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produced in his part of the New World; why, then, should the changes stop there? Nor have they ceased at that point, as Señor Urbina's delightful and informative book reveals. So, too, whatever the merits of the academic question involved, a book like Alencar's "Guarany," for instance, could not have been written outside of Brazil; neither could Verissimo's own "Scenes from Amazon Life."


Brazilian literature has been divided into four main periods. The first extends from the age of discovery and exploration to the middle of the eighteenth century; the second includes the second half of the eighteenth century; the third comprises the years of the nineteenth century up to 1840, while that date inaugurates the triumph of Romanticism over pseudo-Classicism. Romanticism, as in other countries, gave way in turn to realism and various other movements current in those turbulent decades. Sometimes the changes came not as a natural phase of literary evolution, but rather as the consequence of pure imitation. Thus, Verissimo tells us, Symbolism, in Brazil, was a matter of intentional parroting, in many cases unin-