock. I read a bit of Liégeard’s poetry, reading it in order to translate it. July 28th 1890 […] I felt like translating a ballad by Schiller […].13
August 6th 1890 […] I will begin the translation of Schiller’s Glocke, after copying the sonnet with today’s date in order to present the countess with it.
August 16th […] 4 thirty-five Just finished dictating to Japurazinha the copy of my translation of Schiller.
August 17th […] 10 after ten. As I entered my living room I found Japurazinha copying my translation of Schiller’s Glocke […].14
The diaries, besides attesting to the Emperor’s devotion to studying and to letters, allow us to reconstruct his attempt to join that particular international Republic of Letters. In order to catch up with the members of this Republic he travelled tirelessly and when he was unable to do so, he would weave his literary web with readings, and above all, with letters and translations. Translation, in my opinion, becomes one of, if not the most important means he used to be acknowledged by this community of privileged individuals, especially because through his own poetical writing he would probably never become acknowledged
de traduzir o Soneto de Manzoni falando de si. 11h 40’ [...] Traduzi o soneto que Manzoni fez a si [...]. VOLUME 28 3ª VIAGEM AO EXTERIOR – 2ª. 04/26 a 05/04/1888.
12 10¾ Hebraico e Camões.
Estou acabando quase a comparação da tradução alemã dos Lusíadas com o original. [...] Li a minha tradução do árabe do con-to das Mil e Uma Noites, que está lendo a mulher do Mota Maia a esta e ao marido seguindo-a ela em francês, e parecendo a ambos boa a que eu fiz. Como continuei a minha tradução nesse livro em branco só lhes deixei o livro da minha tradução que está todo escrito e vou procurar o anterior para lhes emprestar também [...]. VOLUME 35 EXÍLIO
– 11/17 a 12/25/1890.
13 17 de maio de 1891 [...]
10h Li pouco de poesia do Liégeard, estudando-a para traduzi-la.
VOLU-ME 39 EXÍLIO – 27/04 a 12/06 de 1891.
14 28 de julho de 1890 [...]
Deu-me vontade de tra-duzir a balada de Schiller [...]. 6 de agosto de 1890 [...] Vou à tradução do Sino de Schiller depois de ter copiado o soneto com a data de hoje para dá-lo à condessa. 16 de agosto [...] 4h ¾ Acabei de ditar à Japurazinha a cópia de minha tradução de Schil-ler. 17 de agosto [...] 10h 10’ Chegando à minha sala achei a Japurinha na cópia de minha tradução de O Sino de Schiller. VOLUME 39 EXÍLIO – 04/27 a 06/12 1891. VOLUME 32 EXÍLIO – 06/13 to 8/08 1890.
and successful. This assertion can be backed up by the study of textual genesis and by retracing this invisible journey, made of encounters, sonnets, poems, readings, diaries; a materiality of the intellect which the vestiges left in the archives allow us to reconstruct. The Countess of Barral was the artificer of this web of relations and also his intellectual counterpart. It is above all in his Grand Tour of Europe where he found his most significant interlocutors:
Departing from Lisbon, he visited the North of Portugal […] and took off on a marathon that took him to Spain, France, England, Belgium, Germany, Austria, Italy, Egypt, Switzerland, Paris […] The travelling routine was all the same: visits to cultural. Educational and scientific institutions, historical landmarks, and above all, visits to protagonists of the cultural- artisticworld (DE CARVALHO, 2007, p. 149).15
The list of celebrities he meets in these trips is very relevant, but we cite Wagner, Pasteur, Hugo and, in Italy, Manzoni, Beccaria, among others. The great mutual admiration between him and Manzoni as well as his intellectual and creative relation is testified in one of the many letters they exchanged during their lifetime. In the transcription below id the letter from April 15 1853, one finds the confirmation not only of the translation but also their minute talks they had on both their creative processes:
Fol. 2
Non so anche come sprimerLe la mia riconoscenza, mista
pur troppo d’orgogli, per l’attenzione che s’è degnata di dare
ad alcuni miei poveri versi. Il cenno gentile che mi dà d’averli
conosciuti fino dalla tenera età, mi spiega in parte un tale eccesso d’indulgenza. [...]
Sono poi mortificatissimo di non poter darLe le spiegazioni che
ha la somma Bontà di desiderare, e mi fa l’onore di chiedermi, intorno
Fol. 3
a quasi tutte le lezioni differenti d’alcuni versi dell’ode di cui
ha voluto gradire con tanta degnazione una mia
15 Partindo de Lisboa, visi-tou o norte de Portugal [...] e disparou numa maratona que o levou à Espanha, França, Inglaterra, Bélgica, Alemanha, Áustria, Itália, Egito, Suíça, Paris. [...] A rotina da viagem era a de sempre: visitas a institui-ções de cultura, educação e ciência, a lugares históricos e, sobretudo, a personagens do mundo cultural.
copia. Le due
edizioni di cui mi fa cenno, io non le ho mai viste, e non potrei
procurarmele, avendo io medesimo fatta istanza perché non fosse
permessa l’entrata all’edizioni straniere de’ miei scritti. La sola
variante che mi sia nota, è quella del Ferve sostituito al serve.
E, per non mancare all’usanza de’ poeti, difenderò arditamente
la mia lezione, e per il merito dell’antitesi, accenata dalla
Maestà Vostra, e perché il sentimento che sarebbe espresso
dal Ferve è già toccato implicitmente nelle parole ansia e indocile, del verso precedente.16
The stanza about which they discuss in this letter, released in a few foreign editions, with variables which both Manzoni and Dom Pedro II find a bit dubious is the following:
La procellosa e trepida Gioia d’un gran disegno, L’ansia d’un cor che indocile Serve, pensando al regno, E il giunge, e tiene un premio Ch’era follia sperar,
It is exactly in that year that Dom Pedro II translates the ode “Il cinque
Maggio”, which he will resume in 1869 and in 1871, the latter version
can be found in the Imperial Museum in Petropolis. Morreu e, qual marmoreo, Solto o postremo alento, O corpo jaz exanime, Orphão d’um tal portento, Assim sorpresa, attonita A terra co’a nova está Muda, pensando na ultima Hora do homem fatal, Nem sabe se tão celebre Planta de pé mortal Seu pó de sangue avido Inda pisar virá. Fulgido sobre o solio Nem genio o viu; calou-se. Quando, por vezes varias, Cahiu, surgiu, prostrou-se
16 Linear transcription
of Manzoni’s Letter to Dom Pedro II. [CARTA DE MANZONI A D PE-DRO- 15/04/1853] Maço 119 – Doc 5892.
A minha voz d’innumeras Ouvido não terá.
Virgem de vil encomio E de covarde insulto, Fol. 02
Surge, abalado ao subito Finar do ingente vulto, E solta à urna um cantico Immorredor quiçá. Dos Alpes ás Pyramides,* Do Manzanar ao Rheno, Elle fuzila; e rapido Raio é o seu aceno. Troou de Scylla ao Tanais D’um até outro mar. Foi vera gloria? Aos posteros A ardua sentença; a nós Curvar a fronte ao Maximo Factor, que d’elle apoz Quiz de seu almo Espirito Rasto maior deixar. O procelloso e trepido Prazer d’um grande plano, A ancia de quem indomito Serve p’ra ser soberano, E o é; e ganha premio, Que era mania esp’rar. Fol. 03
Tudo provou; a gloria Maior depois dos transes; A fuga e a victoria; Do paço e exilio os lances; Duas vezes no pó infimo; Duas vezes sobre o altar. Seu nome diz: dous seculos, Um contra o outro armado, Humildes vão render-se-lhe Como aguardando o fado. Impoz silencio e arbitro Entre elles se sentou. E foi-se! E os dias no ocio, Em praia exigua finda; Alvo de inveja livida, E de piedade infinda; D’inextinguivel odio, E amor, que não mudou. Como a cabeça ao naufrago A onda verga e envolve;
*Escripto perto da Pyra-mide de /Ghirela/? a 5 de Novembro de 1871. Nota do tradutor.
Onda na qual o misero De cima a vista volve, E a divisar esforça-se Praia remota em vão, Fol. 04
Tal da memoria o cumulo Sobre aquella alma cae. Que vezes elle aos posteros A si narrar-se vae; E sobre a eterna pagina Tomba a cansada mão! Que vezes elle, ao tacito Morrer d’ignavo dia, Baixo o olhar fulmineo, Braços crusados, via Os dias, que já forão-se, A mente lh’assaltar!
As moveis tendas lembrão-lhe Dos muros os abalos, Dos sabres os relampagos, A onda dos cavallos; O concitado imperio O prompto obedecer. Talvez ao crú martyrio Cedeu o forte seio; Desesperou; mas valido Braco celeste veio,
E para um ar mais limpido Piedoso o transportou. E guia-o pelo flórido Fol. 05
Trilho da esperança, Ao campo eterno, ao premio Que além do almejo avança; Onde é noite, é silencio A gloria que passou. Bella, immortal, benefica Fé, a vencer affeita, Inda isto escreve: alegra-te; Que alteza mais eleita Ao destronar do Golgotha Jamais se prosternou. Tu, d’estas cinzas frigidas, O impio fallar isola. Deus que te abate e eleva-te, Que te afflige e consola, Sobre o deserto thalamo
Ao lado seu pousou.17 17 Linear transcription of
The manuscripts of the other two versions have not been located yet, only indirect transcriptions and citations, found in the 1932 writings of Medeiros and Albuquerque (p. 42-47) and in Alessandra Vanucci’s book of 2004 (p. 79-80).
This initial stage of my research does not allow me to draw exhaustive conclusions, especially given the fact that many manuscripts still need to be located and those already found still need to be organized, transcribed and further examined. Most certainly, the corpus here discussed brings to the fore an extraordinary and invisible, or at least not yet told, attempt of a great Brazilian individual of the 19th Century to overcome his destiny - or the role his destiny conferred upon him - through translation and literary creation in order to come to terms with his true identity, that of a man in love with culture and literature. This journey, forgotten of ignored until now comes to light thanks to genetic studies and to the possibilities of studying manuscripts engendered by genetic criticism.
REFERENCES
CARVALHO, José Murilo de. D. Pedro II. São Paulo: Companhia das Letras, 2007.
CASANOVA, Pascale. La republique mondiale des lettre. Paris: Éditions du Seuil, 2008.
DOM PEDRO II. Diário do Imperador D. Pedro II, 1840-1890. Organização de Begonha Bediaga. Petrópolis: Museu Imperial, 1999.
EVEN-ZOHAR, I. Polysystem Studies. Poetics Today. International
Jour-nal for Theory and AJour-nalysis of Literature and Communication, Vol. 11,
Number 1 Spring 1990.
LYRA, Heitor. História de Dom Pedro II, 1825-1891. Belo Horizonte, Itatiaia; São Paulo: Ed. USP, 1977.
MEDEIROS E ALBUQUERQUE. Poesias completas de Dom Pedro II. Rio de Janeiro: Editora Guanabara, 1932.
PINO, Claudia Amigo; ZULAR Roberto. Escrever sobre escrever: uma in-trodução crítica à crítica genética. São Paulo: WMF Martins Fontes, 2007.
SOUZA, Rosane De. A gênese de um processo tradutório: as Mil e uma noites de Dom Pedro II. Dissertação de Mestrado, Florianópolis: Pget-Ufsc, 2010, 136 pp.
VANNUCCI, Alessandra (org.). Uma amizade revelada. Correspondência entre o Imperador dom Pedro II e Adelaide Ristori, a maior atriz de seu tempo. Rio de Janeiro: Edições Biblioteca Nacional, 2004.
SERGIO ROMANELLI
Doutor em Linguística Aplicada (UFBA). Professor de Italiano e Tra-dução na UFSC.
Recebido em 30/06/2011 Aceito em 30/08/2011
ROMANELLI, Sérgio. Between languages and cultures: Emperor Dom Pedro II as a translator. Nonada Letras em Revista. Porto Alegre, ano 14, n. 16, p. 25-37, 2011.
