https://www.casamigueltorga.pt/_next/static/chunks/781-a82513dc8d78e2fe.js

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1o I already carry earth under my nails that would be enough for the entire Central. I need this. I need to come and graft from time to time the weakness into this vine.</p><span>Diary I</span>"},{"id":"tab6","title":"Miguel Torga and Tr\xe1s-os-Montes: \\"A Wonderful Kingdom\\"","p1":"The writer and the umbilical connection to Tr\xe1s-os-Montes, his \\"wonderful kingdom\\". An isolated and mountainous region that crushes the gaze. Its inhabitants, a singular and authentic people. The call of origins, the always equal, always different return. The \\"kingdom\\" where he finds and questions himself, where he calms and disturbs himself, and about which he wrote admirable pages.","p2":"<span>S\xe3o Martinho de Anta, October 3, 1960</span><p>I rotate three hundred and sixty degrees on the axis. And I am left with the image of what I am in my eyes: the human incarnation of these immovable, dry and desperate mountains, which wait for the storms of winter and the sun of spring with the same unbreakable stoicism.</p><span>Diary IX</span>"},{"id":"tab7","title":"S\xe3o Martinho de Anta: \\"Place From Where\\"","p1":"S\xe3o Martinho de Anta is the place from where he departs and to where he returns. The native land as the center of a referential and symbolic universe from which he looks at the world. The universality of the work.","p2":"<span>S\xe3o Martinho de Anta, December 23, 1968</span><p>I insist: S. Martinho de Anta is not a place where, but a place from where...</p><span>Diary XVI</span>","p3":"<p>The universal is the local without walls.</p><span>Tra\xe7o de Uni\xe3o</span>"},{"id":"tab8","title":"Andr\xe9e Crabb\xe9 Rocha and Clara Crabb\xe9 Rocha","p1":"The family and the affective connection to the house. The wife and daughter, the shared passion for writing and literature, the main works of the two professors and essayists.","p2":"<p>After my Father\'s death, Jeanne [Andr\xe9e Crabb\xe9 Rocha] transformed the uncomfortable family shack into an airy and comfortable dwelling where it was pleasant to live. Light entered the dark little rooms, a spacious living room stove replaced the smoky fireplace without a chimney, the pig pen gave way to the garage, a well opened in the backyard dispensed with the consecutive water loads from the fountain, the manure yard was now a tiled patio, for reading and rest. And whenever I could I took refuge there feeling purified within its white walls the emotions of the past.</p><span>A Cria\xe7\xe3o do Mundo</span>"},{"id":"tab9","title":"Garden and Orchard","p1":"A walk through the garden and orchard, cultivated by the family and by the writer himself. The flowers he liked so much (camellias, azaleas, rhododendrons, lilacs) and which he refers to several times in his work.","p2":"<span>S\xe3o Martinho de Anta, May 12, 1979</span><p>The garden in celebration. Azaleas, wisteria, rhododendrons, lilies, lilacs, roses, peonies. An oasis of color and perfume planted by me and dug by me (…)</p><span>Diary XII</span>"}]}')},369:e=>{"use strict";e.exports=JSON.parse('{"name":"Maison","_id":"79766213195353","header_1":"Une maison qui garde les souvenirs de la vie et de l\'œuvre du po\xe8te. La maison natale de Miguel Torga, en Tr\xe1s-os-Montes, appartenait \xe0 ses parents, paysans, et a \xe9t\xe9 remani\xe9e en 1960 par Andr\xe9e Rocha, qui a maintenu le trac\xe9 original. Ici, la famille a pass\xe9 des vacances successives de No\xebl, de P\xe2ques et d\'\xe9t\xe9. Ouverte au public en 2022, elle maintient des divisions intactes avec des pi\xe8ces d\xe9coratives et des objets personnels de Torga, et d\'autres intervenues mus\xe9ographiquement avec des supports contemporains qui exposent son œuvre et mettent en \xe9vidence la connexion au paysage transmontan.","blockquote_1":"<span>S\xe3o Martinho de Anta, 5 septembre 1982</span> <br /> La maison paternelle. La matrice sacr\xe9e de la famille. Mais je commence \xe0 ne plus avoir de mots pour l\'\xe9motion que je ressens quand j\'y entre. J\'avale tout. <br /> <span>Journal XIV</span>","blockquote_2":"<span> S\xe3o Martinho de Anta, 29 octobre 1955</span> <br /> C\'est de cette r\xe9alit\xe9 que je suis parti, et c\'est \xe0 cette r\xe9alit\xe9 que je reviens toujours, peu importe les d\xe9tours que je prends dans les chemins de la vie. C\'est une certitude de rep\xe8re avec des t\xe9moins, qui ne me laisse jamais d\xe9sorient\xe9 quand je veux raviver les extr\xe9mit\xe9s de l\'\xe2me. Il suffit de creuser un peu la cro\xfbte de l\'apparence, et me voil\xe0 dans la matrice, confront\xe9. <br /> <span>Journal VIII</span>","tabs":[{"id":"tab1","title":"R\xe9ception","p1":"Br\xe8ve pr\xe9sentation de l\'\xe9crivain, sa relation avec le lieu, le contexte du don de la maison par sa fille Clara Crabb\xe9 Rocha"},{"id":"tab2","title":"Hall d\'entr\xe9e","p1":"Visiter la Casa Miguel Torga, c\'est entrer dans l\'un des lieux embl\xe9matiques de sa vie, ouvrir une porte \xe0 l\'intimit\xe9 du po\xe8te, d\xe9voiler un peu de l\'\xe9nigme de la cr\xe9ation artistique, sentir l\'\\"esprit du lieu\\".","p2":"<span>S\xe3o Martinho de Anta, 9 juin 1954 </span> <p>Je suis comme les armes : chaque fois qu\'une explosion int\xe9rieure me d\xe9s\xe9quilibre, je recule vers mon centre de gravit\xe9. L\'impulsion qui m\'am\xe8ne ici \xe0 la fin de chaque aventure correspond au recul des tirs : n\xe9cessit\xe9 de retrouver la stabilit\xe9 perdue. </p><span>Journal VII</span>","p3":"<p>\xc0 la maison, rien n\'avait chang\xe9. La m\xeame pauvret\xe9, la m\xeame suie, le m\xeame bouillon. Les poules grattaient dans la cour, le cochon grognait dans l\'enclos, l\'\xe2ne braillait dans la boutique. Mais ma nostalgie rendait chaque retrouvaille surprenante. Les aliments qui autrefois me d\xe9go\xfbtaie

1nt avaient bon go\xfbt, j\'entendais grincer une charrette et courais \xe0 la porte pour la voir passer, je voulais tout savoir de tout et de tous. </p><span>A Cria\xe7\xe3o do Mundo</span>"},{"id":"tab3","title":"Biobibliographie","p1":"Parall\xe8lement \xe0 la production bibliographique, sont \xe9voqu\xe9s ici des moments de son parcours de vie : du r\xe9cit de la naissance \xe0 l\'imminence de la mort, le choix du pseudonyme, la relation avec la maison, ses lieux d\'\xe9lection.","p2":"<span>S\xe3o Martinho de Anta, 30 septembre 1957 </span><p>Ce tropisme qui m\'am\xe8ne \xe0 la source native est une sorte d\'ordre de convocation d\'incorporation p\xe9riodique dans ma classe. Je viens, je m\'int\xe8gre, et je pars apr\xe8s permission.</p><span>Journal VIII</span>"},{"id":"tab4","title":"Salon","p1":"Le lieu de la famille, l\'espace de convivialit\xe9. L\'un de ses lieux d\'\xe9criture. Tant\xf4t lieu de silence, tant\xf4t lieu de partage o\xf9 le po\xe8te recevait des amis, des intellectuels et des personnalit\xe9s illustres.","p2":"<span>S\xe3o Martinho de Anta, 19 mars 1989</span><p>J\'arrive, j\'allume la chemin\xe9e, je me niche dans le canap\xe9, et je passe des heures infinies \xe0 regarder en silence les flammes, immerg\xe9 dans une brume de sentiments auxquels je ne peux donner voix. C\'est ici que je ressens avec plus d\'acuit\xe9 que je ne donnerai jamais expression \xe0 la hauteur de mon \xe2me.</p><span>Journal XV</span>","p3":"<h1>Paix</h1><p>Paix de la chemin\xe9e allum\xe9e. <br /> La vie sans horaire <br /> Et les jours r\xe9chauff\xe9s.<br />Jours qui se sont pass\xe9s <br /> Dans un autre calendrier.</p><p>Hibernation de l\'\xe2me <br /> Dans le corps confortable. <br />Aucun cri douloureux <br /> \xc0 frapper au verrou endormi <br /> De la tranquillit\xe9 \xe9veill\xe9e.</p><p>Tr\xeave sur tous les fronts <br />De bataille. <br />Le cœur content <br /> Parce que personne ne le gronde <br /> De battre calmement.</p><span>Journal X</span>"},{"id":"tab5","title":"Hall int\xe9rieur","p1":"Collection de premi\xe8res \xe9ditions des livres de l\'\xe9crivain, des ann\xe9es 1930 et 1940, expos\xe9e dans l\'armoire de la maison. Les premiers livres, \xe9ditions rares, certaines encore sign\xe9es du nom Adolpho Rocha.","p2":"<span>S\xe3o Martinho de Anta, 22 avril 1938</span><p>Je reviens demain. Une semaine. C\'est peu. J\'avais besoin de bien plus. Mais m\xeame ainsi, j\'ai d\xe9j\xe0 de la terre sous les ongles qui suffirait pour tout le Central. J\'ai besoin de cela. Je dois venir greffer de temps en temps la faiblesse dans cette vigne.</p><span>Journal I</span>"},{"id":"tab6","title":"Miguel Torga et Tr\xe1s-os-Montes : \\"Un Royaume Merveilleux\\"","p1":"L\'\xe9crivain et la connexion ombilicale \xe0 Tr\xe1s-os-Montes, son \\"royaume merveilleux\\". Une r\xe9gion isol\xe9e et montagneuse qui \xe9crase le regard. Ses habitants, un peuple singulier et authentique. L\'appel des origines, le retour toujours \xe9gal, toujours diff\xe9rent. Le \\"royaume\\" o\xf9 il se trouve et s\'interroge, o\xf9 il se calme et s\'inqui\xe8te, et sur lequel il a \xe9crit des pages admirables.","p2":"<span>S\xe3o Martinho de Anta, 3 octobre 1960</span><p>Je tourne trois cent soixante degr\xe9s sur l\'axe. Et il me reste dans les yeux l\'image de ce que je suis : l\'incarnation humaine de ces montagnes immuables, s\xe8ches et d\xe9sesp\xe9r\xe9es, qui attendent les temp\xeates d\'hiver et le soleil de printemps avec le m\xeame sto\xefcisme in\xe9branlable.</p><span>Journal IX</span>"},{"id":"tab7","title":"S\xe3o Martinho de Anta : \\"Lieu d\'O\xf9\\"","p1":"S\xe3o Martinho de Anta est le lieu d\'o\xf9 il part et vers o\xf9 il revient. La terre natale comme centre d\'un univers r\xe9f\xe9rentiel et symbolique \xe0 partir duquel il regarde le monde. L\'universalit\xe9 de l\'œuvre.","p2":"<span>S\xe3o Martinho de Anta, 23 d\xe9cembre 1968</span><p>J\'insiste : S. Martinho de Anta n\'est pas un lieu o\xf9, mais un lieu d\'o\xf9...</p><span>Journal XVI</span>","p3":"<p>L\'universel est le local sans murs.</p><span>Tra\xe7o de Uni\xe3o</span>"},{"id":"tab8","title":"Andr\xe9e Crabb\xe9 Rocha et Clara Crabb\xe9 Rocha","p1":"La famille et la connexion affective \xe0 la maison. L\'\xe9pouse et la fille, la passion partag\xe9e pour l\'\xe9criture et la litt\xe9rature, les principales œuvres des deux professeures et essayistes.","p2":"<p>Apr\xe8s la mort de mon P\xe8re, Jeanne [Andr\xe9e Crabb\xe9 Rocha] a transform\xe9 la cabane familiale inconfortable en une demeure a\xe9r\xe9e et 

1confortable o\xf9 il faisait bon vivre. La lumi\xe8re est entr\xe9e dans les petites chambres sombres, un po\xeale spacieux du salon a remplac\xe9 la chemin\xe9e enfum\xe9e sans chemin\xe9e, l\'enclos des cochons a c\xe9d\xe9 la place au garage, un puits ouvert dans la cour a dispens\xe9 les chargements cons\xe9cutifs d\'eau de la fontaine, la cour du fumier \xe9tait maintenant une terrasse carrel\xe9e, pour la lecture et le repos. Et chaque fois que je le pouvais, je m\'y r\xe9fugiais, sentant purifi\xe9es dans ses murs blancs les \xe9motions du pass\xe9.</p><span>A Cria\xe7\xe3o do Mundo</span>"},{"id":"tab9","title":"Jardin et Verger","p1":"Une promenade dans le jardin et le verger, cultiv\xe9s par la famille et par l\'\xe9crivain lui-m\xeame. Les fleurs qu\'il aimait tant (cam\xe9lias, azal\xe9es, rhododendrons, lilas) et qu\'il mentionne plusieurs fois dans son œuvre.","p2":"<span>S\xe3o Martinho de Anta, 12 mai 1979</span><p>Le jardin en f\xeate. Azal\xe9es, glycines, rhododendrons, lys, lilas, roses, pivoines. Une oasis de couleur et de parfum plant\xe9e par moi et creus\xe9e par moi (…)</p><span>Journal XII</span>"}]}')},547:(e,a,r)=>{"use strict";r.d(a,{$:()=>o});let o=(e,a)=>r(8018)("./".concat(a,"/").concat(e,".json"))},607:e=>{"use strict";e.exports=JSON.parse('{"name":"navbar","_id":"797664195353","menu":[{"value":"Miguel Torga","href":"","submenu":[{"value":"Vida","href":"/vida"},{"value":"Obra","href":"/obra"},{"value":"Pr\xe9mios","href":"/premios"},{"value":"Andr\xe9e Crabb\xe9 Rocha e Clara Rocha","href":"/andree-crabbe-rocha-e-clara-rocha"}]},{"value":"A casa","href":"/casa","submenu":[]},{"value":"Os Lugares","href":"/lugares","submenu":[]},{"value":"Di\xe1rio","href":"/diario","submenu":[]},{"value":"Visitar","href":"/visitar","submenu":[]}]}')},894:e=>{"use strict";e.exports=JSON.parse('{"name":"footer","_id":"79766213195353","menu":{"value":"\xc0 propos","href":"/sobre"}}')},1004:e=>{"use strict";e.exports=JSON.parse('{"name":"The Places","_id":"7976621319765353","header":["Literary itinerary of three","days in the Douro"],"blockquote_1":"<blockquote><span> S\xe3o Martinho de Anta, July 3, 1966</span> <br /> These landscapes are already so explicit within me, that they seem written in my understanding. When I think I\'m interpreting them, I\'m reading myself.<br /><span>Diary X</span></blockquote>","blockquote_2":"<blockquote>The earth is of such nature that, not content with the gifts in the open air, it encloses in its entrails riches that have no count. You enter the belly of a mountain and it\'s iron, it\'s gold, it\'s lead, it\'s tin, it\'s tungsten, it\'s zinc, it\'s uranium, it\'s everything Vulcan forged.<br /><span>Portugal</span></blockquote>","subtitles":["Torguian Themes","Culture","Nature"],"days":["First Day","Second Day","Third Day"],"downloadble_content":{"title":["Literary itinerary of three","days in the Douro"],"link":"Download itinerary","p1":"<strong>How to get to S\xe3o Martinho de Anta</strong> <br />One hour by car from Porto, two hours from Vigo. From Porto, follow the A4 towards Vila Real. Exit to IP3, continue on A24/IP3 to EN322. Exit at S\xe3o Martinho de Anta. From Vigo, follow AP-9 towards Tui. In Portugal, follow A3, A11 and A4 to Vila Real. Exit at exit 13 of A4, continue on EN322, exit at S\xe3o Martinho de Anta.","p2":"<strong>In the suitcase: books and soundtrack</strong><br />Walking through the physical and sentimental geography of Miguel Torga is entering his work and his life. Visiting his places with his books, the Diary, Portugal, the Stories and New Stories of the Mountain, helps to unravel this so unique and singular universe. Poetry, A Cria\xe7\xe3o do Mundo, Bichos and Vindima are also beautiful travel companions. In addition to the sounds and silences of the landscapes, rivers, vineyards and people, the album Viagem a Um Reino Maravilhoso, by Lavoisier, is the perfect soundtrack for these walks. The album starts from Torga\'s poems to translate and recreate the sound found in the poetry of the Transmontan writer."},"first_day":{"name":"First Day","title":"First Day <br /> S\xe3o Martinho de Anta and <br />Sabrosa","subtitle":"The house, the family, the roots","blockquote_1":"<span>S\xe3o Martinho de Anta, December 28, 1953</span> <p> It\'s a pity that mountains don\'t speak, don\'t dialogue or testify. These mine, at least. Besides the emotion of hearing them respond to the monologue that the silence in which they live erased from my lips and made interior, I would especially like to know if the indelible mark of each of our encounters remains in their soul, as in mine. The embrace we give is so tight and medullary, so intimate the communion that unites us for hours on end, that I don\'t resign myself to the idea that only on my side there is consciousness, and on the other the love is passive. </p> <span>Diary VII</span>","blockquote_2":"<p> But I could never live outside it as a writer. I lacked the dictionary of the earth, the grammar of the landscape, the Holy Spirit of the people. </p> <span>A Cria\xe7\xe3o do Mundo</span>","content":{"p1":"<strong>The starting point</strong><br />The writer\'s village, where he was born and where he is buried in a flat grave, granite, with a torga. Starting point for a weekend or longer walk. When you want, how you want, for as long as you want.","p2":{"text":"Many itineraries are possible from this village that became a town and that embraces the Transmontan landscapes. The **Espa\xe7o Miguel Torga**, by architect Souto Moura, is a cultural facility with a permanent exhibition about the life and work of Miguel Torga, a temporary exhibition room and an auditorium where lectures, concerts and recitals are regularly held. Right next door, five minutes on foot, the door of **Casa Miguel Torga** opens to welcome visitors: the entrance hall with decorative weapons and the beret, the living room, the fireplace and the armchair where the author sat and wrote, first editions, photographs and manuscripts, translations in several languages, works by Andr\xe9e Rocha and Clara Rocha.","dataLink":["espaco-miguel-torga","casa-miguel-torga"]},"p3":{"text":"Outdoors, the sky, the smell of earth, the landscape that grabs the colors of time, stone, granite. The **Passos de Torga** is a trail that starts from Casa Miguel Torga and ends at Eir\xf4, the square of S\xe3o Martinho de Anta. In the center of the town there used to be a negrilho (the popular name for the black elm), the centenary tree to which the author dedicated the poem \\"A um Negrilho\\". The trail is an 11-kilometer circular walk that breathes nature, shrubs, pines and holm oaks, gorse, white brooms and rosemary.","dataLink":["trilho-nos-passos-do-torga"]},"p4":{"text":"The **primary school** with windows overlooking the Mar\xe3o, evoked in the first pages of A Cria\xe7\xe3o do Mundo, and where, years later, the poet spent an afternoon replanting the mimosas of his childhood. In the village of Garganta, another old school whose building is now the **Archaeological Center of Garganta**, a facility that preserves some archaeological remains collected in the Necropolis of Tou\xe7as and in the mamoa of Madorras, both worth a visit.","dataLink":["escola-primaria-do-poeta","polo-arqueologico-da-garganta"]},"p5":{"text":"At the top of the mountain, with the Mar\xe3o and Alv\xe3o in view, is the **Senhora da Azinheira**, with its porch that recalls the setting of the story \\"Natal\\". White, simple chapel, from the 17th century, baroque altarpiece with gilded carving. The bell, the chestnut trees around, the old fountain, the smell of rosemary, the pilgrimage of August 15, the rocks that become picnic tables for a day.","dataLink":["capela-da-senhora-da-azinheira"]},"p6":{"text":"A few kilometers away, in the village of Parada de Pinh\xe3o, is **Casa Aires Torres**. The life and work of Aires Torres, poet, actor, military and revolutionary. The permanent exhibition room shows biographical panels, personal objects and part of his library. In Sabrosa, it\'s worth visiting the castro, dated from the Iron Age and later occupied by the Romans. Also noteworthy are the **Mother Church**, from the 18th century, in baroque style, Casa da Capela and Casa da Pereira, where, according to tradition, Fern\xe3o de Magalh\xe3es would have been born. The great circumnavigation journey is told in the exhibition **Locais e Culturas da Viagem de Magalh\xe3es**, at Parque BB King, in Sabrosa, which allows you to experience the odyssey and discover distant territories.","dataLink":["casa-aires-torres","igreja-matriz-de-sabrosa","casa-de-fernao-magalhaes","os-locais-e-culturas-da-viagem-de-magalhaes"]}}}

1,"second_day":{"name":"Second Day","title":"Second Day","subtitle":"On the way to the Douro <br />The sublime <br />Paradise on earth","blockquote_1":"I\'m going to tell you about a Wonderful Kingdom. Although many people say no, there have always been and will always be wonderful kingdoms in this world. What is needed, to see them, is that the eyes do not lose their original virginity before reality, and the heart, then, does not hesitate. Now, what I intend to show, mine and of all those who want to deserve it, not only exists, but is one of the most beautiful that can be imagined. It starts right away because it\'s at the top of Portugal, like nests are at the top of trees so that distance makes them more impossible and desired.","content":{"p1":{"text":"A geography shaped over centuries by man\'s work. Land of terraces on the banks of a golden river, where the vines grow. The Douro is the oldest and one of the most important demarcated regions in the world. Alto Douro Vinhateiro, World Heritage of Humanity."},"p2":{"text":"On the north bank of the river, in the Alto Douro Vinhateiro, is the **Historic Village of Provesende**. Manor and coat of arms houses, a pillory, farms and a wine trail. The **Wine Trail of Provesende** is a pedestrian route in the Douro that descends from the historic village to Pinh\xe3o, along just over five kilometers. A walk with some of the best views of the river valley and breathtaking landscapes.","dataLink":["aldeia-historica-de-provesende","trilho-vinhateiro-de-provesende"]},"p3":{"text":"These places are paradises of contemplation. Stop, observe, feel nature at the **Viewpoint of S\xe3o Crist\xf3v\xe3o do Douro**, from where you can see the meeting of the Pinh\xe3o and Douro rivers, and a superb panorama of terraces. And **Pinh\xe3o** down there with its vineyards, its farms and its beautiful railway station covered in tiles. **Casal de Loivos**, a few minutes from Pinh\xe3o, also offers one of the most beautiful views in the region. And the viewpoint of **S. Leonardo de Galafura**, accessible by the old road between Vila Real and R\xe9gua, is a must-visit point on a Douro itinerary.","dataLink":["miradouro-de-sao-cristovao-do-douro","pinhao","casal-de-loivos","s-leonardo-de-galafura"]},"p4":{"text":"<h1>S. Leonardo de Galafura</h1><p>At the bow of a ship of rocks, <br /> Sailing in a sweet sea of must, <br /> Captain in his post <br /> Of command, <br /> S. Leonardo goes plowing <br /> The waves <br /> Of eternity, <br /> Without hurry to reach his destination. <br /> Anchored and happy in the human pier, <br /> It\'s in an anticipated disillusionment <br /> That he heads towards the divine pier.</p><p>There he won\'t have terraces <br /> Nor vineyards <br /> In the apple of his eyes <br /> Dazzled; <br /> Drained Douros <br /> Will be pools of light <br /> Aged; <br /> Flat, all the mountains <br /> Will let the horizons extend <br /> Until the color of life is extinguished.</p><p>That\'s why he approaches slowly <br /> Of bliss. <br /> It\'s slowly that the rabelo advances <br /> Under his sailor\'s feet. <br /> And each extra hour he spends on the way <br /> Is an extra sip of smell <br /> Of earth and rosemary!</p>"}}},"third_day":{"name":"Third Day","title":"Third Day","subtitle":"Vila Real <br /> Heritage, architecture, history","content":{"p1":{"text":"Vila Real, district capital, is a city with history and architectural heritage. In the heart of the city, the **Historic Center** groups several monuments. The majestic **Cathedral**, from the 15th century, is the best example of Gothic architecture in the Tr\xe1s-os-Montes region. Sober building with three staggered naves and rectangular chancel, it is a place of silence and contemplation.","dataLink":["centro-historico-vila-real","se-de-vila-real-igreja-de-sao-domingos"]},"p2":{"text":"**The Chapel of Mercy**, with its perfect round arch portal, dates from the 16th century. **The Pillory** was erected in 1515, when Vila Real received a new charter from D. Manuel. **The Church of S\xe3o Paulo**, with design attributed to Nicolau Nasoni, is a baroque church composed of a single nave and chancel, and facade with pilasters at the corners crowned by torches. **The Church of S\xe3o Pedro** is also an example of baroque style, with the main facade flanked by two towers.","dataLink":["igreja-de-s-paulo-capela-nova","capela-da-misericordia","pelourinho","igreja-de-s-pedro"]},"p3":{"text":"The **Carreira Garden**, from the 19th century, is a public walk in romantic taste where you want to walk. It has two entrances, the main one with an iron and granite gate that displays the date 1871. Fresh air in the city, green all around in the linden avenue, on the lawns and flower beds. There\'s a lake and a fountain, a monument to Camilo Castelo Branco, benches to rest, a bandstand and a viewpoint. The stories are also told in the **Museum of the Old Town*

1*, which evokes the past of the territory, shows its medieval origins and preserves memories of its people. Other museums scattered around the city and the municipal library allow you to discover a little more.","dataLink":["jardim-da-carreira","museu-da-vila-velha"]},"p4":{"text":"4 kilometers from Vila Real is **Casa de Mateus**, with its beautiful gardens and rooms full of History. Inside the manor, designed by Nicolau Nasoni, visitors can admire furniture, sacred art, paintings and sculptures, porcelain and crystal, the library with the monumental edition of Os Lus\xedadas in two volumes and the originals of the thirteen engravings that illustrate it. Miguel Torga participated in several cultural meetings in this palace, and in 1980 he was distinguished with the Morgado de Mateus Prize, ex-aequo with the Brazilian poet Carlos Drummond de Andrade. Seven minutes by car, the **Sanctuary of Pan\xf3ias** is the oldest pagan sanctuary in the Iberian Peninsula, built between the end of the 2nd century and the beginning of the 3rd century. Place of initiation rites and immolation of victims.","dataLink":["fundacao-da-casa-de-mateus","fragas-de-panoias-santuario-de-panoias"]}},"gastronomia":{"title":"Gastronomy and wines","p1":"<strong>Douro at the table</strong><br />Appreciate. Taste. Savor.<br />Transmontan and Douro gastronomy is generous and genuine cuisine. Dense and intense, it celebrates the origin of its products and tells stories of generations. Its wines guard inheritances and memories, family traditions, landscapes with hectares of vineyards, manor houses, dedication and commitment, a know-how of excellence.","p2":"Among so many other \\"specialties\\", mention should be made of the b\xedsaro ham from Vinhais, tender and succulent, slightly salted and smoked; the meat folar; the alheira; the moura, blood sausage, meats in wine-garlic and bread cut into slices; the covilhetes from Vila Real, small puff pastry pastries with minced meat filling; roasted veal; kid with oven rice; partridge and other game meats; the maronesa steak, tender and succulent; and the mirandesa steak, DOP (Protected Designation of Origin) meat from mirandesa breed cattle.","p3":"To drink, Douro table wines and Port wines as an aperitif or to finish a meal. They are robust and full-bodied wines, with pronounced aromas, reds, whites, vintages. Wines produced in a unique microclimate and in a territory that fills the eye. To toast to life. To savor every sip.","p4":"In desserts, it\'s worth trying the traditional cristas de galo, in the shape of a half moon, with sugar, almond, eggs, bacon and cinnamon filling; the pitos de Santa Luzia, an old convent recipe, in the shape of a quadrangular pyramid, filled with pumpkin, sugar, cinnamon and pepper; homemade cr\xe8me br\xfbl\xe9e and many other delicacies."},"conhecer":{"title":"Learn More","p1":"<strong>C\xf4a Museum</strong><br />The Museum is a complementary structure to the Archaeological Park of the C\xf4a Valley, helping the traveler discover the rock art of the C\xf4a and Douro valleys, two world heritages in the region.","p2":"<strong>Douro Passport</strong><br />Set out to discover the Douro, accompanied by the Passport. By completing the journey through the 76 points of interest marked, collecting all the stamps in the Passport you receive a certificate of excellence and an exclusive offer from the Douro and Port Wine Institute."}}}')},1086:e=>{"use strict";e.exports=JSON.parse('{"name":"Life","_id":"79766213195353","blockquote":"My life project had always been the same: to fulfill myself. To be as a man a tacit authenticity and as an artist an expressed affliction. Nothing more.<br /> <span>A Cria\xe7\xe3o do Mundo</span>","header":"Miguel Torga, major writer of the 20th century, literary pseudonym of Adolfo Correia Rocha. Transmontan by birth, temperament, body and soul, rebellious and never conformed, with his feet on the ground and his thoughts in the country and the world. Tr\xe1s-os-Montes feeds his life and his writing. A man who never renounces the humble roots linked to his ground, the native village of S\xe3o Martinho de Anta, just like the heather, that wild and resistant torga that baptizes him literarily. Writer and doctor, he notes in a Diary entry: \\"[...] The pen that writes and the one that prescribes alternate harmoniously in the same hand\\".","article_one":{"title":"Life","p1":"Adolfo Correia Rocha was born on August 12, 1907 in S. Martinho de Anta, municipality of Sabrosa, district of Vila Real, between the \\"warm earth\\" of schist from the Douro and the \\"cold earth\\" of granite from northeastern Tr\xe1s-os-Montes. The village, humus that feeds his childhood, appears with the name Agarez in the autobiographical novel A Cria\xe7\xe3o do Mundo, in a mythical projection of the native clod.","p2":"He grows up in a poor, honorable family, determined to open horizons for him. The father, Francisco Correia Rocha, blond, with blue eyes, is the vital stake. The mother, Maria da Concei\xe7\xe3o de Barros, almost green eyes, sweet voice, the warmth of the sentimental lap. He completes the fourth grade with distinction. Servant in Porto, one year at the Seminary of Lamego, the certainty that he doesn\'t want to follow the priesthood. At thirteen he leaves for Brazil to work on his uncle\'s farm, in Leopoldina (Minas Gerais). He returns five years later, does high school in three years and completes his degree in Medicine at the University of Coimbra, in 1933, with an average of 15 values. He returns to S. Martinho de Anta, and then practices in Vila Nova de Miranda do Corvo, in Leiria and, finally, in Coimbra.","p3":"In 1934, he adopts the literary name Miguel Torga. Miguel in homage to two great figures of Iberian culture, Cervantes and Unamuno. Torga in homage to the mountain heather, with hard roots and white or purplish flower. He travels through Europe to Italy, crossing a Spain wounded by the Civil War. The book \\"O Quarto Dia\\" of A Cria\xe7\xe3o do Mundo (1939) is seized, the writer is arrested in Leiria and then taken to Aljube, where he remains for three months. In prison he writes the poem \\"Ariane\\" and some of the stories that make up the volume Bichos.","p4":"He is an unsatisfied author, writes in duplicate, on a typewriter with carbon paper. And rewrites. He corrects by hand, cut

1s strips of paper that he glues on top of the sheets. His days are diary, poetry, novel, short story, theater, intervention pages. Dedicated doctor, specialist in ears, nose and throat, in 1940 he opens a practice at Largo da Portagem, n\xba 45, in Coimbra, where he practices for more than fifty years. He travels incessantly through Portugal and the world, recording the physical, social and cultural landscape. He is also a hunter, left-handed with the weapon, strong-legged, shoots partridges, rabbits and hares through mountains and hills. He is one of the most influential Portuguese poets and writers, author of a vast literary production. Laureate with various national and international literary prizes, he receives the first Cam\xf5es Prize in 1989 and is proposed five times for the Nobel Prize in Literature. For many years, he is the editor of his own books.","p5":"He dies on January 17, 1995. He is buried in the cemetery of S. Martinho de Anta, in a flat grave, with a torga nearby."},"blockquote2":"Yes, death is the full days. For poets, full of poetry, which is eternity in this world. <br /> <span> Letter to Fern\xe3o de Magalh\xe3es Gon\xe7alves <br /> Coimbra, August 15, 1987</span>","article_two":{"title":"Self-portrait","p1":"Miguel Torga <br /> Born in S. Martinho de Anta, Tr\xe1s-os-Montes. <br /> Married. <br /> Height: 1 meter 77. <br /> Thin as a skewer. <br /> Profile of a Spanish smuggler. <br /> Doctor. <br /> Walks until he dislocates himself. <br /> Smokes, especially when he\'s with friends or when he writes. He would have liked to be a painter, and even painted a self-portrait, which he threw into the sea, at Portinho da Arr\xe1bida. <br /> He goes to the cinema a lot, and laughs helplessly at cartoons. <br /> He only helped his wife dry the dishes once, and for ten years he\'s been killing the ear bug with that breakdown. <br /> In his library, small because no more books fit in the exiguous house on Estrada da Beira, in Coimbra, where he lives, it contains the essential of the main readings of the world. <br /> In modern painting he admires Picasso, Siqueiros, Orozco and Portinari. <br /> He takes off his hat to Euclides da Cunha and Machado de Assis. <br /> He likes music, particularly Bach. <br /> But what he really likes is to walk the mountains of his Transmontan Douro and the swamps of the Mondego fields hunting partridges and snipes. <br /> He never did a trick to a colleague of letters. In compensation, they have done many to him. <br /> Among other authors he venerates: Dostoevsky, Proust, Cervantes, Unamuno and Melville. <br /> He is against autograph hunters, against albums, against advertising.{\' \'}<br /> The \\"against\\" is really his forte. <br /> He likes solitude, and values very much those who respect it. <br /> He doesn\'t believe in ghosts. <br /> He\'s always dying, and there\'s no one who spends more energy. If he could start life over he would like to be even more of a poet. <br /> One of his titles of glory is having spent his adolescence in Brazil (Leopoldina - Minas). <br /> He lives by his nerves. <br /> There\'s no one more friend of his friends, and so misunderstood by them. <br /> Art for him is not an ambition: it\'s a destiny. <br /> His land is for him like a plant: a place to put down roots. <br /> He was 20 years old when he wrote the first book, which is called Ansiedade. <br /> Brazilian poets he admires: Manuel Bandeira, Cec\xedlia, Ledo Ivo. <br /> Brazilian novelists he admires: Graciliano, Lins do Rego and Jorge Amado. <br /> He likes the pagan gods, whom he has sung in his Odes. But he doesn\'t count on them for the day of death, which he fears like a night without dawn.","p2":"Miguel Torga In Rocha, C. - Miguel Torga. Fotobiografia. Preface by Manuel Alegre. Lisbon: Publica\xe7\xf5es D. Quixote, 2000."},"article_three":{"title":"Chronology in the first person","p1":"<strong>Childhood.</strong> \\"I left the seat of my pants on the mountain slides, I put my shirt in tatters crossing thickets behind a lizard, there were no knee pads that could resist the explorations I made in the dry mines, looking for the badgers that got inside.\\"","p2":"<strong>Servant in Porto.</strong>\\"I was a doorman. But I also watered the garden, went on errands, served as a donkey for children younger than me, cleaned dust, polished the noble staircase metals with Cora\xe7\xe3o ointment. I walked in a white jacket, slept in a cubicle, with a bell at the headboard, and earned fifteen tost\xf5es a month.\\"","p3":"<strong>Departure for Brazil, by boat, at 13. He docked on the other side of the Atlantic on a Monday full of sun.</strong> \\"I carried a stuffed suitcase. Four sheets of raw cloth, five pillows, a flannel blanket, a bedspread, a cashmere suit, two shirts, two underwear, five towels, six bottles of old Ronc\xe3o and a dozen salpic\xf5es.\\"","p4":"<strong>The first poems.</strong> \\"Lately I was making verses left and right. For the sake of it, a sonnet, ode, or nameless thing came out, but rhymed. I filled notebooks with quatrains, where love demanded pain, longing goodness, star beautiful, moon yours, pale chrysalis, etc.\\"","p5":"<strong>Return to Portugal.</strong>

1 \\"It was in the evening that the anchor came out of the mud of the pier and rolled up the hull. Slowly, the bow of the boat began to move and the Brazil of my sufferings to distance itself. First, the hard mass of the city; then, the round ribbon of the marginal avenues; then, the Sugar Loaf; finally, the coastline, increasingly blurred. Great and small accidents of a whole that I had covered with childish tears. With tears that I didn\'t have now to cry...\\"","p6":"<strong>Literature.</strong> \\"We lived in constant challenge, without compromises, without complacencies, sure of our renewing mission. Few and united, we challenged all of Portugal, which continued blind in its routine, in its conformism, in its rhetoric. All graphic and literary experiences were made, all attempts were dared.\\"","p7":"<strong>Love.</strong> \\"Love had finally knocked on the door, after a thousand simulacra and denials. All previous appearances ceased to have any meaning in the face of the present evidence. No emotional shock experienced until then in this chapter could compare to the excitement I felt now before each meeting.\\"","p8":"<strong>The doctor and the patients.</strong> \\"I was always in panic in front of those creatures, until recently completely unknown, there, defenseless, confidently exhibiting the miseries of body and soul.","p9":"<strong>Doctor-poet-writer.</strong> \\"Fulfilled the professional obligation, the creative devotion. I put away the scalpel and picked up the pen. And I had the impression that I continued to open on paper the same abscesses as before. The pages bled like torn wounds, and the poems seemed like howls.\\"","p10":"<strong>Doctor in Coimbra.</strong> \\"I lived in an old little house perched on a ravine overlooking the river. Below, the green islands were covered with orange groves. Mountain boats, loaded with firewood or bundles of clean clothes, descended from Penacova. On Sundays and holy days, Baptist groups sang hymns on the sand and devoutly immersed the neophytes in the clarity of the current, which reflected the houses erected in a nativity scene by the hills.\\"","p11":"<strong>The hunter.</strong> \\"The primitive man who had never resigned himself within me only came to the surface in all his fullness with a cartridge belt at his waist. The hunting act was for my senses the return to original purity. From the clothes I wore, worn like an old vestment and adapted to the movements of the body like a second epidermis, to the healthy frugality of the snack, always the same, to the wine drunk exceptionally, everything was part of a secret communication with the sacredness of nature.\\"","p12":"<strong>Journey through Europe. The Spanish Civil War.</strong> \\"We all saw, lanced, that, more terrible than war, were its ruins, the waste of useless heroism, the satanic sterility of its trail. What was left behind, although terrifying, still had life, and, therefore, the instinct of conservation could at least feed the hope of escape. Now, a total discouragement invaded the spirit, drying up the energy of despair at the root.\\"","p13":"<strong>Arrested by PIDE, hours sitting, frozen, buried alive.</strong> \\"Caged like a beast, deprived of the most elementary means of hygiene, hearing and smelling my own noises and odors, without voice, without rights, without action, condemned to a merely vegetative, functional, still existence, food entering and leaving, sleep and wakefulness alternating in the pendular repetition of the same absurdity.\\""},"article_four":{"title":"Ariane","p1":"Ariane is a ship. <br /> It has masts, sails and flag at the bow, <br /> And it arrived on a white, cold day, <br /> To this Tagus river of Lisbon.","p2":"Loaded with Dream, it anchored <br /> Within the clarity of these bars… <br /> Swan of all, who left, returned <br /> Only for the eyes of those who have longing…","p3":"Two frigates went to see who was <br /> Such a miracle like this: it was a ship <br /> That sways there waiting for me <br /> Among seagulls that give themselves in the river.","p4":"But I couldn\'t yet with my steps <br />

1 Leave this prison in whole body, <br /> And raise the anchor, and fall into the arms <br /> Of Ariane, the sailboat.","p5":"Aljube Prison, Lisbon, January 1, 1940."},"article_five":{"p1":"<strong>The regime, the dictatorship. The unconformed voice:</strong> \\"Those who didn\'t match the pace with the herd\'s stomp, either rotted in a dungeon or died of hunger. The entire nation was now a tomb of silence and abulia. In the fields, in the factories, in the schools and in the offices, the dictator\'s hard profile seemed to listen to the voice of the very consciences. And the consciences fell silent in the deepest depths, fearful of any revealing expression. No place, from the highest to the lowest, was filled without the approval of the political police.\\"","p2":"<strong>April 25.</strong> \\"A simple cannon pointed was enough for the fortress to crumble. Surprised by the miracle, the national soul exploded with joy. From north to south, transfigured crowds filled the streets in an impulse of uncontained renewed hope. It seemed like a dream! (…) Flags of all colors smiled unfurled in the clear atmosphere of April. (…) The homeland finally regained its voice and dignity.\\"","p3":"<strong>Journey to Africa.</strong> Luanda, Angola: \\"(…) the city resembled a Sodom of irresponsibility surrounded by curse.\\" Island of Mozambique, oasis of hope.","p4":"<strong>The native ground.</strong> \\"The attachment of roots to the native ground? After so many wanderings, so much suffering, so much study, the umbilical cord remained connected to the matrix. I really had a landscape, a medium, a vital geographical place engraved in my chromosomes! The body could run all the paths of the world, and the spirit fly in all directions. Wherever they arrived they would always denounce the mark of origin, the unmistakable singularity, a kind of taste of the earth of provenance, like that of fruits.\\"","p5":"<strong>Old age.</strong> \\"I feared decay, I didn\'t fear death. To stop writing, to stop loving, to stop hunting would be the supreme misfortune.\\"","p6":"<strong>At the end of life.</strong> \\"The man, who on the outside seemed like a monolith of certainties, on the inside was an amalgam of doubts. Thirsty for the absolute, he only knew the bitter taste of the relative. Profoundly religious, he could never bend his knees before any altar. Medullarly affective, he had created, without knowing why, alongside some firm friendships, a countless number of fierce enemies. From a sickly shyness, he had spent the days compensating for it with violent acts. Superstitious and insecure at every step, he moved in the field of realities like a willful ghost.\\""}}')},1385:e=>{e.exports={header:"Header_header__fvvUC",logo:"Header_logo__i__y1",navigation:"Header_navigation__xbeEc",links:"Header_links___UJFT",links_ul:"Header_links_ul__TwNLU",active:"Header_active__gXPg1",hamburger:"Header_hamburger__GraSQ",verticalBar:"Header_verticalBar__bT_vg",open:"Header_open__nDpf2",navigation__dropdown:"Header_navigation__dropdown__egj3u",navigation__dropdown_content:"Header_navigation__dropdown_content__iS9_P"}}

1,1460:e=>{"use strict";e.exports=JSON.parse('{"name":"Prix","_id":"79766209813195353","header_1":"Miguel Torga est propos\xe9 plusieurs fois pour le Prix Nobel de Litt\xe9rature. La premi\xe8re en 1960, \xe0 l\'initiative du professeur Jean-Baptiste Aquarone, de l\'Universit\xe9 de Montpellier, chaleureusement soutenue par des artistes, m\xe9decins, \xe9crivains et journalistes portugais et \xe9trangers. Encore dans les ann\xe9es 60, une nouvelle candidature est pr\xe9sent\xe9e par le professeur Goran Hammarstrom, de l\'Universit\xe9 d\'Uppsala, Su\xe8de. En 1978, il est \xe0 nouveau propos\xe9 pour le prix de l\'Acad\xe9mie Su\xe9doise, avec le soutien de personnalit\xe9s \xe9minentes de la vie intellectuelle portugaise et du po\xe8te Vicente Aleixandre, Prix Nobel de Litt\xe9rature 1977.","header_2":"En 1969, il refuse le Grand Prix National de Litt\xe9rature, car il s\'agissait d\'une distinction venant du r\xe9gime dictatorial. Le 26 d\xe9cembre 1978, il est honor\xe9 pour ses 50 ans de vie litt\xe9raire, \xe0 la Fondation Calouste Gulbenkian, \xe0 l\'initiative de David Mour\xe3o-Ferreira, Secr\xe9taire d\'\xc9tat \xe0 la Culture. En 1979, le Conseil Scientifique de la Facult\xe9 de Lettres de l\'Universit\xe9 de Coimbra lui rend un hommage. En 1990, il est honor\xe9 par le Goethe Institut de Coimbra.","blockquote_1":" (...) il avait appris que le chemin de l\'art est lent et douloureux, et qu\'en lui seul l\'effort soutenu compte vraiment. Le triomphe viendrait plus tard, s\'il venait. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","blockquote_2":" Il \xe9tait \xe9crit que je ne serais jamais le propri\xe9taire heureux de mes actes. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","article":{"p1":"<strong>1969 - Prix Litt\xe9raire Di\xe1rio de Not\xedcias</strong><br />Ce jour-l\xe0, 19 avril, en recevant le prix, \xe0 Lisbonne, il se souvient d\'une histoire d\'enfance. Apr\xe8s l\'examen de quatri\xe8me classe, qu\'il passe avec distinction, son p\xe8re lui offre un cavaquinho, le premier cadeau de sa vie. Le jour o\xf9 il re\xe7oit le prix, Torga a 61 ans. Il compare la distinction \xe0 une nouvelle mandoline, et r\xe9v\xe8le qu\'il a accept\xe9 le prix la conscience tranquille, croyant \xe0 la joie de son p\xe8re dans l\'autre monde.","p2":"<strong>1976 - Prix International de Po\xe9sie des Biennales de Knokke-Heist</strong>, qu\'il re\xe7oit \xe0 Bruxelles, le 6 juin 1977.","p3":"<strong>1980 - Prix Morgado de Mateus</strong>, ex-aequo avec le po\xe8te br\xe9silien Carlos Drummond de Andrade.","p4":"<strong>1981 - Prix Montaigne</strong> attribu\xe9 par la Fondation F.V.S. de Hambourg, Allemagne.","p5":"<strong>1989 - Prix Cam\xf5es</strong>, la plus importante distinction de la lusophonie. Il re\xe7oit le prix pendant les comm\xe9morations du 10 juin \xe0 Ponta Delgada, aux A\xe7ores. Il est la premi\xe8re personnalit\xe9 \xe0 \xeatre distingu\xe9e avec le Prix Cam\xf5es.","p6":"<strong>1992 - Prix Vie Litt\xe9raire de l\'Association Portugaise des \xc9crivains</strong><br />Il re\xe7oit le prix le 19 mars, \xe0 Lisbonne. L\'actrice Beatriz Costa, absente de la c\xe9r\xe9monie pour des raisons de sant\xe9, lui souhaite \\"bonheur pour le Nobel.\\" M\xe1rio Soares, pr\xe9sident de la R\xe9publique, souligne l\'importance des mots et de l\'œuvre de Torga et sa lutte pour la libert\xe9.","p7":"<strong>1992 - Prix Figure de l\'Ann\xe9e 1991 de l\'Association des Correspondants de la Presse \xc9trang\xe8re</strong><br />\xc0 84 ans, il re\xe7oit le prix au Casino do Estoril le 8 juillet.","p8":"<strong>1992 - Prix \xc9cureuil de Litt\xe9rature \xc9trang\xe8re du Salon du Livre de Bordeaux</strong><br />Il le re\xe7oit \xe0 Coimbra, \xe0 la Mairie, le 14 septembre, avec une pr\xe9sentation de Jorge Amado, qui affirme que c\'est l\'immense œuvre de Torga qui honore le prix et non l\'inverse. M\xe1rio Soares, pr\xe9sident de la R\xe9publique, remet le prix et souligne l\'universalit\xe9 de l\'œuvre du grand \xe9crivain portugais.","p9":"<strong>1994 - Prix de la Critique 1993 du Centre Portugais de l\'Association Internationale des Critiques Litt\xe9raires</strong>"}}')},1750:e=>{"use strict";e.exports=JSON.parse('{"name":"Andr\xe9e Crabb\xe9 Rocha et Clara Rocha","_id":"79766209813195353","header_1":"Andr\xe9e Crabb\xe9 Rocha, sa femme. Clara Crabb\xe9 Rocha, sa fille. Torga se marie le 27 juillet 1940 avec la jeune Belge qui deviendra sa compagne de vie. D\xe8s le d\xe9but, il admire en elle la culture, le sens civique et l\'ind\xe9pendance d\'esprit : \\"Elle serait donc, \xe0 mes c\xf4t\xe9s, une compagne de voyage, propri\xe9taire aussi de sa personnalit\xe9 et de son destin\\", \xe9crit-il dans le roman autobiographique A Cria\xe7\xe3o do Mundo. \xc0 sa fille Clara, il d\xe9die plusieurs po\xe8mes, dont \\"Naissance\\", \\"Fleur Pr\xe9serv\xe9e\\", \\"\xc9toile de l\'Occident\\" et \\"Ascension\\".","articles":[{"title":"Andr\xe9e Crabb\xe9 Rocha (1917-2003)","content":"Professeure universitaire de nationalit\xe9 belge, Andr\xe9e Jeanne Fran\xe7oise Crabb\xe9 Rocha a obtenu sa licence en Philologie Romane en 1939 \xe0 l\'Universit\xe9 Libre de Bruxelles, o\xf9 elle \xe9tait \xe9tudiante de portugais de Vitorino Nem\xe9sio. Elle a termin\xe9 sa licence avec \\"grande distinction\\", pr\xe9sentant une dissertation sur l\'œuvre de Fialho de Almeida. Encore \xe9tudiante, elle a fait un voyage en Espagne avec un groupe d\'\xe9tudiants de l\'Universit\xe9 de Bruxelles, en action de soutien aux r\xe9publicains pendant la Guerre Civile. <br /> En 1938, elle a fr\xe9quent\xe9 le Cours de Vacances de l\'Universit\xe9 de Coimbra et a rencontr\xe9 Miguel Torga chez Nem\xe9sio. Elle a obtenu son doctorat en 1944 \xe0 l\'Universit\xe9 de Lisbonne, avec une th\xe8se sur O Teatro de Garrett, et l\'ann\xe9e suivante a commenc\xe9 \xe0 enseigner \xe0 la Facult\xe9 de Lettres de cette Universit\xe9. R\xe9voc\xe9e en 1947, dans une vague de r\xe9vocation politique qui a inclus plus d\'une dizaine de professeurs universitaires prestigieux, elle a \xe9t\xe9 emp\xeach\xe9e d\'enseigner dans l\'enseignement public pen

1dant plus de vingt ans. Pendant cette p\xe9riode, elle a d\xe9velopp\xe9 un travail de recherche \xe9tendu, s\'int\xe9ressant particuli\xe8rement \xe0 la litt\xe9rature portugaise du XVIe si\xe8cle et au Cancioneiro Geral de Garcia de Resende. En 1970, elle a pu enfin retourner \xe0 l\'enseignement \xe0 l\'Universit\xe9 de Lisbonne, se transf\xe9rant plus tard \xe0 l\'Universit\xe9 de Coimbra, o\xf9 elle a enseign\xe9 jusqu\'en 1986. Parmi d\'autres titres, sa bibliographie comprend A Epistolografia em Portugal (1965), Garcia de Resende e o Cancioneiro Geral (1979) et Temas da Literatura Portuguesa (1986). Entre 1978 et 1986, elle a dirig\xe9 la revue Cadernos de Literatura, dont 25 num\xe9ros ont \xe9t\xe9 publi\xe9s. Elle a \xe9t\xe9 distingu\xe9e en 1979 avec l\'Ordre National du M\xe9rite en France, et en 1986 le Pr\xe9sident de la R\xe9publique M\xe1rio Soares lui a attribu\xe9 l\'Ordre de l\'Infant Dom Henrique."},{"title":"Clara Crabb\xe9 Rocha (1955)","content":"Fille de Miguel Torga et d\'Andr\xe9e Crabb\xe9 Rocha, elle a obtenu son doctorat en 1985 \xe0 l\'Universit\xe9 de Coimbra, avec une th\xe8se intitul\xe9e Revistas Liter\xe1rias do S\xe9culo XX em Portugal, publi\xe9e la m\xeame ann\xe9e par INCM. Elle a \xe9t\xe9 assistante \xe0 l\'Universit\xe9 de Coimbra entre 1977 et 1985, et professeure \xe0 l\'Universit\xe9 Nova de Lisbonne \xe0 partir de 1985. Elle a d\xe9di\xe9 une partie significative de ses \xe9tudes \xe0 la litt\xe9rature autobiographique et \xe0 la po\xe9sie portugaise du XXe si\xe8cle, ayant publi\xe9 les livres suivants : O Espa\xe7o Autobiogr\xe1fico em Miguel Torga (1977), Os \\"Contos Exemplares\\" de Sophia de Mello Breyner (1978), O Essencial sobre M\xe1rio de S\xe1-Carneiro (1985 ; 2e \xe9d., 2017), M\xe1scaras de Narciso. Estudos sobre a Literatura Autobiogr\xe1fica em Portugal (1992), Miguel Torga – Fotobiografia (2000 ; 2e \xe9d., 2018), O Cachimbo de Ant\xf3nio Nobre e Outros Ensaios (2003, distingu\xe9 avec le Prix d\'Essai du PEN Club et le Grand Prix d\'Essai de l\'A.P.E.), O Essencial sobre Michel de Montaigne (2015, Prix Jacinto do Prado Coelho) et O Essencial sobre o Surrealismo Portugu\xeas (2024). Auteure de plusieurs pr\xe9faces, elle a collabor\xe9 avec des articles de critique litt\xe9raire dans des journaux et revues, dans des dictionnaires de litt\xe9rature et dans des volumes scientifiques internationaux. Elle a \xe9t\xe9 la premi\xe8re femme pr\xe9sidente de l\'Association Acad\xe9mique de Coimbra (1976). En 1987, elle a \xe9t\xe9 honor\xe9e de l\'Ordre de l\'Infant Dom Henrique par le Pr\xe9sident de la R\xe9publique M\xe1rio Soares. Elle a \xe9t\xe9 professeure invit\xe9e \xe0 la Sorbonne en 2004. En 2011, elle a organis\xe9 l\'anthologie A Caneta que Escreve e a que Prescreve, avec la collaboration de Teresa Jorge Ferreira (Verbo, 2012 ; \xe9d. au Br\xe9sil, 2025). Elle a fait partie de divers jurys de prix litt\xe9raires nationaux et internationaux, comme le Prix Litt\xe9raire Europ\xe9en et le Prix Cam\xf5es.","content_2":"Clara Rocha na\xeet le 3 octobre 1955, \xe0 Coimbra. Ce jour-l\xe0, Torga \xe9crit un po\xe8me."}],"blockquote_1":" Entour\xe9e d\'\xe9l\xe8ves, c\'est l\xe0 qu\'elle donnait le meilleur d\'elle-m\xeame. De nature coll\xe9giale et didactique, c\'\xe9tait en communiquant dans les limites du forum collectif qu\'elle se sentait vraiment accomplie. Inventive, elle mettait dans les le\xe7ons, outre le savoir, la gr\xe2ce de la fantaisie. Et elle transformait chaque cours en une aventure p\xe9dagogique qui fascinait et stimulait les disciples. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","poem":{"date":"Coimbra, 3 octobre 1955","title":"Naissance","content":" Les hommes naissent comme des dieux pauvres : <br /> Nus et d\'un ventre qui d\xe9sesp\xe9ra <br /> De les garder <br /> Sacr\xe9s et secrets dans son lac. <br /> Ils naissent difformes, sans aucune caresse <br /> De la rage d\xe9brid\xe9e qui les expulse <br /> Et des mains terrifi\xe9es qui les re\xe7oivent. <br /> Ils boivent <br />L\'air du monde en criant. <br /> Ils regardent sans voir, et sont <br /> Des mythes sourds et transitoires <br /> De notre d\xe9votion.","diary":"Journal VII"}}')},1856:e=>{"use strict";e.exports=JSON.parse('{"name":"Œuvre","_id":"79766678213195353","blockquote":"Homme de mots, j\'ai t\xe9moign\xe9 avec eux l\'image lente d\'une construction r\xe9flexive tenace, patiente et douloureuse faite avec le mat\xe9riau br\xfblant de la vie m\xeame. <br /><span>A Cria\xe7\xe3o do Mundo</span>","intro_text":"Po\xe8te assoiff\xe9 d\'absolu, auteur d\'une œuvre \xe9tendue et multiforme qui englobe divers genres litt\xe9raires (po\xe9sie, nouvelle, roman, journal, essai, th\xe9\xe2tre), il se montre tel qu\'il est dans un registre autobiographique qui transcende sa propre histoire. Le Journal, qu\'il a \xe9crit pendant pr\xe8s de 60 ans, est le t\xe9moignage d\'un temps et d\'un espace, l\'enregistrement du paysage physique et humain, le lieu de la recherche d\'une identit\xe9 collective, et aussi r\xe9cits de voyages, annotation et commentaire de lectures, r\xe9flexion sur la pratique de la m\xe9decine, justification de l\'\xe9criture, responsabilit\xe9 sociale et protestation. Portugais et europ\xe9en, r\xe9gional et universel, Torga est un \xe9crivain du monde, traduit en plus de vingt langues et distingu\xe9 internationalement plusieurs fois.","work_list":[{"title":"Po\xe9sie","list":["Ansiedade (1928)","Rampa (1930)","Tributo (1931)","Abismo (1932)","O Outro Livro de Job (1936)","Lamenta\xe7\xe3o (1943)","Liberta\xe7\xe3o (1944)","Odes (1946)","Nihil Sibi (1948)","C\xe2ntico do Homem (1950)","Alguns Poemas Ib\xe9ricos (1952)","Penas do Purgat\xf3rio (1954)","Orfeu Rebelde (1958)","C\xe2mara Ardente (1962)","Poemas Ib\xe9ricos (1965)","Antologia Po\xe9tica (1981)","Poesia Completa (2000)"]},{"title":"Prose","list":["P\xe3o \xc1zimo (1931)","A Terceira Voz (1934)","A Cria\xe7\xe3o do Mundo - Os Dois Primeiros Dias (1937)","A Cria\xe7\xe3o do Mundo - O Terceiro Dia (1938)","A Cria\xe7\xe3o do Mundo - O Quarto Dia (1939)","Bichos (1940)","Contos da Montanha (1941)","Um Reino Maravilhoso (Tr\xe1s-os-Montes) (1941)","Rua (1942)","O Senhor Ventura (1943)","Novos Contos da Montanha (1944)","O Porto (1944)","Vindima (1945)","Portugal (1950)","Pedras Lavradas (1951)","Tra\xe7o de Uni\xe3o (1955)","A Cria\xe7\xe3o do Mundo - O Quinto Dia (1974)","Fogo Preso (1976)","A Cria\xe7\xe3o do Mundo - O Sexto Dia (1981)"]},{"title":"Po\xe9sie et Prose","list":["Di\xe1rio I (1941) ","Di\xe1rio II (1943)","Di\xe1rio III (1946)","Di\xe1rio IV (1949)","Di\xe1rio V (1951)","Di\xe1rio VI (1953)","Di\xe1rio VII (1956)","Di\xe1rio VIII (1959)","Di\xe1rio IX (1964)","Di\xe1rio X (1968)","Di\xe1rio XI (1973)","Di\xe1rio XII (1977)","Di\xe1rio XIII (1983)","Di\xe1rio XIV (1987)","Di\xe1rio XV (1990)","Di\xe1rio XVI (1993)"]},{"title":"Th\xe9\xe2tre","list":["Terra Firme. Mar (1941)","Sinfonia (1947)","O Para\xedso (1949)","Mar (1958)","Teatro, 1\xaa ed. conjunta (2001)"]}]}')},2111:e=>{"use strict";e.exports=JSON.parse('{"name":"About","_id":"797662453195353","first_p":"Casa Miguel Torga is the result of a physical rehabilitation, museology and museography project promoted by the Northern Regional Directorate of Culture between 2017 and 2021 and co-financed by Tourism of Portugal. Casa Miguel Torga is supervised by the Municipality of Sabrosa and managed by Espa\xe7o Miguel Torga. In the late 1950s, the house underwent a renovation led by Andr\xe9e Crabb\xe9 Rocha, Miguel Torga\'s wife, which gave it the configuration we can observe today. Used as a holiday home until 2014, it was donated that year, along with its collection, by Clara Crabb\xe9 Rocha, Miguel Torga\'s daughter, for the preservation of the writer\'s legacy and public enjoyment as a house-museum. Since 2019, the house has been classified as a Property of Public Interest - IMP.","second_p":"The Northern Regional Directorate of Culture is a decentralized body of the Ministry of Culture and develops its activity aimed at safeguarding, preserving, restoring and communicating - to different types of audiences - the values of material and intangible culture existing in the region. Work developed in articulation with different territorial agents, such as central administration institutions existing in the region, local authorities, ecclesiastical institutions, educational institutions, associations, among others. The breadth of competences and deep knowledge of the Region give the Northern Regional Directorate of Culture an integrated vision of the cultural sector. Thus, while respecting the specificities of each intervention area, articulation between cultural heritage, museums and artistic production is promoted, in order to enhance available resources and create mutually enriching relationships. To learn more, visit our <a class=\'map_link\' href=\'https://culturanorte.gov.pt/\' target=\'_blank\' rel=\'noreferrer\'>website</a>

1 and social networks."}')},2511:e=>{"use strict";e.exports=JSON.parse('{"name":"Vida","_id":"79766213195353","blockquote":"O meu projeto de vida sempre fora o mesmo: cumprir-me. Ser como homem uma autenticidade t\xe1cita e como artista uma afli\xe7\xe3o expressa. Nada mais.<br /> <span>A Cria\xe7\xe3o do Mundo</span>","header":"Miguel Torga, escritor maior do s\xe9culo XX, pseud\xf3nimo liter\xe1rio de Adolfo Correia Rocha. Transmontano de ber\xe7o, de t\xeampera, de corpo e de alma, rebelde e nunca conformado, com os p\xe9s na terra e o pensamento no pa\xeds e no mundo. Tr\xe1s-os-Montes alimenta a sua vida e a sua escrita. Homem que nunca renega as ra\xedzes humildes ligadas ao seu ch\xe3o, a aldeia natal de S\xe3o Martinho de Anta, tal qual a urze, essa torga bravia e resistente que o batiza literariamente. Escritor e m\xe9dico, anota numa entrada do Di\xe1rio: \\"[...] A caneta que escreve e a que prescreve revezam-se harmoniosamente na mesma m\xe3o\\".","article_one":{"title":"Vida","p1":"Adolfo Correia Rocha nasce a 12 de agosto de 1907 em S. Martinho de Anta, concelho de Sabrosa, distrito de Vila Real, entre a \\"terra quente\\" de xisto do Douro e a \\"terra fria\\" de granito do nordeste transmontano. A aldeia, h\xfamus que alimenta a sua inf\xe2ncia, surge com o nome Agarez no romance autobiogr\xe1fico A Cria\xe7\xe3o do Mundo, numa proje\xe7\xe3o m\xedtica do torr\xe3o natal.","p2":"Cresce numa fam\xedlia pobre, honrada, determinada a rasgar-lhe horizontes. O pai, Francisco Correia Rocha, louro, de olhos azuis, \xe9 a estaca vital. A m\xe3e, Maria da Concei\xe7\xe3o de Barros, olhos quase verdes, voz doce, o calor do rega\xe7o sentimental. Faz a quarta classe com distin\xe7\xe3o. Criado de servir no Porto, um ano no Semin\xe1rio de Lamego, a certeza de que n\xe3o quer seguir o sacerd\xf3cio. Aos treze anos parte para o Brasil para trabalhar na fazenda do tio, em Leopoldina (Minas Gerais). Regressa cinco anos depois, faz o liceu em tr\xeas anos e conclui a licenciatura em Medicina na Universidade de Coimbra, em 1933, com m\xe9dia de 15 valores. Regressa a S. Martinho de Anta, e exerce depois em Vila Nova de Miranda do Corvo, em Leiria e, por fim, em Coimbra.","p3":"Em 1934, adota o nome liter\xe1rio Miguel Torga. Miguel em homenagem a dois grandes vultos da cultura ib\xe9rica, Cervantes e Unamuno. Torga em homenagem \xe0 urze da montanha, de raiz dura e flor branca ou arroxeada. Viaja pela Europa at\xe9 It\xe1lia, atravessando uma Espanha ferida pela Guerra Civil. O livro \\"O Quarto Dia\\" de A Cria\xe7\xe3o do Mundo (1939) \xe9 apreendido, o escritor \xe9 preso em Leiria e depois levado para o Aljube, onde permanece durante tr\xeas meses. Na pris\xe3o escreve o poema \\"Ariane\\" e alguns dos contos que comp\xf5em o volume Bichos.","p4":"\xc9 um autor insatisfeito, escreve em duplicado, \xe0 m\xe1quina com papel qu\xedmico. E reescreve. Emenda \xe0 m\xe3o, corta tiras de papel que cola em cima das folhas. Os seus dias s\xe3o di\xe1rio, poesia, romance, conto, teatro, p\xe1ginas de interven\xe7\xe3o. M\xe9dico dedicado, especialista em ouvidos, nariz e garganta, em 1940 abre consult\xf3rio no Largo da Portagem, n\xba 45, em Coimbra, onde exerce durante mais de cinquenta anos. Viaja incessantemente por Portugal e pelo mundo, registando a paisagem f\xedsica, social e cultural. \xc9 ca\xe7ador tamb\xe9m, esquerdino na arma, rijo de pernas, atira a perdizes, coelhos e lebres por serras e montes. \xc9 um dos mais influentes poetas e escritores portugueses, autor de uma vasta produ\xe7\xe3o liter\xe1ria. Laureado com diversos pr\xe9mios liter\xe1rios nacionais e internacionais, recebe o primeiro Pr\xe9mio Cam\xf5es em 1989 e \xe9 proposto cinco vezes ao Pr\xe9mio Nobel da Literatura. Durante muitos anos, \xe9 editor dos seus pr\xf3prios livros.","p5":"Morre a 17 de janeiro de 1995. \xc9 sepultado no cemit\xe9rio de S. Martinho de Anta, em campa rasa, com uma torga por perto."},"blockquote2":"Sim, a morte s\xe3o os dias cheios. Para os poetas, cheios de poesia, que \xe9 a eternidade neste mundo. <br /> <span> Carta a Fern\xe3o de Magalh\xe3es Gon\xe7alves <br /> Coimbra, 15 de agosto de 1987</span>","article_two":{"title":"Autoretrato","p1":"Miguel Torga <br /> Nasceu em S. Martinho de Anta, Tr\xe1s-os-Montes. <br /> Casado. <br /> Altura: 1 metro 77. <br /> Magro como um espeto. <br /> Perfil de contrabandista espanhol. <br /> M\xe9dico. <br /> Anda que se desunha. <br /> Fuma, sobretudo quando est\xe1 com amigos ou quando escreve. Gostava de ser pintor, e chegou mesmo a pintar um auto-retrato, que atirou ao mar, no Portinho da Arr\xe1bida. <br /> Vai muito ao cinema, e ri-se perdidamente com os desenhos animados. <br /> S\xf3 ajudou uma vez a mulher a enxugar a lou\xe7a, e h\xe1 dez anos que lhe mata o bicho do ouvido com essa avaria. <br /> Na sua biblioteca, pequena porque n\xe3o cabem mais livros na ex\xedgua casa da Estrada da Beira, em Coimbra, onde mora, cont\xe9m o essencial das principais leituras do mundo. <br /> Em pintura moderna admira Picasso, Siqueiros, Orozco e Portinari. <br /> Tira o chap\xe9u a Euclides da Cunha e a Machado de Assis. <br /> Gosta de m\xfasica, particularmente de Bach. <br /> Mas do que gosta a valer, \xe9 de calcorrear os montes do seu Douro transmontano e os pa\xfais dos campos do Mondego \xe0 ca\xe7a de perdizes e de narcej

1as. <br /> Nunca fez uma tratantice a um colega das letras. Em compensa\xe7\xe3o, t\xeam-lhe feito muitas. <br /> Entre outros autores que venera: Dostoiewski, Proust, Cervantes, Unamuno e Melville. <br /> \xc9 contra os ca\xe7adores de aut\xf3grafos, contra os \xe1lbuns, contra a publicidade.{\' \'}<br /> O “contra” \xe9 mesmo o seu forte. <br /> Gosta da solid\xe3o, e preza muito quem lha respeita. <br /> N\xe3o acredita em fantasmas. <br /> Anda sempre a morrer, e n\xe3o h\xe1 ningu\xe9m que gaste mais energia. Se pudesse recome\xe7ar a vida gostaria de ser mais poeta ainda. <br /> Um dos seus t\xedtulos de gl\xf3ria \xe9 ter passado a adolesc\xeancia no Brasil (Leopoldina - Minas). <br /> Vive pelos nervos. <br /> N\xe3o h\xe1 ningu\xe9m mais amigo dos seus amigos, e t\xe3o mal compreendido por eles. <br /> A arte para ele n\xe3o \xe9 uma ambi\xe7\xe3o: \xe9 um destino. <br /> A sua terra \xe9 para ele como uma planta: s\xedtio de deitar ra\xedzes. <br /> Tinha 20 anos quando escreveu o primeiro livro, que se chama Ansiedade. <br /> Poetas brasileiros que admira: Manuel Bandeira, Cec\xedlia, Ledo Ivo. <br /> Romancistas brasileiros que admira: Graciliano, Lins do Rego e Jorge Amado. <br /> Gosta dos deuses pag\xe3os, a quem tem cantado nas suas Odes. Mas n\xe3o conta com eles para o dia da morte, que teme como uma noite sem madrugada.","p2":"Miguel Torga In Rocha, C. - Miguel Torga. Fotobiografia. Pref\xe1cio de Manuel Alegre. Lisboa: Publica\xe7\xf5es D. Quixote, 2000."},"article_three":{"title":"Cronologia na primeira pessoa","p1":"<strong>A inf\xe2ncia.</strong> “Deixava os fundilhos das cal\xe7as nos escorregadoiros da serra, punha a camisa em fiapos a varar silveiredos atr\xe1s dum lagarto, n\xe3o havia joelheiras que resistissem \xe0s explora\xe7\xf5es que fazia nas minas secas, \xe0 procura dos texugos que se metiam dentro.”","p2":"<strong>Criado de servir no Porto.</strong>“Era porteiro. Mas regava tamb\xe9m o jardim, ia aos recados, servia de burro aos meninos mais novos do que eu, limpava o p\xf3, polia os metais da escadaria nobre com pomada Cora\xe7\xe3o. Andava de casaco branco, dormia num cub\xedculo, de campainha \xe0 cabeceira, e ganhava quinze tost\xf5es por m\xeas.”","p3":"<strong>Partida para o Brasil, de barco, aos 13 anos. Atracou no outro lado do Atl\xe2ntico numa segunda-feira cheia de sol.</strong> \\"Levava uma mala abarrotada. Quatro len\xe7\xf3is de pano cru, cinco travesseiros, um cobertor de flanela, uma colcha, uma roupa de casimira, duas camisas, duas ceroulas, cinco toalhas, seis garrafas de Ronc\xe3o velho e uma d\xfazia de salpic\xf5es.”","p4":"<strong>Os primeiros poemas.</strong> “Ultimamente fazia versos a torto e a direito. Por d\xe1 c\xe1 aquela palha, sa\xeda soneto, ode, ou coisa sem nome, mas rimada. Enchia cadernos de quadras, onde o amor exigia dor, saudade bondade, estrela bela, lua tua, p\xe1lida cris\xe1lida, etc.”","p5":"<strong>Regresso a Portugal.</strong> “Foi \xe0 tardinha que a \xe2ncora saiu do lodo do cais e rolou pelo casco acima. Devagar, a proa do barco come\xe7ou a mover-se e o Brasil dos meus sofrimentos a distanciar-se. Primeiro, o maci\xe7o duro da cidade; a seguir, a fita redonda das avenidas marginais; depois, o P\xe3o de A\xe7\xfacar; finalmente, a linha de costa, cada vez mais esfumada. Grandes e pequenos acidentes de um todo que eu cobrira de l\xe1grimas infantis. De l\xe1grimas que n\xe3o tinha agora para chorar…”","p6":"<strong>A literatura.</strong> “Viv\xedamos em desafio constante, sem transig\xeancias, sem complac\xeancias, seguros da nossa miss\xe3o renovadora. Poucos e unidos, desafi\xe1vamos Portugal inteiro, que continuava cego na sua rotina, no seu conformismo, na sua ret\xf3rica. Todas as experi\xeancias gr\xe1ficas e liter\xe1rias se faziam, todas as tentativas se ousavam.”","p7":"<strong>O amor.</strong> “O amor batera finalmente \xe0 porta, depois de mil simulacros e nega\xe7as. Todas as apar\xeancias anteriores deixaram de ter qualquer significa\xe7\xe3o diante da presente evid\xeancia. Nenhum abalo emotivo experimentado at\xe9 ali nesse cap\xedtulo se podia comparar ao alvoro\xe7o que sentia agora antes de cada encontro.”","p8":"<strong>O m\xe9dico e os doentes.</strong> “Ficava sempre em p\xe2nico diante daquelas criaturas, ainda h\xe1 pouco inteiramente desconhecidas, ali, indefesas, a exibirem confiadas as mis\xe9rias do corpo e da alma.","p9":"<strong>M\xe9dico-escritor.</strong> “Cumprida a obriga\xe7\xe3o profissional, a devo\xe7\xe3o criadora. Arrumava o bisturi e pegava na caneta. E tinha a impress\xe3o de que continuava a abrir no papel os mesmos fleim\xf5es de h\xe1 pouco. As p\xe1ginas sangravam como fer

1idas rasgadas, e os poemas pareciam uivos.”","p10":"<strong>M\xe9dico em Coimbra.</strong> “Morava num velho casinhoto alcandorado numa ravina sobranceira ao rio. Em baixo, as \xednsuas verdejavam cobertas de laranjais. Barcas serranas, carregadas de lenha ou de trouxas de roupa lavada, desciam de Penacova. Aos domingos e dias santos, grupos batistas cantavam hinos no areal e mergulhavam devotamente os ne\xf3fitos na limpidez da corrente, que refletia o casario erguido em pres\xe9pio pelas colinas.”","p11":"<strong>O ca\xe7ador.</strong> “O homem primitivo que nunca se resignara dentro de mim s\xf3 vinha \xe0 tona em toda a sua plenitude de cartucheira \xe0 cinta. O ato venat\xf3rio era para os meus sentidos o regresso \xe0 pureza original. Desde a roupa que vestia, delida como um velho paramento e afei\xe7oada aos movimentos do corpo como uma segunda epiderme, \xe0 frugalidade s\xe3 da merenda, sempre igual, ao vinho bebido excecionalmente, tudo fazia parte de uma secreta comunica\xe7\xe3o com a sacralidade da natureza.”","p12":"<strong>Viagem pela Europa. A Guerra Civil de Espanha.</strong> “Todos v\xedamos, alanceados, que, mais terr\xedvel que a guerra, eram os escombros dela, os dejetos da heroicidade in\xfatil, a esterilida

1de sat\xe2nica do seu rastro. O que ficara para tr\xe1s, embora aterrador, tinha vida ainda, e, por isso, o instinto de conserva\xe7\xe3o podia alimentar pelo menos a esperan\xe7a de fugir. Agora, um des\xe2nimo total invadia o esp\xedrito, secava a energia do desespero na raiz.”","p13":"<strong>Preso pela PIDE, horas sentado, regelado, sepultado vivo.</strong> “Enjaulado como uma fera, privado dos mais elementares meios de higiene, a ouvir e a cheirar os pr\xf3prios rumores e odores, sem voz, sem direitos, sem a\xe7\xe3o, condenado a uma exist\xeancia meramente vegetativa, funcional, de alambique, a comida a entrar e a sair, o sono e a vig\xedlia a alternar na repeti\xe7\xe3o pendular do mesmo absurdo.”"},"article_four":{"title":"Ariane","p1":"Ariane \xe9 um navio. <br /> Tem mastros, velas e bandeira \xe0 proa, <br /> E chegou num dia branco, frio, <br /> A este rio Tejo de Lisboa.","p2":"Carregado de Sonho, fundeou <br /> Dentro da claridade destas grades… <br /> Cisne de todos, que se foi, voltou <br /> S\xf3 para os olhos de quem tem saudades…","p3":"Foram duas fragatas ver quem era <br /> Um tal milagre assim: era um navio <br /> Que se balan\xe7a ali \xe0 minha espera <br /> Entre gaivotas que se d\xe3o no rio.","p4":"Mas eu \xe9 que n\xe3o pude ainda por meus passos <br /> Sair desta pris\xe3o em corpo inteiro, <br /> E levantar a \xe2ncora, e cair nos bra\xe7os <br /> De Ariane, o veleiro.","p5":"Cadeia do Aljube, Lisboa, 1 de janeiro de 1940."},"article_five":{"p1":"<strong>O regime, a ditadura. A voz inconformada:</strong> “Quem n\xe3o acertava o passo pelo chouto do rebanho, ou apodrecia num calabou\xe7o ou morria de fome. A na\xe7\xe3o inteira era agora uma tumba de sil\xeancio e abulia. Nos campos, nas f\xe1bricas, nas escolas e nas reparti\xe7\xf5es, o perfil duro do ditador parecia escutar a voz das pr\xf3prias consci\xeancias. E as consci\xeancias calavam-se no mais fundo das funduras, temerosas de qualquer express\xe3o reveladora. Nenhum lugar, do mais alto ao mais rasteiro, era preenchido sem o aval da pol\xedcia pol\xedtica.”","p2":"<strong>25 de Abril.</strong> “Um simples canh\xe3o apontado bastou para que a fortaleza se desmoronasse. Surpreendida pelo milagre, a alma nacional explodiu de alegria. De norte a sul, multid\xf5es transfiguradas enchiam as ruas num impulso de incontida esperan\xe7a renovada. Parecia um sonho! (…) Bandeiras de todas as cores sorriam desfraldadas na atmosfera l\xedmpida de Abril. (…) A p\xe1tria readquiria finalmente a voz e a dignidade.”","p3":"<strong>Viagem a \xc1frica.</strong> Luanda, Angola: “(…) a cidade lembrava uma Sodoma de irresponsabilidade 

1cercada de maldi\xe7\xe3o.” Ilha de Mo\xe7ambique, o\xe1sis de esperan\xe7a.","p4":"<strong>O ch\xe3o nativo.</strong> “O apego das ra\xedzes ao ch\xe3o nativo? Depois de tantas andan\xe7as, de tanto sofrimento, de tanto estudo, o cord\xe3o umbilical continuava ligado \xe0 matriz. Tinha, realmente, uma paisagem, um meio, um s\xedtio geogr\xe1fico vital gravado nos cromossomas! O corpo podia correr todos os caminhos do mundo, e o esp\xedrito voar em todas as dire\xe7\xf5es. Aonde chegassem denunciariam sempre a marca de origem, a singularidade inconfund\xedvel, esp\xe9cie de sabor \xe0 terra de proveni\xeancia, como o dos frutos.”","p5":"<strong>A velhice.</strong> “Temia a decad\xeancia, n\xe3o temia a morte. Deixar de escrever, deixar de amar, deixar de ca\xe7ar \xe9 que seria a suprema desgra\xe7a.”","p6":"<strong>No fim da vida.</strong> “O homem, que por fora parecia um mon\xf3lito de certezas, por dentro era uma am\xe1lgama de d\xfavidas. Sedento do absoluto, s\xf3 conhecera o gosto amargo do relativo. Profundamente religioso, nunca pudera dobrar os joelhos diante de nenhum altar. Medularmente afetivo, criara, sem saber porqu\xea, ao lado de algumas amizades firmes, um sem-n\xfamero de inimigos encarni\xe7ados. De uma timidez doentia, passara os dias a compens\xe1-la com atos violentos. Supersticioso e inseguro em cada passo, movimentara-me no campo das realidades como um fantasma voluntarioso.”"}}')},2541:e=>{"use strict";e.exports=JSON.parse('{"name":"Les Lieux","_id":"7976621319765353","header":["Itin\xe9raire litt\xe9raire de trois","jours dans le Douro"],"blockquote_1":"<blockquote><span> S\xe3o Martinho de Anta, 3 juillet 1966</span> <br /> Ces paysages sont d\xe9j\xe0 si explicit\xe9s en moi, qu\'ils semblent \xe9crits dans ma compr\xe9hension. Quand je pense que je les interpr\xe8te, je me lis.<br /><span>Journal X</span></blockquote>","blockquote_2":"<blockquote>La terre est de telle nature que, pas contente des dons \xe0 ciel ouvert, elle enferme dans ses entrailles des richesses qui n\'ont pas de compte. On entre dans le ventre d\'une montagne et c\'est du fer, c\'est de l\'or, c\'est du plomb, c\'est de l\'\xe9tain, c\'est du tungst\xe8ne, c\'est du zinc, c\'est de l\'uranium, c\'est tout ce que Vulcain a forg\xe9.<br /><span>Portugal</span></blockquote>","subtitles":["Th\xe9matiques Torguiennes","Culture","Nature"],"days":["Premier Jour","Deuxi\xe8me Jour","Troisi\xe8me Jour"],"downloadble_content":{"title":["Itin\xe9raire litt\xe9raire de trois","jours dans le Douro"],"link":"T\xe9l\xe9charger l\'itin\xe9raire","p1":"<strong>Comment arriver \xe0 S\xe3o Martinho de Anta</strong> <br />\xc0 une heure de voiture de Porto, \xe0 deux heures de Vigo. Depuis Porto, suivre l\'A4 en direction de Vila Real. Sortir vers l\'IP3, continuer par l\'A24/IP3 jusqu\'\xe0 l\'EN322. Sortir \xe0 S\xe3o Martinho de Anta. Depuis Vigo, suivre l\'AP-9 en direction de Tui. Au Portugal, suivre l\'A3, A11 et A4 vers Vila Real. Sortir \xe0 la sortie 13 de l\'A4, continuer sur l\'EN322, sortir \xe0 S\xe3o Martinho de Anta.","p2":"<strong>Dans la valise : livres et bande sonore</strong><br />Parcourir la g\xe9ographie physique et sentimentale de Miguel Torga, c\'est entrer dans son œuvre et dans sa vie. Visiter ses lieux avec ses livres, le Journal, Portugal, les Contes et Nouveaux Contes de la Montagne, aide \xe0 d\xe9voiler cet univers si unique et singulier. La po\xe9sie, A Cria\xe7\xe3o do Mundo, Bichos et Vindima sont aussi de belles compagnies de voyage. En plus des sons et des silences des paysages, des rivi\xe8res, des vignobles et des gens, l\'album Viagem a Um Reino Maravilhoso, des Lavoisier, est la bande sonore parfaite pour ces promenades. L\'album part des po\xe8mes de Torga pour traduire et recr\xe9er le son trouv\xe9 dans la po\xe9sie de l\'\xe9crivain transmontan."},"first_day":{"name":"Premier Jour","title":"Premier Jour <br /> S\xe3o Martinho de Anta et <br />Sabrosa","subtitle":"La maison, la famille, les racines","blockquote_1":"<span>S\xe3o Martinho de Anta, 28 d\xe9cembre 1953</span> <p> C\'est dommage que les montagnes ne parlent pas, ne dialoguent pas et ne t\xe9moignent pas. Celles-ci, au moins. En plus de l\'\xe9motion de les entendre r\xe9pondre au monologue que le silence dans lequel elles vivent a effac\xe9 de mes l\xe8vres et rendu int\xe9rieur, j\'aimerais surtout savoir si reste dans leur \xe2me, comme dans la mienne, la marque ind\xe9l\xe9bile de chacune de nos rencontres. L\'\xe9treinte que nous donnons est si serr\xe9e et m\xe9dullaire, si intime la communion qui nous unit pendant des heures, que je ne me r\xe9signe pas \xe0 l\'id\xe9e qu\'

1il n\'y ait conscience que de mon c\xf4t\xe9, et de l\'autre l\'amour soit passif. </p> <span>Journal VII</span>","blockquote_2":"<p> Mais je ne pourrais jamais vivre en dehors d\'elle comme \xe9crivain. Il me manquait le dictionnaire de la terre, la grammaire du paysage, l\'Esprit Saint du peuple. </p> <span>A Cria\xe7\xe3o do Mundo</span>","content":{"p1":"<strong>Le point de d\xe9part</strong><br />Le village de l\'\xe9crivain, o\xf9 il est n\xe9 et o\xf9 il est enterr\xe9 dans une tombe plate, granitique, avec une torga. Point de d\xe9part pour une promenade de week-end ou plus longue. Quand vous voulez, comme vous voulez, le temps que vous voulez.","p2":{"text":"De nombreux itin\xe9raires sont possibles \xe0 partir de ce village qui est devenu une ville et qui embrasse les paysages transmontans. L\'**Espace Miguel Torga**, de l\'architecte Souto Moura, est un \xe9quipement culturel avec une exposition permanente sur la vie et l\'œuvre de Miguel Torga, une salle d\'expositions temporaires et un auditorium o\xf9 se d\xe9roulent r\xe9guli\xe8rement des conf\xe9rences, concerts et r\xe9citals. Juste \xe0 c\xf4t\xe9, \xe0 cinq minutes \xe0 pied, la porte de la **Casa Miguel Torga** s\'ouvre pour accueillir les visiteurs : le hall d\'entr\xe9e avec les armes d\xe9coratives et le b\xe9ret, le salon, la chemin\xe9e et le fauteuil o\xf9 l\'auteur s\'asseyait et \xe9crivait, premi\xe8res \xe9ditions, photographies et manuscrits, traductions en plusieurs langues, œuvres d\'Andr\xe9e Rocha et Clara Rocha.","dataLink":["espaco-miguel-torga","casa-miguel-torga"]},"p3":{"text":"En plein air, le ciel, l\'odeur de terre, le paysage qui saisit les couleurs du temps, la pierre, le granit. Les **Pas de Torga** est un sentier qui part de la Casa Miguel Torga et se termine \xe0 Eir\xf4, la place de S\xe3o Martinho de Anta. Au centre de la ville, il y avait autrefois un negrilho (le nom populaire de l\'orme noir), l\'arbre centenaire auquel l\'auteur a d\xe9di\xe9 le po\xe8me \\"A um Negrilho\\". Le sentier est une promenade circulaire de 11 kilom\xe8tres qui respire la nature, arbustes, pins et ch\xeanes verts, ajoncs, gen\xeats blancs et romarin.","dataLink":["trilho-nos-passos-do-torga"]},"p4":{"text":"L\'**\xe9cole primaire** avec des fen\xeatres donnant sur le Mar\xe3o, \xe9voqu\xe9e dans les premi\xe8res pages d\'A Cria\xe7\xe3o do Mundo, et o\xf9, des ann\xe9es plus tard, le po\xe8te a pass\xe9 un apr\xe8s-midi \xe0 replanter les mimosas de son enfance. Dans le village de Garganta, une autre ancienne \xe9cole dont le b\xe2timent est maintenant le **P\xf4le Arch\xe9ologique de Garganta**, un \xe9quipement qui pr\xe9serve quelques vestiges arch\xe9ologiques collect\xe9s dans la N\xe9cropole des Tou\xe7as et dans la mamoa de Madorras, toutes deux m\xe9ritant une visite.","dataLink":["escola-primaria-do-poeta","polo-arqueologico-da-garganta"]},"p5":{"text":"Au sommet de la montagne, avec le Mar\xe3o et l\'Alv\xe3o en vue, se trouve la **Senhora da Azinheira**, avec son porche qui rappelle le d\xe9cor du conte \\"Natal\\". Chapelle blanche, simple, du XVIIe si\xe8cle, retable baroque avec sculpture dor\xe9e. La cloche, les ch\xe2taigniers autour, la vieille fontaine, l\'odeur de romarin, le p\xe8lerinage du 15 ao\xfbt, les roches qui deviennent des tables de pique-nique pour une journ\xe9e.","dataLink":["capela-da-senhora-da-azinheira"]},"p6":{"text":"\xc0 quelques kilom\xe8tres, dans le village de Parada de Pinh\xe3o, se trouve la **Casa Aires Torres**. La vie et l\'œuvre d\'Aires Torres, po\xe8te, acteur, militaire et r\xe9volutionnaire. La salle d\'exposition permanente montre des panneaux biographiques, des objets personnels et une partie de sa biblioth\xe8que. \xc0 Sabrosa, il vaut la peine de visiter le castro, dat\xe9 de l\'\xc2ge du Fer et plus tard occup\xe9 par les Romains. Se distinguent aussi l\'**\xc9glise M\xe8re**, du XVIIIe si\xe8cle, en style baroque, la Casa da Capela et la Casa da Pereira, o\xf9, selon la tradition, Fern\xe3o de Magalh\xe3es serait n\xe9. Le grand voyage de circumnavigation est racont\xe9 dans l\'exposition **Locais e Culturas da Viagem de Magalh\xe3es**, au Parque BB King, \xe0 Sabrosa, qui permet de vivre l\'odyss\xe9e et de d\xe9couvrir des territoires lointains.","dataLink":["casa-aires-torres","igreja-matriz-de-sabrosa","casa-de-fernao-magalhaes","os-locais-e-culturas-da-viagem-de-magalhaes"]}}},"second_day":{"name":"Deuxi\xe8me Jour","title":"Deuxi\xe8me Jour","subtitle":"En chemin vers le Douro <br />Le sublime <br />Le paradis sur terre","blockquote_1":"Je vais vous parler d\'un Royaume Merveilleux. Bien que beaucoup de gens disent que non, il y a toujours eu et il y aura toujours des royaumes merveilleux dans ce monde. Ce qui est n\xe9cessaire, pour les voir, c\'est que les yeux ne perdent pas la virginit\xe9 originale devant la r\xe9alit\xe9, et le cœur, ensuite, n\'h\xe9site pas. Maintenant, ce que je pr\xe9tends montrer, mien et de tous ceux qui veulent le m\xe9riter, non seulement existe, mais est l\'un des plus beaux qu\'on puisse imaginer. Il commence tout de suite parce qu\'il se trouve au sommet du Portugal, comme les nids se trouvent au sommet des arbres pour que la distance les rende plus impossibles et d\xe9sir\xe9s.","content":{"p1":{"text":"Une g\xe9ographie fa\xe7onn\xe9e pendant des si\xe8cles par le travail de l\'homme. Terre de terrasses sur les rives d\'une rivi\xe8re d\'or, o\xf9 poussent les vignes. Le Douro est la plus ancienne et l\'une des plus importantes r\xe9gions d\xe9limit\xe9es du monde. Alto Douro Vinhateiro, Patrimoine Mondial de l\'Humanit\xe9."},"p2":{"text":"Sur la rive nord de la rivi\xe8re, dans l\'Alto Douro Vinhateiro, se trouve le **Village Historique de Provesende**. Maisons seigneuriales et armori\xe9es, un pilori, des fermes et un sentier viticole. Le **Sentier Viticole de Provesende** est un parcours p\xe9destre dans le Douro qui desce

1nd du village historique jusqu\'\xe0 Pinh\xe3o, sur un peu plus de cinq kilom\xe8tres. Une promenade avec certaines des meilleures vues de la vall\xe9e de la rivi\xe8re et avec des paysages \xe0 couper le souffle.","dataLink":["aldeia-historica-de-provesende","trilho-vinhateiro-de-provesende"]},"p3":{"text":"Ces lieux sont des paradis de contemplation. S\'arr\xeater, observer, sentir la nature au **Belv\xe9d\xe8re de S\xe3o Crist\xf3v\xe3o do Douro**, d\'o\xf9 on peut voir la rencontre des rivi\xe8res Pinh\xe3o et Douro, et un panorama superbe de terrasses. Et **Pinh\xe3o** l\xe0-bas en bas avec ses vignobles, ses fermes et sa belle gare de chemin de fer rev\xeatue de carreaux. **Casal de Loivos**, \xe0 quelques minutes de Pinh\xe3o, offre aussi l\'une des plus belles vues de la r\xe9gion. Et le belv\xe9d\xe8re de **S. Leonardo de Galafura**, accessible par l\'ancienne route entre Vila Real et R\xe9gua, est un point de visite obligatoire dans un itin\xe9raire duriense.","dataLink":["miradouro-de-sao-cristovao-do-douro","pinhao","casal-de-loivos","s-leonardo-de-galafura"]},"p4":{"text":"<h1>S. Leonardo de Galafura</h1><p>\xc0 la proue d\'un navire de rochers, <br /> Naviguant dans une mer douce de mo\xfbt, <br /> Capitaine \xe0 son poste <br /> De commandement, <br /> S. Leonardo va sillonnant <br /> Les vagues <br /> De l\'\xe9ternit\xe9, <br /> Sans h\xe2te d\'arriver \xe0 sa destination. <br /> Ancr\xe9 et heureux dans le quai humain, <br /> C\'est dans une d\xe9sillusion anticip\xe9e <br /> Qu\'il fait route vers le quai divin.</p><p>L\xe0 il n\'aura pas de terrasses <br /> Ni de vignobles <br /> Dans la prunelle de ses yeux <br /> \xc9blouis ; <br /> Des Douros d\xe9vers\xe9s <br /> Seront des mares de lumi\xe8re <br /> Vieillie ; <br /> Plats, toutes les montagnes <br /> Laisseront prolonger les horizons <br /> Jusqu\'o\xf9 s\'\xe9teint la couleur de la vie.</p><p>C\'est pourquoi il s\'approche lentement <br /> De la b\xe9atitude. <br /> C\'est lentement que le rabelo avance <br /> Sous ses pieds de marin. <br /> Et chaque heure de plus qu\'il passe en chemin <br /> Est une gorg\xe9e de plus d\'odeur <br /> De terre et de romarin !</p>"}}},"third_day":{"name":"Troisi\xe8me Jour","title":"Troisi\xe8me Jour","subtitle":"Vila Real <br /> Patrimoine, architecture, histoire","content":{"p1":{"text":"Vila Real, capitale de district, est une ville avec histoire et patrimoine architectural. Au cœur de la ville, le **Centre Historique** groupe plusieurs monuments. La majestueuse **Cath\xe9drale**, du XVe si\xe8cle, est le meilleur exemple de l\'architecture gothique de la r\xe9gion de Tr\xe1s-os-Montes. B\xe2timent sobre avec trois nefs \xe9chelonn\xe9es et chœur rectangulaire, c\'est un lieu de silence et de contemplation.","dataLink":["centro-historico-vila-real","se-de-vila-real-igreja-de-sao-domingos"]},"p2":{"text":"**La Chapelle de la Mis\xe9ricorde**, avec son portail en arc de cercle parfait, date du XVIe si\xe8cle. **Le Pilori** a \xe9t\xe9 \xe9rig\xe9 en 1515, quand Vila Real a re\xe7u de D. Manuel un nouveau foral. L\'**\xc9glise de S\xe3o Paulo**, avec un dessin attribu\xe9 \xe0 Nicolau Nasoni, est une \xe9glise baroque compos\xe9e d\'une nef unique et d\'un chœur, et fa\xe7ade avec pilastres aux coins couronn\xe9es par des torches. **L\'\xc9glise de S\xe3o Pedro** est aussi un exemple du style baroque, avec la fa\xe7ade principale flanqu\xe9e de deux tours.","dataLink":["igreja-de-s-paulo-capela-nova","capela-da-misericordia","pelourinho","igreja-de-s-pedro"]},"p3":{"text":"Le **Jardin de la Carreira**, du XIXe si\xe8cle, est une promenade publique au go\xfbt romantique o\xf9 il fait bon marcher. Il a deux entr\xe9es, la principale avec un portail en fer et granit qui affiche la date de 1871. Air pur dans la ville, vert tout autour dans l\'avenue des tilleuls, sur les pelouses et parterres. Il y a un lac et une fontaine, un monument \xe0 Camilo Castelo Branco, des bancs pour se reposer, un kiosque et un belv\xe9d\xe8re. Les histoires se racontent aussi au **Mus\xe9e de la Vieille Ville**, qui \xe9voque le pass\xe9 du territoire, montre ses origines m\xe9di\xe9vales et pr\xe9serve les m\xe9moires de ses gens. D\'autres mus\xe9es dispers\xe9s dans la ville et la biblioth\xe8que municipale permettent de d\xe9couvrir un peu plus.","dataLink":["jardim-da-carreira","museu-da-vila-velha"]},"p4":{"text":"\xc0 4 kilom\xe8tres de Vila Real se trouve la **Casa de Mateus**, avec ses beaux jardins et ses salles pleines d\'Histoire. \xc0 l\'int\xe9rieur du manoir, dessin\xe9 par Nicolau Nasoni, le visiteur peut admirer du mobilier, de l\'art sacr\xe9, des peintures et sculptures, de la porcelaine et du cristal, la biblioth\xe8que avec l\'\xe9dition monumentale d\'Os Lus\xedadas en deux volumes et les originaux des treize gravures qui l\'illustrent. Miguel Torga a particip\xe9 \xe0 plusieurs rencontres culturelles dans ce palais, et en 1980 il a \xe9t\xe9 distingu\xe9 avec le Prix Morgado de Mateus, ex-aequo avec le po\xe8te br\xe9silien Carlos Drummond de Andrade. \xc0 sept minutes de voiture, le **Sanctuaire de Pan\xf3ias** est le plus ancien sanctuaire pa\xefen de la P\xe9ninsule Ib\xe9rique, construit entre la fin du IIe si\xe8cle et le d\xe9but du IIIe si\xe8cle. Lieu de rites d\'initiation et d\'immolation de victimes.","dataLink":["fundacao-da-casa-de-mateus","fragas-de-panoias-santuario-de-panoias"]}},"gastronomia":{"title":"Gastronomie et vins","p1":"<strong>Douro \xe0 table</strong><br />Appr\xe9cier. D\xe9guster. Savourer.<br />La gastronomie transmontane et duriense est une cuisine g\xe9n\xe9reuse et authentique. Dense et intense, elle c\xe9l\xe8bre l\'origine de ses produits et raconte des histoires de g\xe9n\xe9rations. Ses vins gardent des h\xe9ritages et des souvenirs, des traditions familiales, des paysages avec des hectares de vignobles, des maisons seigneuriales, d\xe9vouement et engagement, un savoir-faire d\'excellence.","p2":"Parmi tant d\'autres \\"sp\xe9cialit\xe9s\\", mentionnons le jambon b\xedsaro de Vinhais, tendre et succulent, l\xe9g\xe8rement sal\xe9 et fum\xe9 ; le folar de viandes ; l\'alheira ; la moura, saucisse de sang, viandes en vin-aill\xe9 et pain coup\xe9 en tranches ; les covilhetes de Vila Real, petits p\xe2t\xe9s de p\xe2te feuillet\xe9e avec farce de viande hach\xe9e ; le veau r\xf4ti ; le chevreau avec riz au four ; la perdrix et autres viandes de gibier ; la posta maronesa, tendre et succulent ; et la posta mirandesa, viande DOP (D\xe9nomination d\'Origine Prot\xe9g\xe9e) de bovin de race mirandesa.","p3":"Pour boire, vins de table du Douro et vins de Porto comme ap\xe9ritif ou pour terminer un repas. Ce sont des vins robustes et cors\xe9s, avec des ar\xf4mes prononc\xe9s, rouges, blancs, mill\xe9simes. Vins produits dans un microclimat unique et dans un territoire qui remplit le regard. Pour porter un toast \xe0 la vie. Pour savourer chaque gorg\xe9e.","p4":"Dans les desserts, il vaut la peine d\'essayer les traditionnelles cristas de galo, en forme de demi-lune, avec farce de sucre, amande, œufs, lard et cannelle ; les pitos de Santa Luzia, recette d\'ancien couvent, en forme de pyramide quadrangulaire, farcis de citrouille, sucre, cannelle et poivre ; la cr\xe8me br\xfbl\xe9e maison et tant d\'autres d\xe9lices."},"conhecer":{"title":"En Savoir Plus","p1":"<strong>Mus\xe9e du C\xf4a</strong><br />Le Mus\xe9e est une structure compl\xe9mentaire au Parc Arch\xe9ologique de la Vall\xe9e du C\xf4a, aidant le voyageur \xe0 d\xe9couvrir l\'art rupestre des vall\xe9es du C\xf4a et du Douro, deux patrimoines mondiaux de la r\xe9gion.","p2":"<strong>Passeport du Douro</strong><br />Partez \xe0 la d\xe9couverte du Douro, accompagn\xe9 du Passeport. En compl\xe9tant le voyage \xe0 travers les 76 points d\'int\xe9r\xeat marqu\xe9s, en collectant tous les tampons dans le Passeport vous recevez un certificat d\'excellence et une offre exclusive de l\'Institut du Vin du Douro et Porto."}}}')},3391:e=>{"use strict";e.exports=JSON.parse('{"name":"Vie","_id":"79766213195353","blockquote":"Mon projet de vie avait toujours \xe9t\xe9 le m\xeame : me r\xe9aliser. \xcatre comme homme une authenticit\xe9 tacite et 

1comme artiste une affliction exprim\xe9e. Rien de plus.<br /> <span>A Cria\xe7\xe3o do Mundo</span>","header":"Miguel Torga, grand \xe9crivain du XXe si\xe8cle, pseudonyme litt\xe9raire d\'Adolfo Correia Rocha. Transmontan de naissance, de temp\xe9rament, de corps et d\'\xe2me, rebelle et jamais conform\xe9, avec les pieds sur terre et la pens\xe9e dans le pays et le monde. Tr\xe1s-os-Montes nourrit sa vie et son \xe9criture. Un homme qui ne renie jamais les racines humbles li\xe9es \xe0 sa terre, le village natal de S\xe3o Martinho de Anta, comme la bruy\xe8re, cette torga sauvage et r\xe9sistante qui le baptise litt\xe9rairement. \xc9crivain et m\xe9decin, il note dans une entr\xe9e du Journal : \\"[...] La plume qui \xe9crit et celle qui prescrit alternent harmonieusement dans la m\xeame main\\".","article_one":{"title":"Vie","p1":"Adolfo Correia Rocha na\xeet le 12 ao\xfbt 1907 \xe0 S. Martinho de Anta, municipalit\xe9 de Sabrosa, district de Vila Real, entre la \\"terre chaude\\" de schiste du Douro et la \\"terre froide\\" de granit du nord-est transmontan. Le village, humus qui nourrit son enfance, appara\xeet avec le nom Agarez dans le roman autobiographique A Cria\xe7\xe3o do Mundo, dans une projection mythique de la motte natale.","p2":"Il grandit dans une famille pauvre, honorable, d\xe9termin\xe9e \xe0 lui ouvrir des horizons. Le p\xe8re, Francisco Correia Rocha, blond, aux yeux bleus, est le pieu vital. La m\xe8re, Maria da Concei\xe7\xe3o de Barros, yeux presque verts, voix douce, la chaleur du giron sentimental. Il fait la quatri\xe8me classe avec distinction. Domestique \xe0 Porto, un an au S\xe9minaire de Lamego, la certitude qu\'il ne veut pas suivre le sacerdoce. \xc0 treize ans, il part pour le Br\xe9sil pour travailler dans la ferme de son oncle, \xe0 Leopoldina (Minas Gerais). Il revient cinq ans plus tard, fait le lyc\xe9e en trois ans et termine sa licence en M\xe9decine \xe0 l\'Universit\xe9 de Coimbra, en 1933, avec une moyenne de 15 valeurs. Il revient \xe0 S. Martinho de Anta, et exerce ensuite \xe0 Vila Nova de Miranda do Corvo, \xe0 Leiria et, enfin, \xe0 Coimbra.","p3":"En 1934, il adopte le nom litt\xe9raire Miguel Torga. Miguel en hommage \xe0 deux grandes figures de la culture ib\xe9rique, Cervantes et Unamuno. Torga en hommage \xe0 la bruy\xe8re de montagne, aux racines dures et \xe0 la fleur blanche ou violac\xe9e. Il voyage \xe0 travers l\'Europe jusqu\'en Italie, traversant une Espagne bless\xe9e par la Guerre Civile. Le livre \\"O Quarto Dia\\" d\'A Cria\xe7\xe3o do Mundo (1939) est saisi, l\'\xe9crivain est arr\xeat\xe9 \xe0 Leiria puis emmen\xe9 \xe0 l\'Aljube, o\xf9 il reste pendant trois mois. En prison, il \xe9crit le po\xe8me \\"Ariane\\" et quelques-unes des nouvelles qui composent le volume Bichos.","p4":"Il est un auteur insatisfait, \xe9crit en double, \xe0 la machine \xe0 \xe9crire avec papier carbone. Et r\xe9\xe9crit. Il corrige \xe0 la main, coupe des bandes de papier qu\'il colle sur les feuilles. Ses jours sont journal, po\xe9sie, roman, nouvelle, th\xe9\xe2tre, pages d\'intervention. M\xe9decin d\xe9vou\xe9, sp\xe9cialiste en oreilles, nez et gorge, en 1940 il ouvre un cabinet au Largo da Portagem, n\xba 45, \xe0 Coimbra, o\xf9 il exerce pendant plus de cinquante ans. Il voyage inlassablement \xe0 travers le Portugal et le monde, enregistrant le paysage physique, social et culturel. Il est aussi chasseur, gaucher avec l\'arme, fort des jambes, tire sur les perdrix, lapins et li\xe8vres \xe0 travers montagnes et collines. Il est l\'un des po\xe8tes et \xe9crivains portugais les plus influents, auteur d\'une vaste production litt\xe9raire. Laur\xe9at de divers prix litt\xe9raires nationaux et internationaux, il re\xe7oit le premier Prix Cam\xf5es en 1989 et est propos\xe9 cinq fois pour le Prix Nobel de Litt\xe9rature. Pendant de nombreuses ann\xe9es, il est l\'\xe9diteur de ses propres livres.","p5":"Il meurt le 17 janvier 1995. Il est enterr\xe9 dans le cimeti\xe8re de S. Martinho de Anta, dans une tombe plate, avec une torga \xe0 proximit\xe9."},"blockquote2":"Oui, la mort, ce sont les jours pleins. Pour les po\xe8tes, pleins de po\xe9sie, qui est l\'\xe9ternit\xe9 dans ce monde. <br /> <span> Lettre \xe0 Fern\xe3o de Magalh\xe3es Gon\xe7alves <br /> Coimbra, 15 ao\xfbt 1987</span>","article_two":{"title":"Autoportrait","p1":"Miguel Torga <br /> N\xe9 \xe0 S. Martinho de Anta, Tr\xe1s-os-Montes. <br /> Mari\xe9. <br /> Taille : 1 m\xe8tre 77. <br /> Mince comme une brochette. <br /> Profil de contrebandier espagnol. <br /> M\xe9decin. <br /> Marche jusqu\'\xe0 se d\xe9mettre. <br /> Fume, surtout quand il est avec des amis ou quand il \xe9crit. Il aurait aim\xe9 \xeatre peintre, et a m\xeame peint un autoportrait, qu\'il a jet\xe9 \xe0 la mer, \xe0 Portinho da Arr\xe1bida. <br /> Va beaucoup au cin\xe9ma, et rit \xe9perdument avec les dessins anim\xe9s. <br /> N\'a aid\xe9 sa femme \xe0 essuyer la vaisselle qu\'une seule fois, et depuis dix ans il lui tue le ver de l\'oreille avec cette panne. <br /> Dans sa biblioth\xe8que, petite parce qu\'il n\'y a plus de place pour plus de livres dans l\'exigu\xeb maison de l\'Estrada da Beira, \xe0 Coimbra, o\xf9 il habite, elle contient l\'essentiel des principales lectures du monde. <br /> En peinture moderne, il admire Picasso, Siqueiros, Orozco et Portinari. <br /> Il salue Euclides da Cunha et Machado de Assis. <br /> Aime la musique, particuli\xe8rement Bach. <br /> Mais ce qu\'il aime vraiment, c\'est parcourir les montagnes de son Douro transmontan et les mar\xe9cages des champs du Mondego \xe0 la chasse aux perdrix et aux b\xe9cassines. <br /> N\'a jamais fait de tra\xeetrise \xe0 un coll\xe8gue des lettres. En compensation, ils lui en ont fait beaucoup. <br /> Parmi d\'autres auteurs qu\'il v\xe9n\xe8re : Dosto\xefevski, Proust, Cervantes, Unamuno et Melville. <br /> Il est contre les chasseurs d\'autographes, contre les albums, contre la publicit\xe9.{\' \'}<br /> Le \\"contre\\" est vraiment son fort. <br /> Aime la solitude, et appr\xe9cie beaucoup ceux qui la respectent. <br /> Ne croit pas aux fant\xf4mes. <br /> Est toujours en train de mourir, et il n\'y a personne qui d\xe9pe

1nse plus d\'\xe9nergie. S\'il pouvait recommencer la vie, il aimerait \xeatre encore plus po\xe8te. <br /> L\'un de ses titres de gloire est d\'avoir pass\xe9 son adolescence au Br\xe9sil (Leopoldina - Minas). <br /> Vit par ses nerfs. <br /> Il n\'y a personne de plus ami de ses amis, et si mal compris par eux. <br /> L\'art pour lui n\'est pas une ambition : c\'est un destin. <br /> Sa terre est pour lui comme une plante : un endroit pour mettre des racines. <br /> Il avait 20 ans quand il a \xe9crit le premier livre, qui s\'appelle Ansiedade. <br /> Po\xe8tes br\xe9siliens qu\'il admire : Manuel Bandeira, Cec\xedlia, Ledo Ivo. <br /> Romanciers br\xe9siliens qu\'il admire : Graciliano, Lins do Rego et Jorge Amado. <br /> Aime les dieux pa\xefens, auxquels il a chant\xe9 dans ses Odes. Mais ne compte pas sur eux pour le jour de la mort, qu\'il craint comme une nuit sans aube.","p2":"Miguel Torga In Rocha, C. - Miguel Torga. Fotobiografia. Pr\xe9face de Manuel Alegre. Lisbonne : Publica\xe7\xf5es D. Quixote, 2000."},"article_three":{"title":"Chronologie \xe0 la premi\xe8re personne","p1":"<strong>L\'enfance.</strong> \\"Je laissais le fond des pantalons sur les toboggans de la montagne, je mettais la chemise en lambeaux \xe0 traverser les fourr\xe9s derri\xe8re un l\xe9zard, il n\'y avait pas de genouill\xe8res qui puissent r\xe9sister aux explorations que je faisais dans les mines s\xe8ches, \xe0 la recherche des blaireaux qui se mettaient dedans.\\"","p2":"<strong>Domestique \xe0 Porto.</strong>\\"J\'\xe9tais portier. Mais j\'arrosais aussi le jardin, allais aux courses, servais d\'\xe2ne aux enfants plus jeunes que moi, nettoyais la poussi\xe8re, polissais les m\xe9taux de l\'escalier noble avec de la pommade Cora\xe7\xe3o. Je marchais en veste blanche, dormais dans un r\xe9duit, avec une sonnette \xe0 la t\xeate, et gagnais quinze tost\xf5es par mois.\\"","p3":"<strong>D\xe9part pour le Br\xe9sil, en bateau, \xe0 13 ans. Il a accost\xe9 de l\'autre c\xf4t\xe9 de l\'Atlantique un lundi plein de soleil.</strong> \\"Je portais une valise bourr\xe9e. Quatre draps de toile crue, cinq oreillers, une couverture de flanelle, un couvre-lit, un costume de casimir, deux chemises, deux sous-v\xeatements, cinq serviettes, six bouteilles de vieux Ronc\xe3o et une douzaine de salpic\xf5es.\\"","p4":"<strong>Les premiers po\xe8mes.</strong> \\"Derni\xe8rement, je faisais des vers \xe0 tort et \xe0 travers. Pour le plaisir, sortait un sonnet, une ode, ou une chose sans nom, mais rim\xe9e. Je remplissais des cahiers de quatrains, o\xf9 l\'amour exigeait douleur, nostalgie bont\xe9, \xe9toile belle, lune tienne, chrysalide p\xe2le, etc.\\"","p5":"<strong>Retour au Portugal.</strong> \\"C\'\xe9tait en fin d\'apr\xe8s-midi que l\'ancre est sortie de la boue du quai et a roul\xe9 le long de la coque. Lentement, la proue du bateau a commenc\xe9 \xe0 bouger et le Br\xe9sil de mes souffrances \xe0 s\'\xe9loigner. D\'abord, la masse dure de la ville ; puis, le ruban rond des avenues marginales ; puis, le Pain de Sucre ; enfin, la ligne de c\xf4te, de plus en plus floue. Grands et petits accidents d\'un tout que j\'avais couvert de larmes enfantines. De larmes que je n\'avais plus maintenant pour pleurer...\\"","p6":"<strong>La litt\xe9rature.</strong> \\"Nous vivions en d\xe9fi constant, sans compromis, sans complaisances, s\xfbrs de notre mission renouvelatrice. Peu nombreux et unis, nous d\xe9fions tout le Portugal, qui continuait aveugle dans sa routine, dans son conformisme, dans sa rh\xe9torique. Toutes les exp\xe9riences graphiques et litt\xe9raires se faisaient, toutes les tentatives s\'osaient.\\"","p7":"<strong>L\'amour.</strong> \\"L\'amour avait enfin frapp\xe9 \xe0 la porte, apr\xe8s mille simulacres et d\xe9n\xe9gations. Toutes les apparences ant\xe9rieures avaient cess\xe9 d\'avoir une quelconque signification face \xe0 l\'\xe9vidence pr\xe9sente. Aucun choc \xe9motionnel exp\xe9riment\xe9 jusqu\'alors dans ce chapitre ne pouvait se comparer \xe0 l\'excitation que je ressentais maintenant avant chaque rencontre.\\"","p8":"<strong>Le m\xe9decin et les malades.</strong> \\"J\'\xe9tais toujours en panique devant ces cr\xe9atures, jusqu\'alors compl\xe8tement inconnues, l\xe0, sans d\xe9fense, exhibant confiantes les mis\xe8res du corps et de l\'\xe2me.","p9":"<strong>M\xe9decin-po\xe8te-\xe9crivain.</strong> \\"Accomplie l\'obligation professionnelle, la d\xe9votion cr\xe9atrice. Je rangeais le scalpel et prenais la plume. Et j\'avais l\'impression que je continuais \xe0 ouvrir sur le papier les m\xeames abc\xe8s qu\'avant. Les pages saignaient comme des blessures d\xe9chir\xe9es, et les po\xe8mes semblaient des hurlements.\\"","p10":"<strong>

1M\xe9decin \xe0 Coimbra.</strong> \\"J\'habitais dans une vieille petite maison perch\xe9e sur un ravin surplombant la rivi\xe8re. En bas, les \xeeles verdoyantes \xe9taient couvertes d\'orangers. Des bateaux de montagne, charg\xe9s de bois de chauffage ou de ballots de linge lav\xe9, descendaient de Penacova. Les dimanches et jours saints, des groupes baptistes chantaient des hymnes sur le sable et plongeaient d\xe9votement les n\xe9ophytes dans la clart\xe9 du courant, qui refl\xe9tait les maisons \xe9rig\xe9es en cr\xe8che par les collines.\\"","p11":"<strong>Le chasseur.</strong> \\"L\'homme primitif qui ne s\'\xe9tait jamais r\xe9sign\xe9 en moi ne remontait \xe0 la surface dans toute sa pl\xe9nitude qu\'avec une cartouchi\xe8re \xe0 la ceinture. L\'acte v\xe9natoire \xe9tait pour mes sens le retour \xe0 la puret\xe9 originelle. Depuis les v\xeatements que je portais, us\xe9s comme une vieille chasuble et adapt\xe9s aux mouvements du corps comme une seconde \xe9piderme, jusqu\'\xe0 la frugalit\xe9 saine du casse-cro\xfbte, toujours le m\xeame, au vin bu exceptionnellement, tout faisait partie d\'une communication secr\xe8te avec la sacralit\xe9 de la nature.\\"","p12":"<strong>Voyage \xe0 travers l\'Europe. La Guerre Civile d\'Espagne.</strong> \\"Nous voyions tous, lanc\xe9s, que, plus terrible que la guerre, \xe9taient ses ruines, les d\xe9chets de l\'h\xe9ro\xefsme inutile, la st\xe9rilit\xe9 satanique de sa trace. Ce qui \xe9tait rest\xe9 derri\xe8re, bien que terrifiant, avait encore de la vie, et, par cons\xe9quent, l\'instinct de conservation pouvait au moins 

1nourrir l\'espoir de fuir. Maintenant, un d\xe9couragement total envahissait l\'esprit, ass\xe9chant l\'\xe9nergie du d\xe9sespoir \xe0 la racine.\\"","p13":"<strong>Arr\xeat\xe9 par la PIDE, des heures assis, gel\xe9, enterr\xe9 vivant.</strong> \\"Enferm\xe9 comme une b\xeate, priv\xe9 des moyens d\'hygi\xe8ne les plus \xe9l\xe9mentaires, \xe0 entendre et sentir mes propres bruits et odeurs, sans voix, sans droits, sans action, condamn\xe9 \xe0 une existence purement v\xe9g\xe9tative, fonctionnelle, d\'alambic, la nourriture entrant et sortant, le sommeil et la veille alternant dans la r\xe9p\xe9tition pendulaire du m\xeame absurde.\\""},"article_four":{"title":"Ariane","p1":"Ariane est un navire. <br /> Il a des m\xe2ts, des voiles et un drapeau \xe0 la proue, <br /> Et il est arriv\xe9 un jour blanc, froid, <br /> \xc0 ce fleuve Tage de Lisbonne.","p2":"Charg\xe9 de R\xeave, il a mouill\xe9 <br /> Dans la clart\xe9 de ces barreaux… <br /> Cygne de tous, qui est parti, est revenu <br /> Seulement pour les yeux de ceux qui ont la nostalgie…","p3":"Deux fr\xe9gates sont all\xe9es voir qui \xe9tait <br /> Un tel miracle comme \xe7a : c\'\xe9tait un navire <br /> Qui se balance l\xe0 en m\'attendant <br /> Parmi les mouettes qui se donnent dans le fleuve.","p4":"Mais je n\'ai pas encore pu avec mes pas <br /> Sortir de cette prison en corps entier, <br /> Et lever l\'ancre, et tomber dans les bras <br /> D\'Ariane, le voilier.","p5":"Prison de l\'Aljube, Lisbonne, 1er janvier 1940."},"article_five":{"p1":"<strong>Le r\xe9gime, la dictature. La voix non conform\xe9e :</strong> \\"Ceux qui ne cadraient pas le pas avec le pi\xe9tinement du troupeau, soit pourrissaient dans un cachot soit mouraient de faim. Toute la nation \xe9tait maintenant un tombeau de silence et d\'aboulie. Dans les champs, dans les usines, dans les \xe9coles et dans les bureaux, le profil dur du dictateur semblait \xe9couter la voix des consciences m\xeames. Et les consciences se taisaient dans les plus profondes profondeurs, craintives de toute expression r\xe9v\xe9latrice. Aucun lieu, du plus haut au plus bas, n\'\xe9tait rempli sans l\'approbation de la police politique.\\"","p2":"<strong>25 avril.</strong> \\"Un simple canon point\xe9 a suffi pour que la forteresse s\'effondre. Surprise par le miracle, l\'\xe2me nationale a explos\xe9 de joie. Du nord au sud, des foules transfigur\xe9es remplissaient les rues dans un \xe9lan d\'espoir renouvel\xe9 incontr\xf4lable. Cela semblait un r\xeave ! (…) Des drapeaux de toutes les couleurs souriaient d\xe9ploy\xe9s dans l\'atmosph\xe8re claire d\'avril. (…) La patrie a finalement retrouv\xe9 sa voix et sa dignit\xe9.\\"","p3":"<strong>Voyage en Afrique.</strong> Luanda, Angola : \\"(…) la ville ressemblait \xe0 une Sodome d\'irresponsabilit\xe9 entour\xe9e de mal\xe9diction.\\" \xcele du Mozambique, oasis d\'espoir.","p4":"<strong>La terre natale.</strong> \\"L\'attachement des racines \xe0 la terre natale ? Apr\xe8s tant d\'errance, tant de souffrance, tant d\'\xe9tude, le cordon ombilical restait connect\xe9 \xe0 la matrice. J\'avais vraiment un paysage, un milieu, un lieu g\xe9ographique vital grav\xe9 dans mes chromosomes ! Le corps pouvait courir tous les chemins du monde, et l\'esprit voler dans toutes les directions. O\xf9 qu\'ils arrivent, ils d\xe9nonceraient toujours la marque d\'origine, la singularit\xe9 ind\xe9niable, une sorte de go\xfbt de la terre de provenance, comme celui des fruits.\\"","p5":"<strong>La vieillesse.</strong> \\"Je craignais la d\xe9cadence, je ne craignais pas la mort. Arr\xeater d\'\xe9crire, arr\xeater d\'aimer, arr\xeater de chasser serait le malheur supr\xeame.\\"","p6":"<strong>\xc0 la fin de la vie.</strong> \\"L\'homme, qui de l\'ext\xe9rieur semblait un monolithe de certitudes, de l\'int\xe9rieur \xe9tait un amalgame de doutes. Assoiff\xe9 d\'absolu, il n\'avait connu que le go\xfbt amer du relatif. Profond\xe9ment religieux, il n\'avait jamais pu plier les genoux devant aucun autel. M\xe9dullairement affectif, il avait cr\xe9\xe9, sans savoir pourquoi, \xe0 c\xf4t\xe9 de quelques amiti\xe9s fermes, un nombre incalculable d\'ennemis acharn\xe9s. D\'une timidit\xe9 maladive, il avait pass\xe9 les jours \xe0 la compenser par des actes violents. Superstitieux et incertain \xe0 chaque pas, il se mouvait dans le champ des r\xe9alit\xe9s comme un fant\xf4me volontaire.\\""}}')}

1,3413:e=>{"use strict";e.exports=JSON.parse('{"name":"Diary","_id":"7912766213195353","header":"We recall here a set of passages from Miguel Torga\'s Diary about Tr\xe1s-os-Montes and the house in S\xe3o Martinho de Anta.","year1930":[{"title":"March 5, 1934","description":"How people get lost! The language that my blood understands - is this. The food that my stomach desires - is this. The ground that my feet know how to tread - is this. And yet, I am no longer from here. I seem like one of those trees that are transplanted, that have poor health in the new country, but that die if they return to their native land.","reference":"Diary I"},{"title":"April 30, 1937","description":" <p> <strong>Bucolic</strong> <br /> Life is made of nothings: <br /> Of great mountains stopped <br />Waiting for movement; <br /> Of undulating wheat fields <br /> By the wind; </p> <p>Of dwelling houses <br /> Fallen and with signs <br /> Of nests that once existed <br /> In the eaves; </p> <p> Of dust <br />  Of shadow of a fig tree; <br /> Of seeing this marvel: <br /> My Father raising a vine <br /> Like a mother braiding her daughter\'s hair. </p>","reference":"Diary I"},{"title":"April 17, 1938","description":"This Tr\xe1s-os-Montes of my soul! You cross the Mar\xe3o, and immediately enter paradise! (…)","reference":"Diary I"},{"title":"December 25, 1938","description":" The day was the camellias and the climbing plants that I planted with my Father. Few times, in these thirty years, have I felt so united, so certain, as next to those seventy planting flowers. Because my Father, so thin and so bent over the earth, fills with peace and confidence the most bewildered restlessness.","reference":"Diary I"},{"title":"January 1, 1939","description":"I went to the Village to meet her in the Carreira Garden. The bust of Camilo, startled, looked at me tragically from head to toe. I calmed him down: - No, we don\'t have Ana Pl\xe1cido, comrade!","reference":"Diary I"}],"year1940":[{"title":"September 21, 1940","description":"Here I am. I came to show the wife to the old ones, to the Senhora da Azinheira and to the negrilho. They all liked her.","reference":"Diary I"},{"title":"September 22, 1940","description":"The day was in Gui\xe3es, hunting and grape harvesting in the morning, and reading verses in a cemetery in the afternoon that has to be seen to be believed. If one day it comes to the point, I will write a page about these Transmontan necropolises, of granite, nestled on top of a mountain, with the air of someone washing their hands of this life and death.","reference":"Diary I"},{"title":"October 2, 1940","description":"I went to show her the Village. But I went to show it to her as my grandparents showed it to their women - on foot. It was only six leagues…","reference":"Diary I"},{"title":"Christmas 1940","description":"<p> <strong>Holy Day</strong> <br /> Day of Sun and Christmas; <br /> Wars are going on in the world and my sight hurts; <br />  But, with God in the Mar\xe3o without snow, there is no evil <br /> That resists. </p> <p>Moreover, out of time, this Latin <br /> That Father Bento knows, is enough <br /> To transcend me <br />And as many bad news as the mail drags.</p>","reference":"Diary I"}],"year1950":[{"title":"October 29, 1955","description":"The family manor, ground floor, with tile-v\xe3, topped by its quartered coat of arms, with hoes in all fields… It was from this reality that I departed, and it is to this reality that I always return, no matter how many turns I take in the paths of life. It is a certainty of a milestone with witnesses, which never leaves me disoriented when I want to revive the extremities of the soul. Just dig a little into the crust of appearance, and there I am in the matrix, confronted. (…)","reference":"Diary VIII"},{"title":"November 1, 1955","description":"I came to get the old man, but I return without him. I don\'t have the courage to pull him out of bed and take him down there, as I didn\'t have the courage to lift the daughter from the cradle and bring her up there. (…) And here I am, crucified between discouragement and hope, with the past and the future in each hand, unable to tie them.","reference":"Diary VIII"},{"title":"March 25, 1956","description":"Presentation of the granddaughter to the grandfather. The best viaticum I could bring to the old man for the journey beyond, which he is about to make. I put in his dry arms the tender life shoot, and the peace that my own existence never gave him surrounded him like a radiance. (…) The marathon of life now had three relays: one tired, who had completely lost the race;

1 another getting tired, who would certainly lose it too; and another still, entirely fresh, who could very well reach the end victorious.","reference":"Diary VIII"},{"title":"September 27, 1956","description":"Here I am rooting the daughter, immersing her in the earth as my Father used to do with the tender shoots of a prized rhododendron. I want from her also the extension of the red vitality of some honored and obstinate chromosomes.","reference":"Diary VIII"}],"year1960":[{"title":"April 11, 1960","description":"The native house updated, with all the shadows of the past painted white. Human nature is like this. The most affectionate and faithful always ends up whitewashing the sooty walls of memory. It doesn\'t forget the dead; it simply stops remembering them.","reference":"Diary IX"},{"title":"October 3, 1960","description":"I rotate three hundred and sixty degrees on the axis. And I am left with the image of what I am in my eyes: the human incarnation of these immovable, dry and desperate mountains, which wait for the storms of winter and the sun of spring with the same unbreakable stoicism.","reference":"Diary IX"},{"title":"December 30, 1960","description":"<p> <strong>Ember</strong> <br /> I warm the dreams by the fireplace, <br /> Without noticing the ashes of the ember. <br /> Or I look at them distractedly, <br /> In the dull unconsciousness <br /> That they are the veronica of death. <br /> Seated in the usual chair, <br /> Unreal diligence <br /> That crosses, slowly, the cold night, <br /> Alienated from myself, <br /> I give concrete heat to fantasy <br /> As if the fire were imagined. </p>","reference":"Diary IX"},{"title":"March 29, 1961","description":"The hallucinations that can arise from a sudden psychological decompression! After a few days of total isolation here, this morning, in the Village, I had the sensation that I was in Paris.","reference":"Diary IX"},{"title":"December 27, 1961","description":"With so many judgments on the skin - and fresh, almost all! -, I reach the end of life in complete ignorance of the only one that truly interested me to know: that of these people. What will they think of the rascal who crosses the village square two or three times a year with a rifle on his shoulder, and disappears mysteriously in the mountains, always with the same bombazine pants, the same Basque beret, and the same hollow face? Will they know that, obliged by the force of destiny to emigrate to other worlds, I left my soul here, which I come from time to time to incarnate? (…)","reference":"Diary IX"},{"title":"April 18, 1962","description":"<p> <strong>Primary instruction</strong> <br /> Don\'t know: imagine… <br /> Let the master speak, and daydream… <br />Old age is what knows, and only knows <br /> That the sea doesn\'t fit <br /> In the puddle that innocence opens in the sand. </p> <p> Dream! <br /> Invent an alphabet <br /> Of illusions… <br /> A secret a-b-c <br /> That you spell on the margins of lessons… </p> <p> Fly through the window <br />  To meet any sun that smiles at you! <br /> Wings? They\'re not needed: <br /> You go in the arms of the breezes, <br /> Aides of fantasy… </p>","reference":"Diary IX"},{"title":"December 23, 1964","description":"Here we are, Z\xe9 Ferreiro and I, at the anvil. He hammering the iron, and I the words. But in my forge there are more hammer blows and fewer sparks…","reference":"Diary X"},{"title":"April 12, 1965","description":"(…) Everything I am clearly is not from here. But everything I am obscurely belongs to this ground. My life is a viola string stretched between two worlds. In the other, I hear its music; in this one, I feel its vibrations.","reference":"Diary X"},{"title":"April 16, 1967","description":"Whatever the season of the year and the direction followed, before leaving home I already know what food the eyes will have along the way. Snow on Larouco, fire-colored rhododendrons in Magueija, chestnut groves dripping chestnuts in Carrazedo de Montenegro. But I always leave with the same excitement, and return with the same dazzlement. For the true believer, the mass, which never varies, never repeats itself. And my mass is this. An intimate and daily communion with nature, in the trances of its perpetual agony, death and resurrection.","reference":"Diary X"},{"title":"August 12, 1968","description":"Rye threshing in the threshing floor next door, which belongs to the family, where sixty years ago my Mother hurriedly left the sickle, to come crawling, already with the water bag broken and crucified with pain, to give birth to me under the tiles. As I listen to the dull thud of the flails threshing the sheaves, I philosophize about that distant birth, which the date and the casually reconstructed scenario cruelly recalled. It seems it was an easy birth, and no one predicted that I would come out a poet. But I did. And then the difficulties began. Tempted by the promises of imagination, although shyness objected, and pushed by circumstances, which for a long time I called destiny, I jumped the risk of the parish, set sail for the unknown, and when I realized it, I was entangled in a thicket of habits and contradictions from which I could never get out.","reference":"Diary X"},{"title":"September 20, 1968","description":"Of all the myths I know of, it is that of Antaeus that I most admire and that I most often put to the test, without forgetting, of course, to reduce the size of the giant to human scale, and the divine body of the Olympic Earth to the natural ground of Tr\xe1s-os-Montes. And there is no doubt that the results obtained confirm its veracity. Whenever, about to succumb to the disease of discouragement, I touch one of these rocks, all the lost energies begin to run through my veins again. It\'s as if I received an instant transfusion of sap. (…)","reference":"Diary XI"},{"title":"July 12, 1969","description":"Whenever I come up here, I begin to see the Mar\xe3o and the Douro, and I start thinking about death, what saddens me most is not being able to leave my eyes to my daughter in my will.","reference":"Diary XI"}],"year1970":[{"title":"September 4, 1975","description":"The whole day in bed nursing a real flu. The life of the village reaches my room through familiar noises to which I immediately give true meaning. The neighing of Z\xe9 Ferreiro\'s horse recognizing his steps on the sidew

1alk from the shop, Roberto\'s ox cart creaking loaded with firewood, Gomes\' clogs clattering in the threshing floor. The haste of one tells me if he\'s watering in the meadow, if the thunderstorm is around, if there\'s a fire. The bell ringing, if it\'s mass, funeral or novena. And I am all a moved communion with the fabric of the lives that surround me. Even so walled up and steaming with fever, discoursing or delirious, I don\'t know well, I see myself once again possessed by the revelation of my unity. The unity of a man whom destiny tried to tear away in every way, but who only needs to feel the signs of this primordial ground to find himself firm and certain in the depth of the roots and naturally integrated into the harmonious game of the multiple connections of gregarious existence.","reference":"Diary XII"},{"title":"December 25, 1976","description":"The old school of Mr. Botelho finally rebuilt and updated. More sun, more hygiene, less grammar and less slaps. But the mimosas of my childhood were missing in the yard around. And I spent the afternoon with iron and shovel in hand planting them. I won\'t be here to see them grown like those of yesteryear. Let it be. My purpose was not to reflower the past, but to flower the future.","reference":"Diary XII"},{"title":"December 24, 1977","description":"Struggling with my ghosts, who never cease to be present on this date, I keep stoking the fire in the fireplace. It\'s my Father, it\'s my Mother, it\'s my Grandfather… They are seated by my side, silent, in a lethal recollection. They came because I came, and as they told me long ago everything they had to say, they just keep me company. It\'s a supplementary supper, consecutive to the other, but silent and abstinent, which the rest of the family, who are already sleeping, doesn\'t share. The night is long, and none of us is in a hurry. And we let the sacred hours run, waiting for the morning light. In it, they will return discreetly to the peaceful world of the dead and I will wake up dazed in the disturbing world of the living. Until another Christmas brings us together again, still here, united by my memory, or there where I imagine them remembered of me in eternal oblivion.","reference":"Diary XIII"},{"title":"April 11, 1979","description":"The house searched by a cinematographic objective. It cost me the eyes of my face to consent to the violation, but the patient tenacity of the director and a strange feeling of near end overcame my scruples. Let the intimacy of a man who surrounded himself with intimate symbols be laid bare by the image: my Father\'s scales, my Mother\'s distaff, a flag of souls, a stone calvary, a clay Last Judgment, a mortar, a shell… It may be that a future reader thus approaches my memory more sympathetically, before the reality that I only showed him in writing.","reference":"Diary XIII"},{"title":"September 15, 1979","description":"The native house. The sacred retreat of memory. Eternity paralyzed.","reference":"Diary XIII"}],"year1980":[{"title":"June 7, 1980","description":"The native house, ripe cherries, nests, flowers… But I can\'t find myself in this maternal and bucolic peace. I\'m already living today in the anguish of tomorrow.","reference":"Diary XIII"},{"title":"September 17, 1980","description":"As the horizons of the world expanded for me, with needs of all kinds that I can no longer renounce, life made me a ubiquitous being. I have here the support roots and there far away the pastures…","reference":"Diary XIII"},{"title":"October 8, 1980","description":"Man of many letters, I don\'t know if suspicious that the flagrancy of the natural always falls short of the literature that reflects it, wanted to see to believe. And he came from Paris to walk the Cartesian suspicion in this harsh reality that I painted in the books and now I will lay bare without the mediation of words. I believe he returns surrendered and has something to tell. The mountain, so Celtic, seemed bewitched; the Douro, amazed at the feet of S. Leonardo, was a mirror of eternity; and the ronc\xe3o he drank will never leave his palate. In that, no one beats me. When I receive someone here, I am a host of certain success. Thanks to the resources in which this ground is prodigal, my guests leave doubly entertained. I fascinate their senses and intoxicate their memory.","reference":"Diary XIII"},{"title":"September 5, 1982","description":"The paternal house. The sacred matrix of the family. But I begin to have no words for the emotion I feel when I enter it. I swallow them all.","reference":"Diary XIV"},{"title":"March 31, 1985","description":"Visit from Camilo Jos\xe9 Cela, who came to Portugal to receive a prize. In my Iberian fervor, I don\'t know to what extent I am frequently led to invest each singular Spaniard I know with all the genuine greatness of Spain. Which will often not fail to disconcert the contemplated. Maybe that\'s what happened today.","reference":"Diary XIV"},{"title":"April 6, 1985","description":"<p> <strong>Mute</strong> <br /> There are no muses here. <br /> There are tutelary shadows <br />To which I live obliged <br />And devoted, <br />And they inspire me too. <br /> But so quietly <br /> That my song <br />Is always like a murmured psalm <br /> At an altar. <br /> So brief and restrained <br /> So as not to disturb <br /> In the present the silence of the past. </p>","reference":"Diary XIV"},{"title":"September 15, 1987","description":"So many pages and s

1o many poems that I have written here, and I die in the conviction that I said nothing significant about my connection to the land where I was born and from which I truly never left. Everything I was far away, only served to sink my roots deeper. (…)","reference":"Diary XV"},{"title":"December 19, 1987","description":"Cramming the car trunk for escape. Potatoes, apples, walnuts, eggs, partridges and alheiras. But I leave out the scattered melancholy of a Christmas - already manifest in the cordial countenance of everyone and in the very solemn and frozen character of the time - that will not follow me and will remain hurting my soul like a remorse, for only here do I know how to celebrate it. Closed, the house is like a no to the past. The dead, inside it, will have no fireplace, no memory.","reference":"Diary XV"},{"title":"April 3, 1988","description":"I say goodbye to the paternal house, to the garden, to the negrilho and to the rocks. Of the only riches that I truly liked to possess in the world, and of which I am greedy. That I didn\'t have to earn, but to deserve.","reference":"Diary XV"},{"title":"September 9, 1989","description":"I go and come. I get lost there and find myself here.","reference":"Diary XV"},{"title":"September 11, 1989","description":"Myths are eternal truths. When I arrive here, I always feel like a weakened Antaeus, touching the encouraging earth and recovering my strength. Not those of the body, but those of the soul. It\'s a sudden taste for being in the world, an intimate and healthy joy of the spirit, as if I were suddenly given reasons for life that I don\'t have far away. I know it\'s in this ground that I must be buried. But not even that certainty softens my exaltation. In the dialogue with my ancestors, who lie in it and I resurrect at every moment, the very obsession with death that I carry with me transforms into an inexpressible feeling of perenniality.","reference":"Diary XV"}],"year1990":[{"title":"April 30, 1990","description":"(…) For a long time I have known that I am the usufructuary of a sacred inheritance, which I will only deserve if I never forget that S. Martinho is a cradle where I have to be born every hour and die one day.","reference":"Diary XVI"},{"title":"September 9, 1990","description":"I enter the paternal house in the usual somnambulism. Since I left it for the first time, I never crossed its thresholds entirely master of myself. (…) Destiny exaggerated with me. It shuffled my condition. It planted me here and uprooted me from here. And never again did the roots hold me well in any land.","reference":"Diary XVI"}]}')},3665:e=>{"use strict";e.exports=JSON.parse('{"name":"Casa","_id":"79766213195353","header_1":"Uma casa que guarda mem\xf3rias da vida e da obra do poeta. A casa natal de Miguel Torga, em Tr\xe1s-os-Montes, pertenceu a seus pais, camponeses, e foi remodelada em 1960 por Andr\xe9e Rocha, que manteve a tra\xe7a original. Aqui passou a fam\xedlia sucessivas f\xe9rias de Natal, de P\xe1scoa e de Ver\xe3o. Aberta ao p\xfablico em 2022, mant\xe9m divis\xf5es intactas com pe\xe7as decorativas e objetos pessoais de Torga, e outras intervencionadas museograficamente com suportes contempor\xe2neos que exp\xf5em a sua obra e destacam a liga\xe7\xe3o \xe0 paisagem transmontana.","blockquote_1":"<span>S\xe3o Martinho de Anta, 5 de setembro de 1982</span> <br /> A casa paterna. A matriz sagrada da fam\xedlia. Mas come\xe7o a n\xe3o ter palavras para a emo\xe7\xe3o que sinto quando entro nela. Engulo-as todas. <br /> <span>Di\xe1rio XIV</span>","blockquote_2":"<span> S\xe3o Martinho de Anta, 29 de outubro de 1955</span> <br /> Foi desta realidade que parti, e \xe9 a esta realidade que regresso sempre, por mais voltas que d\xea nos caminhos da vida. \xc9 uma certeza de marco com testemunhas, que nunca me deixa desorientado quando quero avivar as estremas da alma. Basta escavar um pouco a crosta da apar\xeancia, e a\xed estou eu na matriz, confrontado. <br /> <span>Di\xe1rio VIII</span>","tabs":[{"id":"tab1","title":"Rece\xe7\xe3o","p1":"Breve apresenta\xe7\xe3o do escritor, a sua rela\xe7\xe3o com o lugar, o contexto da doa\xe7\xe3o da casa pela filha Clara Crabb\xe9 Rocha"},{"id":"tab2","title":"Hall de entrada","p1":"Visitar a Casa Miguel Torga \xe9 entrar num dos lugares emblem\xe1ticos da sua vida, abrir uma porta para a intimidade do poeta, desvendar um pouco do enigma da cria\xe7\xe3o art\xedstica, sentir o \\"esp\xedrito do lugar\\".","p2":"<span>S\xe3o Martinho de Anta, 9 de Junho de 1954 </span> <p>Sou como as armas: sempre que uma explos\xe3o interior me desequilibra, recuo para o meu centro de gravidade. O impulso que me traz aqui no fim de ca

1da aventura corresponde ao coice dos tiros: necessidade de reencontrar a estabilidade perdida. </p><span>Di\xe1rio VII</span>","p3":"<p>Em casa nada mudara. A mesma pobreza, a mesma fuligem, o mesmo caldo. As galinhas esgadanhavam no quinteiro, o porco grunhia no cortelho, a burra roncava na loja. Mas a minha saudade tornava surpreendente cada reencontro. As comidas outrora enjoadas sabiam-me bem, ouvia chiar um carro e corria \xe0 porta a v\xea-lo passar, queria saber de tudo e de todos. </p><span>A Cria\xe7\xe3o do Mundo</span>"},{"id":"tab3","title":"Biobibliografia","p1":"A par da produ\xe7\xe3o bibliogr\xe1fica, s\xe3o aqui evocados momentos do seu percurso de vida: do relato do nascimento \xe0 imin\xeancia da morte, a escolha do pseud\xf3nimo, a rela\xe7\xe3o com a casa, os seus lugares de elei\xe7\xe3o.","p2":"<span>S\xe3o Martinho de Anta, 30 de setembro de 1957 </span><p>Este tropismo que me traz \xe0 fonte nativa \xe9 uma esp\xe9cie de ordem convocat\xf3ria de incorpora\xe7\xe3o peri\xf3dica na minha classe. Venho, integro-me, e parto depois de licen\xe7a.</p><span>Di\xe1rio VIII</span>"},{"id":"tab4","title":"Sala de estar","p1":"O lugar da fam\xedlia, o espa\xe7o de conv\xedvio. Um dos seus lugares de escrita. Ora lugar de sil\xeancio, ora lugar de partilha onde o poeta recebeu amigos, intelectuais e personalidades ilustres.","p2":"<span>S\xe3o Martinho de Anta, 19 de Mar\xe7o de 1989</span><p>Chego, acendo a lareira, aninho-me no sof\xe1, e fico horas infindas a olhar em sil\xeancio as labaredas, imerso numa bruma de sentimentos a que n\xe3o consigo dar voz. \xc9 aqui que eu sinto com mais pung\xeancia que nunca hei de dar express\xe3o \xe0 altura da minha alma.</p><span>Di\xe1rio XV</span>","p3":"<h1>Paz</h1><p>Paz da lareira acesa. <br /> A vida sem hor\xe1rio <br /> E os dias aquecidos.<br />Dias acontecidos <br /> Num outro calend\xe1rio.</p><p>Hiberna\xe7\xe3o da alma <br /> No corpo aconchegado. <br />Nenhum grito dorido <br /> A bater ao ferrolho adormecido <br /> Do sossego acordado.</p><p>Tr\xe9guas em toda a frente <br />De batalha. <br />O cora\xe7\xe3o contente <br /> Porque ningu\xe9m lhe ralha <br /> De pulsar calmamente.</p><span>Di\xe1rio X</span>"},{"id":"tab5","title":"Hall interior","p1":"Cole\xe7\xe3o de primeiras edi\xe7\xf5es dos livros do escritor, nas d\xe9cadas de 1930 e 1940, exposta no arm\xe1rio da casa. Os primeiros livros, edi\xe7\xf5es raras, algumas ainda assinadas com o nome Adolpho Rocha.","p2":"<span>S\xe3o Martinho de Anta, 22 de Abril de 1938</span><p>Volto amanh\xe3. Uma semana. \xc9 pouco. Precisava de bem mais. Mas assim mesmo j\xe1 levo terra nas unhas que dava para a Central inteira. Preciso disto. Necessito de vir enxertar de quando em quando a debilidade nesta cepa.</p><span>Di\xe1rio I</span>"},{"id":"tab6","title":"Miguel Torga e Tr\xe1s-os-Montes: “Um Reino Maravilhoso”","p1":"O escritor e a liga\xe7\xe3o umbilical a Tr\xe1s-os-Montes, o seu \\"reino maravilhoso\\". Uma regi\xe3o isolada e montanhosa que esmaga o olhar. Os seus habitantes, povo singular e aut\xeantico. O apelo das origens, o regresso sempre igual, sempre diferente. O \\"reino\\" onde se encontra e se interroga, onde se acalma e se inquieta, e sobre o qual escreveu p\xe1ginas admir\xe1veis.","p2":"<span>S\xe3o Martinho de Anta, 3 de outubro de 1960</span><p>Rodo trezentos e sessenta graus sobre o eixo. E fica-me nos olhos a imagem do que sou: a encarna\xe7\xe3o humana destas serras inamov\xedveis, secas e desesperadas, que esperam pelas tempestades do inverno e pelo sol da primavera com o mesmo inquebrant\xe1vel estoicismo.</p><span>Di\xe1rio IX</span>"},{"id":"tab7","title":"S\xe3o Martinho de Anta: “Lugar de Onde”","p1":"S\xe3o Martinho de Anta \xe9 o lugar de onde parte e para onde volta. A terra natal como centro de um universo referencial e simb\xf3lico a partir do qual olha o mundo. A universalidade da obra.","p2":"<span>S\xe3o Martinho de Anta, 23 de Dezembro de 1968</span><p>Insisto: S. Martinho de Anta n\xe3o \xe9 um lugar onde, mas um lugar de onde...</p><span>Di\xe1rio XVI</span>","p3":"<p>O universal \xe9 o local sem paredes.</p><span>Tra\xe7o de Uni\xe3o</span>"},{"id":"tab8","title":"Andr\xe9e Crabb\xe9 Rocha e Clara Crabb\xe9 Rocha","p1":"A fam\xedlia e a liga\xe7\xe3o afetiva \xe0 casa. A mulher e a filha, a paix\xe3o partilhada pela escrita e pela literatura, as principais obras das duas professoras e ensa\xedstas.","p2":"<p>Depois da morte de meu Pai, Jeanne [Andr\xe9e Crabb\xe9 Rocha] transformou o desconfort\xe1vel casebre familiar numa moradia airosa e c\xf3moda onde apetecia viver. Entrara luz nos quartinhos sombrios, um desafogado fog\xe3o de sala substitu\xedra a fumarenta lareira sem chamin\xe9, o cortelho dos porcos dera lugar \xe0 garagem, um po\xe7o aberto no quintal dispensava os carregos consecutivos de \xe1gua da fonte, o quinteiro do estrume era agora um p\xe1tio ladrilhado, de leitura e repouso. E sempre que podia refugiava-me ali a sentir purificadas dentro das suas paredes brancas as emo\xe7\xf5es do passado.</p><span>A Cria\xe7\xe3o do Mundo</span>"},{"id":"tab9","title":"Jardim e Pomar","p1":"Um passeio pelo jardim e pelo pomar, cultivados pela fam\xedlia e pelo pr\xf3prio escritor. As flores de que tanto gostava (cam\xe9lias, az\xe1leas, rododendros, lilases) e que v\xe1rias vezes refere na obra.","p2":"<span>S\xe3o Martinho de Anta, 12 de Maio de 1979</span><p>O jardim em festa. Az\xe1leas, glic\xednias, rododendros, l\xedrios, lilases, rosas, pi\xf3nias. Um o\xe1sis de cor e de perfume plantado por mim e cavado por mim (…)</p><span>Di\xe1rio XII</span>"}]}')},3970:e=>{"use strict";e.exports=JSON.parse('{"name":"navbar","_id":"797664195353","menu":[{"value":"Miguel Torga","href":"","submenu":[{"value":"Life","href":"/vida"},{"value":"Work","href":"/obra"},{"value":"Prizes","href":"/premios"},{"value":"Andr\xe9e Crabb\xe9 Rocha and Clara Rocha","href":"/andree-crabbe-rocha-e-clara-rocha"}]},{"value":"The house","href":"/casa","submenu":[]},{"value":"The Places","href":"/lugares","submenu":[]},{"value":"Diary","href":"/diario","submenu":[]},{"value":"Visit","href":"/visitar","submenu":[]}]}')},4036:e=>{"use strict";e.exports=JSON.parse('{"name":"Pr\xe9mios","_id":"79766209813195353","header_1":"Miguel Torga \xe9 proposto v\xe1rias vezes ao Pr\xe9mio Nobel de Literatura. A primeira em 1960, por iniciativa do professor Jean-Baptiste Aquarone, da Universidade de Montpellier, entusiasticamente apoiada por artistas, m\xe9dicos, escritores e jornalistas portugueses e estrangeiros. Ainda nos anos 60, nova candidatura \xe9 apresentada pelo professor Goran Hammarstrom, da Universidade de Uppsala, Su\xe9cia. Em 1978, de novo \xe9 proposto ao pr\xe9mio da Academia Sueca, com o apoio de personalidades destacadas da vida intelectual portuguesa e do poeta Vicente Aleixandre, pr\xe9mio Nobel de Literatura de 1977.","header_2":"Em 1969, recusa o Grande Pr\xe9mio Nacional de Literatura, por se tratar de uma distin\xe7\xe3o vinda do regime ditatorial. A 26 de dezembro de 1978, \xe9 homenageado pelos seus 50 anos de vida liter\xe1ria, na Funda\xe7\xe3o Calouste Gulbenkian, por iniciativa de David Mour\xe3o-Ferreira, secret\xe1rio de Estado da Cultura. Em 1979, o Conselho Cient\xedfico da Faculdade de Letras da Universidade de Coimbra presta-lhe uma homenagem. Em 1990, \xe9 homenageado pelo Goethe Institut de Coimbra.","blockquote_1":" (...) Ficara a saber que \xe9 lento e penoso o caminho da arte, e que nele s\xf3 o esfor\xe7o aturado conta verdadeiramente. O triunfo viria depois, se viesse. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","blockquote_2":" Estava escrito que nunca seria o dono feliz dos meus atos. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","article":{"p1":"<strong>1969 - Pr\xe9mio Liter\xe1rio Di\xe1rio de Not\xedcias</strong><br />Nesse dia, 19 de abril, ao receber o pr\xe9mio, em Lisboa, recorda uma hist\xf3ria de inf\xe2ncia. Depois do exame da quarta classe, que faz com distin\xe7\xe3o, o pai oferece-lhe um cavaquinho, a primeira prenda da sua vida. No dia em que recebe o pr\xe9mio, Torga tem 61 anos. Compara a distin\xe7\xe3o a um novo bandolim, e revela que aceitou o pr\xe9mio de consci\xeancia tranquila, acreditando n

1a alegria do pai no outro mundo.","p2":"<strong>1976 - Pr\xe9mio Internacional de Poesia das Bienais de Knokke-Heist</strong>, que recebe em Bruxelas, a 6 de junho de 1977.","p3":"<strong>1980 - Pr\xe9mio Morgado de Mateus</strong>, ex-aequo com o poeta brasileiro Carlos Drummond de Andrade.","p4":"<strong>1981 - Pr\xe9mio Montaigne</strong> atribu\xeddo pela Funda\xe7\xe3o F.V.S. de Hamburgo, Alemanha.","p5":"<strong>1989 - Pr\xe9mio Cam\xf5es</strong>, o mais importante galard\xe3o da lusofonia. Recebe o pr\xe9mio durante as comemora\xe7\xf5es do 10 de Junho em Ponta Delgada, nos A\xe7ores. \xc9 a primeira personalidade a ser distinguida com o Pr\xe9mio Cam\xf5es.","p6":"<strong>1992 - Pr\xe9mio Vida Liter\xe1ria da Associa\xe7\xe3o Portuguesa de Escritores</strong><br />Recebe o pr\xe9mio a 19 de mar\xe7o, em Lisboa. A atriz Beatriz Costa, ausente da cerim\xf3nia por motivos de sa\xfade, deseja-lhe \\"felicidades para o Nobel.\\" M\xe1rio Soares, presidente da Rep\xfablica, sublinha a import\xe2ncia das palavras e da obra de Torga e a sua luta pela liberdade.","p7":"<strong>1992 - Pr\xe9mio Figura do Ano 1991 da Associa\xe7\xe3o dos Correspondentes da Imprensa Estrangeira</strong><br />Aos 84 anos, recebe o pr\xe9mio no Casino do Estoril a 8 de julho.","p8":"<strong>1992 - Pr\xe9mio \xc9cureuil de Literatura Estrangeira do Sal\xe3o do Livro de Bord\xe9us</strong><br />Recebe-o em Coimbra, na C\xe2mara Municipal, a 14 de setembro, com apresenta\xe7\xe3o de Jorge Amado, que afirma que \xe9 a obra imensa de Torga que honra o pr\xe9mio e n\xe3o o contr\xe1rio. M\xe1rio Soares, presidente da Rep\xfablica, entrega o pr\xe9mio e sublinha a universalidade da obra do grande escritor portugu\xeas.","p9":"<strong>1994 - Pr\xe9mio da Cr\xedtica 1993 do Centro Portugu\xeas da Associa\xe7\xe3o Internacional dos Cr\xedticos Liter\xe1rios</strong>"}}')},4237:e=>{"use strict";e.exports=JSON.parse('{"name":"Prizes","_id":"79766209813195353","header_1":"Miguel Torga is proposed several times for the Nobel Prize in Literature. The first in 1960, on the initiative of Professor Jean-Baptiste Aquarone, from the University of Montpellier, enthusiastically supported by Portuguese and foreign artists, doctors, writers and journalists. Still in the 60s, a new candidacy is presented by Professor Goran Hammarstrom, from the University of Uppsala, Sweden. In 1978, he is again proposed for the Swedish Academy prize, with the support of prominent personalities from Portuguese intellectual life and the poet Vicente Aleixandre, Nobel Prize in Literature 1977.","header_2":"In 1969, he refuses the National Grand Prize for Literature, as it was a distinction from the dictatorial regime. On December 26, 1978, he is honored for his 50 years of literary life, at the Calouste Gulbenkian Foundation, on the initiative of David Mour\xe3o-Ferreira, Secretary of State for Culture. In 1979, the Scientific Council of the Faculty of Letters of the University of Coimbra pays him a tribute. In 1990, he is honored by the Goethe Institut of Coimbra.","blockquote_1":" (...) he had learned that the path of art is slow and painful, and that in it only sustained effort truly counts. Triumph would come later, if it came. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","blockquote_2":" It was written that I would never be the happy owner of my acts. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","article":{"p1":"<strong>1969 - Di\xe1rio de Not\xedcias Literary Prize</strong><br />That day, April 19, upon receiving the prize, in Lisbon, he recalls a childhood story. After the fourth grade exam, which he takes with distinction, his father gives him a cavaquinho, the first gift of his life. On the day he receives the prize, Torga is 61 years old. He compares the distinction to a new mandolin, and reveals that he accepted the prize with a clear conscience, believing in his father\'s joy in the other world.","p2":"<strong>1976 - International Poetry Prize of the Knokke-Heist Biennials</strong>, which he receives in Brussels, on June 6, 1977.","p3":"<strong>1980 - Morgado de Mateus Prize</strong>

1, ex-aequo with the Brazilian poet Carlos Drummond de Andrade.","p4":"<strong>1981 - Montaigne Prize</strong> awarded by the F.V.S. Foundation of Hamburg, Germany.","p5":"<strong>1989 - Cam\xf5es Prize</strong>, the most important award in the Portuguese-speaking world. He receives the prize during the June 10 celebrations in Ponta Delgada, in the Azores. He is the first personality to be distinguished with the Cam\xf5es Prize.","p6":"<strong>1992 - Literary Life Prize of the Portuguese Writers Association</strong><br />He receives the prize on March 19, in Lisbon. The actress Beatriz Costa, absent from the ceremony for health reasons, wishes him \\"happiness for the Nobel.\\" M\xe1rio Soares, president of the Republic, emphasizes the importance of Torga\'s words and work and his fight for freedom.","p7":"<strong>1992 - Figure of the Year 1991 Prize of the Association of Foreign Press Correspondents</strong><br />At 84, he receives the prize at Casino do Estoril on July 8.","p8":"<strong>1992 - \xc9cureuil Prize for Foreign Literature from the Bordeaux Book Fair</strong><br />He receives it in Coimbra, at the City Hall, on September 14, with a presentation by Jorge Amado, who states that it is Torga\'s immense work that honors the prize and not the opposite. M\xe1rio Soares, president of the Republic, delivers the prize and emphasizes the universality of the great Portuguese writer\'s work.","p9":"<strong>1994 - 1993 Critics Prize from the Portuguese Center of the International Association of Literary Critics</strong>"}}')},4540:(e,a,r)=>{"use strict";r.d(a,{A:()=>b});var o=r(7876),i=r(8230),t=r.n(i),s=r(4587),n=r.n(s),l=r(4232),d=r(7059);function u(e){let{className:a}=e,[r,i]=(0,l.useState)(!1);return(0,d.A)("(max-width: 768px)"),(0,l.useEffect)(()=>{window.addEventListener("scroll",function(){window.scrollY>window.innerHeight?i(!0):i(!1)})},[]),(0,o.jsx)(o.Fragment,{children:(0,o.jsxs)(t(),{href:"/",className:a,children:["Casa ",(0,o.jsx)("br",{}),"Miguel Torga",(0,o.jsx)(n(),{className:"signature-logo ".concat(r?"scrolled":""),src:"/img/Sign-lg.svg",alt:"",width:80,height:30})]})})}var c=r(1385),m=r.n(c),p=r(9099),h=r(547);let g=e=>{let{signatureRef:a}=e,[r,i]=(0,l.useState)(!1),s=(0,p.useRouter)(),n=(0,h.$)("navbar",s.locale);return(0,l.useEffect)(()=>{r?a.current.style="top: 22em":a.current.style="top: 8.5em"},[r,a]),(0,o.jsx)(o.Fragment,{children:(0,o.jsxs)("nav",{className:"".concat(m().navigation," ").concat(r&&m().open),children:[(0,o.jsxs)("svg",{className:m().hamburger,onClick:()=>i(!r),width:"21",height:"19",viewBox:"0 0 21 19",fill:"none",xmlns:"http://www.w3.org/2000/svg",children:[(0,o.jsx)("rect",{className:m().horizontalBar,x:"0.734863",y:"7.70032",width:"19.5549",height:"3",fill:"black"}),(0,o.jsx)("path",{className:m().verticalBar,d:"M12.1281 1.4128e-07L12.1281 18.45H8.896L8.896 0L12.1281 1.4128e-07Z",fill:"black"})]}),(0,o.jsx)("div",{className:m().links,children:(0,o.jsx)("ul",{className:m().links_ul,children:n.menu.map((e,a)=>0===a?(0,o.jsx)("li",{children:(0,o.jsxs)("div",{className:m().navigation__dropdown,children:[(0,o.jsx)("span",{className:"".concat(m().navigation__dropdown_parent," ").concat("/vida"==s.pathname||"/obra"==s.pathname||"/premios"==s.pathname||"/andree-crabbe-rocha-e-clara-rocha"==s.pathname?m().active:""),children:e.value}),(0,o.jsx)("ul",{className:m().navigation__dropdown_content,children:e.submenu.map((e,a)=>(0,o.jsx)("li",{children:(0,o.jsx)(t(),{href:e.href,className:s.pathname==e.href?m().active:"",children:(0,o.jsx)("span",{children:e.value})})},e.value+a))})]})},e.value+a):(0,o.jsx)("li",{children:(0,o.jsx)(t(),{href:e.href,className:s.pathname==e.href?m().active:"",children:(0,o.jsx)("span",{children:e.value})})},e.href+a))})})]})})},b=e=>{let{signatureRef:a}=e;return(0,o.jsxs)("header",{className:m().header,children:[(0,o.jsx)(u,{className:m().logo}),(0,o.jsx)(g,{signatureRef:a})]})}},4922:e=>{e.exports={footer:"Footer_footer__JNsHK",active:"Footer_active__aYvQJ",sobreLink:"Footer_sobreLink__BXfBe",logos:"Footer_logos__S1zRA",dropdown:"Footer_dropdown__0SCER",dropdown_content:"Footer_dropdown_content__D_2cm"}},5081:e=>{"use strict";e.exports=JSON.parse('{"name":"Work","_id":"79766678213195353","blockquote":"Man of words, I witnessed with them the slow image of a tenacious, patient and painful reflective construction made with the burning material of life itself. <br /><span>A Cria\xe7\xe3o do Mundo</span>","intro_text":"Poet thirsty for the absolute, author of an extensive and multifaceted work that encompasses various literary genres (poetry, short story, novel, diary, essay, theater), he shows himself as he is in an autobiographical register that transcends his own history. The Diary, which he wrote for almost 60 years, is the testimony of a time and a space, the record of the physical and human landscape, the place of the search for a collective identity, and also travel accounts, annotation and commentary on readings, reflection on the practice of medicine, justification of writing, social responsibility and protest. Portuguese and European, regional and universal, Torga is a writer of the world, translated into more than twenty languages and internationally distinguished several times.","work_list":[{"title":"Poetry","list":["Ansiedade (1928)","Rampa (1930)","Tributo (1931)","Abismo (1932)","O Outro Livro de Job (1936)","Lamenta\xe7\xe3o (1943)","Liberta\xe7\xe3o (1944)","Odes (1946)","Nihil Sibi (1948)","C\xe2ntico do Homem (1950)","Alguns Poemas Ib\xe9ricos (1952)","Penas do Purgat\xf3rio (1954)","Orfeu Rebelde (1958)","C\xe2mara Ardente (1962)","Poemas Ib\xe9ricos (1965)","Antologia Po\xe9tica (1981)","Poesia Completa (2000)"]},{"title":"Prose","list":["P\xe3o \xc1zimo (1931)","A Terceira Voz (1934)","A Cria\xe7\xe3o do Mundo - Os Dois Primeiros Dias (1937)","A Cria\xe7\xe3o do Mundo - O Terceiro Dia (1938)","A Cria\xe7\xe3o do Mundo - O Quarto Dia (1939)","Bichos (1940)","Contos da Montanha (1941)","Um Reino Maravilhoso (Tr\xe1s-os-Montes) (1941)","Rua (1942)","O Senhor Ventura (1943)","Novos Contos da Montanha (1944)","O Porto (1944)","Vindima (1945)","Portugal (1950)","Pedras Lavradas (1951)","Tra\xe7o de Uni\xe3o (1955)","A Cria\xe7\xe3o do Mundo - O Quinto Dia (1974)","Fogo Preso (1976)","A Cria\xe7\xe3o do Mundo - O Sexto Dia (1981)"]},{"title":"Poetry and Prose","list":["Di\xe1rio I (1941) ","Di\xe1rio II (1943)","Di\xe1rio III (1946)","Di\xe1rio IV (1949)","Di\xe1rio V (1951)","Di\xe1rio VI (1953)","Di\xe1rio VII (1956)","Di\xe1rio VIII (1959)","Di\xe1rio IX (1964)","Di\xe1rio X (1968)","Di\xe1rio XI (1973)","Di\xe1rio XII (1977)","Di\xe1rio XIII (1983)","Di\xe1rio XIV (1987)","Di\xe1rio XV (1990)","Di\xe1rio XVI (1993)"]},{"title":"Theater","list":["Terra Firme. Mar (1941)","Sinfonia (1947)","O Para\xedso (1949)","Mar (1958)","Teatro, 1\xaa ed. conjunta (2001)"]}]}')},5112:e=>{"use strict";e.exports=JSON.parse('{"name":"Sobre","_id":"797662453195353","first_p":"A Casa Miguel Torga resulta de um projeto de reabilita\xe7\xe3o f\xedsica, de museologia e museografia promovido pela Dire\xe7\xe3o Regional de Cultura do Norte entre 2017 e 2021 e cofinanciado pelo Turismo de Portugal. A Casa Miguel Torga \xe9 tutelada pela C\xe2mara Municipal de Sabrosa e dirigida pelo Espa\xe7o Miguel Torga. No final da d\xe9cada de 1950, a casa foi alvo de uma remodela\xe7\xe3o conduzida por Andr\xe9e Crabb\xe9 Rocha, esposa de Miguel Torga, e que lhe concedeu a configura\xe7\xe3o que hoje podemos observar. Utilizada como casa de f\xe9rias at\xe9 2014, foi doada nesse ano, juntamente com o seu acervo, por Clara Crabb\xe9 Rocha, filha de Miguel Torga, para preserva\xe7\xe3o do legado do escritor e usufruto p\xfablico como casa-museu. Desde 2019, a casa est\xe1 classificada como Im\xf3vel de Interesse P\xfablico - IMP.","second_p":"A Dire\xe7\xe3o Regional de Cultura do Norte \xe9 um organismo desconcentrado do Minist\xe9rio da Cultura e desenvolve a sua atividade visando salvaguardar, preservar, restaurar e comunicar - aos diferentes tipos de p\xfablico - os valores da cultura material e imaterial existentes na regi\xe3o. Um trabalho desenvolvido em articula\xe7\xe3o com os diferentes agentes do territ\xf3rio, tais como as institui\xe7\xf5es da administra\xe7\xe3o central existentes na regi\xe3o, as autarquias locais, as institui\xe7\xf5es eclesi\xe1sticas, as institui\xe7\xf5es de ensino, as associa\xe7\xf5es, entre outros. A amplitude de compet\xeancias e o conhecimento profundo da Regi\xe3o, conferem \xe0 Dire\xe7\xe3o Regional de Cultura do Norte uma vis\xe3o integrada do setor cultural. Assim, embora respeitando as especificidades de cada \xe1rea de interven\xe7\xe3o, \xe9 promovida a articula\xe7\xe3o entre patrim\xf3nio cultural, museus e produ\xe7\xe3o art\xedstica, de forma a potenciar os re

1cursos dispon\xedveis e criar rela\xe7\xf5es mutuamente enriquecedoras. Para saber mais, consulte o nosso <a class=\'map_link\' href=\'https://culturanorte.gov.pt/\' target=\'_blank\' rel=\'noreferrer\'>website</a> e redes sociais."}')},5304:e=>{"use strict";e.exports=JSON.parse("{\"name\":\"\xc0 propos\",\"_id\":\"797662453195353\",\"first_p\":\"La Casa Miguel Torga r\xe9sulte d'un projet de r\xe9habilitation physique, de mus\xe9ologie et de mus\xe9ographie promu par la Direction R\xe9gionale de la Culture du Nord entre 2017 et 2021 et cofinanc\xe9 par le Tourisme du Portugal. La Casa Miguel Torga est supervis\xe9e par la Municipalit\xe9 de Sabrosa et dirig\xe9e par l'Espace Miguel Torga. \xc0 la fin des ann\xe9es 1950, la maison a fait l'objet d'une r\xe9novation dirig\xe9e par Andr\xe9e Crabb\xe9 Rocha, \xe9pouse de Miguel Torga, qui lui a donn\xe9 la configuration que nous pouvons observer aujourd'hui. Utilis\xe9e comme maison de vacances jusqu'en 2014, elle a \xe9t\xe9 donn\xe9e cette ann\xe9e-l\xe0, avec sa collection, par Clara Crabb\xe9 Rocha, fille de Miguel Torga, pour la pr\xe9servation de l'h\xe9ritage de l'\xe9crivain et l'usage public comme maison-mus\xe9e. Depuis 2019, la maison est class\xe9e comme Bien d'Int\xe9r\xeat Public - IMP.\",\"second_p\":\"La Direction R\xe9gionale de la Culture du Nord est un organisme d\xe9concentr\xe9 du Minist\xe8re de la Culture et d\xe9veloppe son activit\xe9 visant \xe0 sauvegarder, pr\xe9server, restaurer et communiquer - aux diff\xe9rents types de publics - les valeurs de la culture mat\xe9rielle et immat\xe9rielle existant dans la r\xe9gion. Un travail d\xe9velopp\xe9 en articulation avec les diff\xe9rents agents territoriaux, tels que les institutions de l'administration centrale existant dans la r\xe9gion, les autorit\xe9s locales, les institutions eccl\xe9siastiques, les institutions d'enseignement, les associations, entre autres. L'ampleur des comp\xe9tences et la connaissance profonde de la R\xe9gion conf\xe8rent \xe0 la Direction R\xe9gionale de la Culture du Nord une vision int\xe9gr\xe9e du secteur culturel. Ainsi, tout en respectant les sp\xe9cificit\xe9s de chaque domaine d'intervention, l'articulation entre le patrimoine culturel, les mus\xe9es et la production artistique est promue, afin de valoriser les ressources disponibles et cr\xe9er des relations mutuellement enrichissantes. Pour en savoir plus, consultez notre <a class='map_link' href='https://culturanorte.gov.pt/' target='_blank' rel='noreferrer'>site web</a> et les r\xe9seaux sociaux.\"}")},5662:(e,a,r)=>{"use strict";r.d(a,{A:()=>m});var o=r(7876),i=r(8230),t=r.n(i),s=r(4587),n=r.n(s),l=r(9099),d=r(4922),u=r.n(d),c=r(547);r(4232);let m=()=>{let e=(0,l.useRouter)(),a=(0,c.$)("footer",e.locale);return(0,o.jsx)(o.Fragment,{children:(0,o.jsxs)("footer",{className:u().footer,children:[(0,o.jsxs)("div",{className:u().sobreLink,children:[(0,o.jsx)(t(),{href:a.menu.href,className:"".concat(e.pathname==a.menu.href?u().active:""," ").concat(u().sobreLink),children:a.menu.value}),(0,o.jsxs)("div",{className:u().dropdown,children:[(0,o.jsx)("ul",{className:u().dropdown_content,children:e.locales.map((a,r)=>(0,o.jsx)("li",{style:a===e.locale?{display:"none"}:{},children:(0,o.jsx)(t(),{href:e.asPath,locale:a,children:a.split("-")[0]})},r))}),(0,o.jsx)("span",{children:e.locale.split("-")[0]})]})]}),(0,o.jsxs)("div",{className:u().logos,children:[(0,o.jsx)("a",{href:"https://culturanorte.gov.pt/",rel:"noreferrer",target:"_blank",children:(0,o.jsx)(n(),{src:"/logos/republica-portuguesa.svg",alt:"",width:120,height:40})}),(0,o.jsx)("a",{href:"https://www.sabrosa.pt/",rel:"noreferrer",target:"_blank",children:(0,o.jsx)(n(),{src:"/logos/camara-municipal-sabrosa.svg",alt:"",width:120,height:40})}),(0,o.jsx)("a",{href:"https://www.turismodeportugal.pt/pt/Paginas/homepage.aspx",rel:"noreferrer",target:"_blank",children:(0,o.jsx)(n(),{src:"/logos/turismo-de-portugal.svg",alt:"",width:120,height:40})})]})]})})}},5989:e=>{"use strict";e.exports=JSON.parse('{"name":"Visit","_id":"7976621310995353","title":"Contacts","description":"To visit, contact Espa\xe7o Miguel Torga","title_2":"Social Networks","title_3":"","title_4":"Learn more","poem":"<br></br>Espa\xe7o Miguel Torga<br></br><a href=\'https://escritoresanorte.pt/\' target=\'_blank\' rel=\'noreferrer\'>Escritores a Norte</a> — Website dedicated to promoting Writers\' House-Museums in the Region and their respective literary itineraries<br></br>Casa-Museu Miguel Torga in Coimbra — Miguel Torga\'s residence from 1953 to 1995.<br></br><a href=\'https://onortelaemcima.pt/\' target=\'_blank\' rel=\'noreferrer\'>O Norte \xe9 l\xe1 em cima</a> — Website dedicated to promoting tourist experiences in Porto and the North."}')},6870:e=>{"use strict";e.exports=JSON.parse('{"name":"Journal","_id":"7912766213195353","header":"Nous rappelons ici un ensemble de passages du Journal de Miguel Torga sur Tr\xe1s-os-Montes et la maison de S\xe3o Martinho de Anta.","year1930":[{"title":"5 mars 1934","description":"Comme les gens se perdent ! Le langage que mon sang comprend - c\'est celui-ci. La nourriture que mon estomac d\xe9sire - c\'est celle-ci. Le sol que mes pieds savent fouler - c\'est celui-ci. Et pourtant, je ne suis plus d\'ici. Je ressemble \xe0 un de ces arbres qu\'on transplante, qui ont mauvaise sant\xe9 dans le nouveau pays, mais qui meurent s\'ils retournent \xe0 leur terre natale.","reference":"Journal I"},{"title":"30 avril 1937","description":" <p> <strong>Bucolique</strong> <br /> La vie est faite de riens : <br /> De grandes montagnes arr\xeat\xe9es <br />En attente du mouvement ; <br /> De champs de bl\xe9 ondul\xe9s <br /> Par le vent ; </p> <p>De maisons d\'habitation <br /> Tomb\xe9es et avec des signes <br /> De nids qui jadis existaient <br /> Dans les avant-toits ; </p> <p> De poussi\xe8re <br />  D\'ombre d\'un figuier ; <br /> De voir cette merveille : <br /> Mon P\xe8re \xe9lever une vigne <br /> Comme une m\xe8re qui tresse les cheveux de sa fille. </p>","reference":"Journal I"},{"title":"17 avril 1938","description":"Ce Tr\xe1s-os-Montes de mon \xe2me ! On traverse le Mar\xe3o, et on entre imm\xe9diatement au paradis ! (…)","reference":"Journal I"},{"title":"25 d\xe9cembre 1938","description":" La journ\xe9e a \xe9t\xe9 les cam\xe9lias et les plantes grimpantes que j\'ai plant\xe9s avec mon P\xe8re. Peu de fois, en ces trente ans, je me suis senti si uni, si certain, qu\'\xe0 c\xf4t\xe9 de ces soixante-dix \xe0 planter des fleurs. Parce que mon P\xe8re, si mince et si pench\xe9 sur la terre, remplit de paix et de confiance l\'inqui\xe9tude la plus \xe9gar\xe9e.","reference":"Journal I"},{"title":"1er janvier 1939","description":"Je suis all\xe9 au Village pour la rencontrer dans le Jardin de la Carreira. Le buste de Camilo, effray\xe9, m\'a regard\xe9 tragiquement de la t\xeate aux pieds. Je l\'ai calm\xe9 : - Non, nous n\'avons pas Ana Pl\xe1cido, camarade !","reference":"Journal I"}],"year1940":[{"title":"21 septembre 1940","description":"Me voici. Je suis venu montrer la femme aux vieux, \xe0 la Senhora da Azinheira et au negrilho. Ils ont tous aim\xe9.","reference":"Journal I"},{"title":"22 septembre 1940","description":"La journ\xe9e a \xe9t\xe9 \xe0 Gui\xe3es, \xe0 chasser et \xe0 vendanger le matin, et \xe0 lire l\'apr\xe8s-mi

1di des vers dans un cimeti\xe8re qu\'il faut voir pour le croire. Si un jour cela vient \xe0 point, j\'\xe9crirai une page sur ces n\xe9cropoles transmontanes, de granit, nich\xe9es au sommet d\'une montagne, avec l\'air de quelqu\'un qui se lave les mains de cette vie et de cette mort.","reference":"Journal I"},{"title":"2 octobre 1940","description":"Je suis all\xe9 lui montrer le Village. Mais je suis all\xe9 le lui montrer comme mes grands-parents l\'ont montr\xe9 \xe0 leurs femmes - \xe0 pied. Ce n\'\xe9taient que six lieues…","reference":"Journal I"},{"title":"No\xebl 1940","description":"<p> <strong>Jour Saint</strong> <br /> Jour de Soleil et de No\xebl ; <br /> Des guerres vont dans le monde et ma vue me fait mal ; <br />  Mais, avec Dieu dans le Mar\xe3o sans neige, il n\'y a pas de mal <br /> Qui r\xe9siste. </p> <p>De plus, hors du temps, ce latin <br /> Que le p\xe8re Bento conna\xeet, suffit <br /> Pour me transcender <br />Et autant de mauvaises nouvelles que le courrier tra\xeene.</p>","reference":"Journal I"}],"year1950":[{"title":"29 octobre 1955","description":"Le manoir familial, de plain-pied, avec tuile-v\xe3, surmont\xe9 de ses armoiries \xe9cartel\xe9es, avec des houes dans tous les champs… C\'est de cette r\xe9alit\xe9 que je suis parti, et c\'est \xe0 cette r\xe9alit\xe9 que je reviens toujours, peu importe les d\xe9tours que je prends dans les chemins de la vie. C\'est une certitude de rep\xe8re avec des t\xe9moins, qui ne me laisse jamais d\xe9sorient\xe9 quand je veux raviver les extr\xe9mit\xe9s de l\'\xe2me. Il suffit de creuser un peu la cro\xfbte de l\'apparence, et me voil\xe0 dans la matrice, confront\xe9. (…)","reference":"Journal VIII"},{"title":"1er novembre 1955","description":"Je suis venu chercher le vieux, mais je reviens sans lui. Je n\'ai pas le courage de l\'arracher du lit et de l\'emmener l\xe0-bas, comme je n\'ai pas eu le courage de soulever la fille du berceau et de l\'amener l\xe0-haut. (…) Et me voici, crucifi\xe9 entre le d\xe9couragement et l\'espoir, avec le pass\xe9 et l\'avenir dans chaque main, sans pouvoir les lier.","reference":"Journal VIII"},{"title":"25 mars 1956","description":"Pr\xe9sentation de la petite-fille au grand-p\xe8re. Le meilleur viatique que je pouvais apporter au vieux pour le voyage de l\'au-del\xe0, qu\'il est sur le point de faire. Je lui ai mis dans les bras secs la pousse de vie tendre, et la paix que ma propre existence ne lui a jamais donn\xe9e l\'a nimbe comme une splendeur. (…) Le marathon de la vie avait maintenant trois relais : un fatigu\xe9, qui avait compl\xe8tement perdu la course ; un autre se fatiguant, qui allait certainement la perdre aussi ; et un autre encore, enti\xe8rement frais, qui pourrait tr\xe8s bien arriver \xe0 la fin victorieux.","reference":"Journal VIII"},{"title":"27 septembre 1956","description":"Me voici enracinant la fille, l\'immergeant dans la terre comme mon P\xe8re le faisait avec les pousses tendres d\'un rhododendron de prix. Je veux d\'elle aussi l\'extension de la vitalit\xe9 rouge de quelques chromosomes honor\xe9s et obstin\xe9s.","reference":"Journal VIII"}],"year1960":[{"title":"11 avril 1960","description":"La maison native actualis\xe9e, avec toutes les ombres du pass\xe9 peintes en blanc. La nature humaine est ainsi. La plus affectueuse et fid\xe8le finit toujours par blanchir les murs fuligineux de la m\xe9moire. Elle n\'oublie pas les morts ; elle arr\xeate, simplement, de s\'en souvenir.","reference":"Journal IX"},{"title":"3 octobre 1960","description":"Je tourne trois cent soixante degr\xe9s sur l\'axe. Et il me reste dans les yeux l\'image de ce que je suis : l\'incarnation humaine de ces montagnes immuables, s\xe8ches et d\xe9sesp\xe9r\xe9es, qui attendent les temp\xeates d\'hiver et le soleil de printemps avec le m\xeame sto\xefcisme in\xe9branlable.","reference":"Journal IX"},{"title":"30 d\xe9cembre 1960","description":"<p> <strong>Braise</strong> <br /> Je r\xe9chauffe les r\xeaves au coin du feu, <br /> Sans remarquer les cendres de la braise. <br /> Ou je les regarde distraitement, <br /> Dans l\'inconscience terne <br /> Qu\'elles sont la v\xe9ronique de la mort. <br /> Assis dans la chaise habituelle, <br /> Diligence irr\xe9elle <br /> Qui traverse, lente, la nuit froide, <br /> Ali\xe9n\xe9 de moi-m\xeame, <br /> Je donne une chaleur concr\xe8te \xe0 la fantaisie <br /> Comme si le feu \xe9tait imagin\xe9. </p>","reference":"Journal IX"},{"title":"29 mars 1961","description":"Les hallucinations qui peuvent advenir d\'une d\xe9compression psychologique brutale ! Apr\xe8s quelques jours d\'isolement total ici, ce matin, au Village, j\'ai eu la sensation d\'\xeatre \xe0 Paris.","reference":"Journal IX"},{"title":"27 d\xe9cembre 1961","description":"Avec tant de jugements sur la peau - et frais, presque tous ! -, j\'arrive \xe0 la fin de la vie dans l\'ignorance compl\xe8te du seul qui m\'int\xe9ressait vraiment de conna\xeetre : celui de ces gens. Que penseront-ils du vaurien qui traverse la place du village deux ou trois fois par an avec un fusil sur l\'\xe9paule, et dispara\xeet myst\xe9rieusement dans les montagnes, toujours avec le m\xeame pantalon de bombazine, le m\xeame b\xe9ret basque, et le m\xeame visage creux ? Sauront-ils que, oblig\xe9 par la force du destin d\'\xe9migrer vers d\'autres mondes, j\'ai laiss\xe9 ici mon \xe2me, que je viens de temps en temps incarner ? (…)","reference":"Journal IX"},{"title":"18 avril 1962","description":"<p> <strong>Instruction primaire</strong> <br /> Ne sache pas : imagine… <br /> Laisse parler le ma\xeetre, et r\xeavasse… <br />La vieillesse est ce qui sait, et ne sait que <br /> Que la mer ne rentre pas <br /> Dans la flaque que l\'innocence ouvre dans le sable. </p> <p> R\xeave ! <br /> Invente un alphabet <br /> D\'illusions… <br /> Un a-b-c secret <br /> Que tu \xe9pelles en marge des le\xe7ons… </p> <p> Vole par la fen\xeatre <br />  \xc0 la rencontre de n\'importe quel soleil qui te sourit ! <br /> Des ailes ? Elles ne sont pas n\xe9cessaires : <br /> Tu vas dans les bras des brises, <br /> Aides de la fantaisie… </p>","reference":"Journal IX"},{"title":"23 d\xe9cembre 1964","description":"Nous voici, Z\xe9 Ferreiro et moi, \xe0 l\'enclume. Lui \xe0 marteler le fer, et moi les mots. Mais dans ma forge il y a plus de coups de marteau et moins d\'\xe9tincelles…","reference":"Journal X"},{"title":"12 avril 1965","description":"(…) Tout ce que je suis clairement n\'est pas d\'ici. Mais tout ce que je suis obscur\xe9ment appartient \xe0 ce sol. Ma vie est une corde de viole tendue entre deux mondes. Dans l\'autre, j\'entends sa musique ; dans celui-ci, je sens ses vibrations.","reference":"Journal X"}

1,{"title":"16 avril 1967","description":"Quelle que soit la saison de l\'ann\xe9e et la direction suivie, avant de sortir de chez moi je sais d\xe9j\xe0 quelle nourriture les yeux auront en chemin. Neige sur Larouco, rhododendrons couleur de feu \xe0 Magueija, ch\xe2taigneraies qui d\xe9gouttent de ch\xe2taignes \xe0 Carrazedo de Montenegro. Mais je pars toujours avec la m\xeame excitation, et je reviens avec le m\xeame \xe9blouissement. Pour le vrai croyant, la messe, qui ne varie jamais, ne se r\xe9p\xe8te jamais. Et ma messe est celle-ci. Une communion intime et quotidienne avec la nature, dans les transes de son agonie perp\xe9tuelle, mort et r\xe9surrection.","reference":"Journal X"},{"title":"12 ao\xfbt 1968","description":"Battage de seigle dans l\'aire \xe0 c\xf4t\xe9, qui appartient \xe0 la famille, o\xf9 il y a soixante ans ma M\xe8re a l\xe2ch\xe9 \xe0 la h\xe2te la faucille, pour venir \xe0 quatre pattes, d\xe9j\xe0 avec le sac des eaux rompu et crucifi\xe9e de douleurs, m\'accoucher sous les tuiles. Pendant que j\'\xe9coute le bruit sourd des fl\xe9aux qui battent les gerbes, je philosophe sur cette naissance lointaine, que la date et le sc\xe9nario accidentellement reconstitu\xe9 ont cruellement rappel\xe9e. Il semble que ce fut un accouchement facile, et que personne n\'a pr\xe9vu que je sortirais po\xe8te. Mais je suis sorti. Et alors les difficult\xe9s ont commenc\xe9. Tent\xe9 par les promesses de l\'imagination, bien que la timidit\xe9 object\xe2t, et pouss\xe9 par les circonstances, que j\'ai longtemps appel\xe9es destin, j\'ai saut\xe9 le risque de la paroisse, j\'ai largu\xe9 les voiles vers l\'inconnu, et quand je m\'en suis rendu compte, j\'\xe9tais enchev\xeatr\xe9 dans un fourr\xe9 d\'habitudes et de contradictions d\'o\xf9 je n\'ai jamais pu sortir.","reference":"Journal X"},{"title":"20 septembre 1968","description":"De tous les mythes dont j\'ai connaissance, c\'est celui d\'Ant\xe9e que j\'admire le plus et que je mets le plus souvent \xe0 l\'\xe9preuve, sans oublier, \xe9videmment, de r\xe9duire la taille du g\xe9ant \xe0 l\'\xe9chelle humaine, et le corps divin de la Terre olympique au sol naturel de Tr\xe1s-os-Montes. Et il n\'y a aucun doute que les r\xe9sultats obtenus confirment sa v\xe9racit\xe9. Chaque fois que, sur le point de succomber \xe0 la maladie du d\xe9couragement, je touche une de ces roches, toutes les \xe9nergies perdues recommencent \xe0 courir dans mes veines. C\'est comme si je recevais instantan\xe9ment une transfusion de s\xe8ve. (…)","reference":"Journal XI"},{"title":"12 juillet 1969","description":"Chaque fois que je viens par ici, je commence \xe0 apercevoir le Mar\xe3o et le Douro, et je me mets \xe0 penser \xe0 la mort, ce qui m\'attriste le plus c\'est de ne pas pouvoir laisser mes yeux \xe0 ma fille dans mon testament.","reference":"Journal XI"}],"year1970":[{"title":"4 septembre 1975","description":"Toute la journ\xe9e au lit \xe0 soigner une vraie grippe. La vie du village m\'arrive dans la chambre \xe0 travers des bruits familiers auxquels je donne imm\xe9diatement une signification vraie. Le hennissement du cheval de Z\xe9 Ferreiro le reconnaissant de la boutique par ses pas sur le trottoir, la charrette \xe0 bœufs de Roberto qui grince charg\xe9e de bois de chauffage, les sabots de Gomes qui claquent dans l\'aire. La h\xe2te de l\'un me dit s\'il arrose dans la prairie, si l\'orage r\xf4de, s\'il y a un incendie. La cloche qui sonne, si c\'est la messe, l\'enterrement ou la neuvaine. Et tout moi je suis une communion \xe9mue avec la trame des vies qui m\'entourent. M\xeame ainsi emmur\xe9 et fumant de fi\xe8vre, \xe0 discourir ou \xe0 d\xe9lirer, je ne sais plus bien, je me vois une fois de plus poss\xe9d\xe9 par la r\xe9v\xe9lation de mon unit\xe9. L\'unit\xe9 d\'un homme que le destin a tent\xe9 de d\xe9chirer de toutes les mani\xe8res, mais \xe0 qui il suffit de sentir les signes de ce sol primordial pour se retrouver ferme et certain dans la profondeur des racines et naturellement int\xe9gr\xe9 dans le jeu harmonieux des multiples connexions de l\'existence gr\xe9gaire.","reference":"Journal XII"},{"title":"25 d\xe9cembre 1976","description":"L\'ancienne \xe9cole de M. Botelho finalement reconstruite et actualis\xe9e. Plus de soleil, plus d\'hygi\xe8ne, moins de grammaire et moins de gifles. Mais il manquait dans la cour autour les mimosas de mon enfance. Et j\'ai pass\xe9 l\'apr\xe8s-mi

1di avec le fer et la pelle en main \xe0 les planter. Je ne serai pas l\xe0 pour les voir grandir comme celles d\'autrefois. Qu\'il en soit ainsi. Mon propos n\'\xe9tait pas de refleurir le pass\xe9, mais de fleurir l\'avenir.","reference":"Journal XII"},{"title":"24 d\xe9cembre 1977","description":"Aux prises avec mes fant\xf4mes, qui ne cessent jamais d\'\xeatre pr\xe9sents \xe0 cette date, je continue d\'attiser le feu dans la chemin\xe9e. C\'est mon P\xe8re, c\'est ma M\xe8re, c\'est mon Grand-p\xe8re… Ils sont assis \xe0 mes c\xf4t\xe9s, silencieux, dans un recueillement l\xe9tal. Ils sont venus parce que je suis venu, et comme ils m\'ont dit il y a longtemps tout ce qu\'ils avaient \xe0 dire, ils me tiennent simplement compagnie. C\'est un souper suppl\xe9mentaire, cons\xe9cutif \xe0 l\'autre, mais silencieux et abstinent, auquel ne participe pas le reste de la famille, qui dort d\xe9j\xe0. La nuit est longue, et aucun de nous n\'est press\xe9. Et nous laissons courir les heures sacr\xe9es, en attendant la lumi\xe8re du matin. En elle, ils retourneront discr\xe8tement au monde tranquille des morts et je me r\xe9veillerai \xe9tourdi dans le monde inqui\xe9tant des vivants. Jusqu\'\xe0 ce qu\'un autre No\xebl nous r\xe9unisse \xe0 nouveau, encore ici, unis par ma m\xe9moire, ou l\xe0 o\xf9 je les imagine se souvenant de moi dans l\'oubli \xe9ternel.","reference":"Journal XIII"},{"title":"11 avril 1979","description":"La maison fouill\xe9e par une objective cin\xe9matographique. Cela m\'a co\xfbt\xe9 les yeux de la t\xeate de consentir \xe0 la violation, mais la t\xe9nacit\xe9 patiente du r\xe9alisateur et un \xe9trange sentiment de fin proche ont vaincu mes scrupules. Que l\'intimit\xe9 d\'un homme qui s\'est entour\xe9 de symboles intimes soit mise \xe0 nu par l\'image : la balance de mon P\xe8re, la quenouille de ma M\xe8re, un drapeau des \xe2mes, un calvaire de pierre, un Jugement Dernier d\'argile, un mortier, un coquillage… Il se peut qu\'un lecteur futur s\'approche ainsi plus sympathiquement de ma m\xe9moire, devant la r\xe9alit\xe9 que je ne lui ai montr\xe9e qu\'par \xe9crit.","reference":"Journal XIII"},{"title":"15 septembre 1979","description":"La maison native. Le retraite sacr\xe9e de la m\xe9moire. L\'\xe9ternit\xe9 paralys\xe9e.","reference":"Journal XIII"}],"year1980":[{"title":"7 juin 1980","description":"La maison native, cerises m\xfbres, nids, fleurs… Mais je n\'arrive pas \xe0 me trouver dans cette paix maternelle et bucolique. C\'est dans l\'angoisse du lendemain que je vis d\xe9j\xe0 aujourd\'hui.","reference":"Journal XIII"},{"title":"17 septembre 1980","description":"En \xe9largissant les horizons du monde, avec des besoins de tout ordre auxquels je ne peux plus renoncer, la vie a fait de moi un \xeatre ubiquitaire. J\'ai ici les racines de support et l\xe0-bas loin les p\xe2turages…","reference":"Journal XIII"},{"title":"8 octobre 1980","description":"Homme de nombreuses lettres, je ne sais pas si soup\xe7onneux que la flagrance du naturel reste toujours en de\xe7\xe0 de la litt\xe9rature qui le refl\xe8te, a voulu voir pour croire. Et il est venu de Paris promener la suspicion cart\xe9sienne dans cette r\xe9alit\xe9 \xe2pre que j\'ai peinte dans les livres et maintenant je vais mettre \xe0 nu sans la m\xe9diation des mots. Je crois qu\'il revient rendu et qu\'il a quelque chose \xe0 raconter. La montagne, si celtique, semblait ensorcel\xe9e ; le Douro, \xe9bahi aux pieds de S. Leonardo, \xe9tait un miroir d\'\xe9ternit\xe9 ; et le ronc\xe3o qu\'il a bu ne sortira plus jamais de son palais. En cela, personne ne me bat. Quand je re\xe7ois quelqu\'un ici, je suis un h\xf4te de succ\xe8s certain. Gr\xe2ce aux ressources dans lesquelles ce sol est prodigue, mes h\xf4tes partent doublement obsequi\xe9s. Je fascine leurs sens et j\'enivre leur m\xe9moire.","reference":"Journal XIII"},{"title":"5 septembre 1982","description":"La maison paternelle. La matrice sacr\xe9e de la famille. Mais je commence \xe0 ne plus avoir de mots pour l\'\xe9motion que je ressens quand j\'y entre. J\'avale tout.","reference":"Journal XIV"},{"title":"31 mars 1985","description":"Visite de Camilo Jos\xe9 Cela, qui est venu au Portugal recevoir un prix. Dans ma ferveur ib\xe9rique, je ne sais pas dans quelle mesure je suis fr\xe9quemment amen\xe9 \xe0 investir chaque Espagnol singulier que je connais de toute la grandeur authentique de l\'Espagne. Ce qui souvent ne manquera pas de d\xe9concerter les contempl\xe9s. Il se peut que ce soit ce qui s\'est pass\xe9 aujourd\'hui.","reference":"Journal XIV"},{"title":"6 avril 1985","description":"<p> <strong>Sourdine</strong> <br /> Il n\'y a pas de muses ici. <br /> Il y a des ombres tut\xe9laires <br />Auxquelles je vis oblig\xe9 <br />Et d\xe9vou\xe9, <br />Et qui m\'inspirent aussi. <br /> Mais si silencieusement <br /> Que mon chant <br />Est toujours comme un psaume murmur\xe9 <br /> \xc0 un autel. <br /> Si bref et retenu <br /> Pour ne pas perturber <br /> Dans le pr\xe9sent le silence du pass\xe9. </p>","reference":"Journal XIV"},{"title":"15 septembre 1987","description":"Tant de pages et tant de po\xe8mes que j\'ai \xe9crits ici, et je meurs dans la conviction que je n\'ai rien dit de significatif de ma connexion \xe0 la terre o\xf9 je suis n\xe9 et d\'o\xf9 je ne suis vraiment jamais sorti. Tout ce que j\'ai \xe9t\xe9 loin, n\'a servi qu\'\xe0 enfoncer plus mes racines. (…)","reference":"Journal XV"},{"title":"19 d\xe9cembre 1987","description":"Je bourre la malle de la voiture pour la fuite. Pommes de terre, pommes, noix, œufs, perdrix et alheiras. Mais je laisse dehors la m\xe9lancolie \xe9parse d\'un No\xebl - d\xe9j\xe0 manifeste dans le visage cordial de tous et dans le caract\xe8re m\xeame solennel et gel\xe9 du temps - qui ne me suivra pas et restera me faire mal \xe0 l\'\xe2me comme un remords, car c\'est seulement ici que je sais le c\xe9l\xe9brer. Ferm\xe9e, la maison est c

1omme un non au pass\xe9. Les morts, \xe0 l\'int\xe9rieur, n\'auront ni chemin\xe9e, ni m\xe9moire.","reference":"Journal XV"},{"title":"3 avril 1988","description":"Je dis au revoir \xe0 la maison paternelle, au jardin, au negrilho et aux roches. Des seules richesses que j\'ai vraiment aim\xe9 poss\xe9der dans le monde, et dont je suis avare. Que je n\'ai pas eu \xe0 gagner, mais \xe0 m\xe9riter.","reference":"Journal XV"},{"title":"9 septembre 1989","description":"Je vais et viens. Je me perds l\xe0-bas et me retrouve ici.","reference":"Journal XV"},{"title":"11 septembre 1989","description":"Les mythes sont des v\xe9rit\xe9s \xe9ternelles. Quand j\'arrive ici, je me sens toujours comme un Ant\xe9e affaibli, touchant la terre encourageante et r\xe9cup\xe9rant les forces. Pas celles du corps, mais celles de l\'\xe2me. C\'est un go\xfbt soudain d\'\xeatre dans le monde, une joie intime et saine de l\'esprit, comme si on me donnait soudainement des raisons de vivre que je n\'ai pas loin. Je sais que c\'est dans ce sol que je dois \xeatre enterr\xe9. Mais m\xeame cette certitude n\'adoucit pas mon exaltation. Dans le dialogue avec mes anc\xeatres, qui y reposent et que je ressuscite \xe0 chaque moment, l\'obsession m\xeame de la mort que je porte avec moi se transforme en un sentiment inexprimable de p\xe9rennit\xe9.","reference":"Journal XV"}],"year1990":[{"title":"30 avril 1990","description":"(…) Depuis longtemps je sais que je suis l\'usufruitier d\'un h\xe9ritage sacr\xe9, que je ne m\xe9riterai que si je n\'oublie jamais que S. Martinho est un berceau o\xf9 je dois na\xeetre toutes les heures et mourir un jour.","reference":"Journal XVI"},{"title":"9 septembre 1990","description":"J\'entre dans la maison paternelle dans le somnambulisme habituel. Depuis que je l\'ai quitt\xe9e pour la premi\xe8re fois, je n\'ai plus jamais franchi ses seuils enti\xe8rement ma\xeetre de moi. (…) Le destin a exag\xe9r\xe9 avec moi. Il a m\xe9lang\xe9 ma condition. Il m\'a plant\xe9 ici et m\'a arrach\xe9 d\'ici. Et jamais plus les racines ne m\'ont tenu bien dans aucune terre.","reference":"Journal XVI"}]}')},6950:e=>{"use strict";e.exports=JSON.parse('{"name":"Di\xe1rio","_id":"7912766213195353","header":"Recordamos aqui um conjunto de passagens do Di\xe1rio de Miguel Torga sobre Tr\xe1s-os-Montes e a casa de S\xe3o Martinho de Anta.","year1930":[{"title":"5 mar\xe7o 1934","description":"Como a gente se perde! A linguagem que o meu sangue entende - \xe9 esta. A comida que o meu est\xf4mago deseja - \xe9 esta. O ch\xe3o que os meus p\xe9s sabem pisar - \xe9 este. E, contudo, eu n\xe3o sou j\xe1 daqui. Pare\xe7o uma destas \xe1rvores que se transplantam, que t\xeam m\xe1 sa\xfade no pa\xeds novo, mas que morrem se voltam \xe0 terra natal.","reference":"Di\xe1rio I"},{"title":"30 abril 1937","description":" <p> <strong>Buc\xf3lica</strong> <br /> A vida \xe9 feita de nadas: <br /> De grandes serras paradas <br />\xc0 espera de movimento; <br /> De searas onduladas  <br /> Pelo vento; </p> <p>De casas de moradia <br /> Ca\xeddas e com sinais <br /> De ninhos que outrora havia <br /> Nos beirais; </p> <p> De poeira; <br />  De sombra de uma figueira; <br /> De ver esta maravilha: <br /> Meu Pai a erguer uma videira <br /> Como uma m\xe3e que faz a tran\xe7a \xe0 filha. </p>","reference":"Di\xe1rio I"},{"title":"17 abril 1938","description":"Este Tr\xe1s-os-Montes da minha alma! Atravessa-se o Mar\xe3o, e entra-se logo no para\xedso! (…)","reference":"Di\xe1rio I"},{"title":"25 dezembro 1938","description":" O dia foram as cam\xe9lias e as trepadeiras que plantei com meu Pai. Poucas vezes, nestes trinta anos, me senti t\xe3o uno, t\xe3o certo, como junto daqueles setenta a plantar flores. Porque meu Pai, assim magro e assim debru\xe7ado sobre a terra, enche de paz e de confian\xe7a a inquieta\xe7\xe3o mais desvairada.","reference":"Di\xe1rio I"},{"title":"1 janeiro 1939","description":"Fui \xe0 Vila encontrar-me com ela no Jardim da Carreira. O busto de Camilo, sobressaltado, olhou-me tragicamente da cabe\xe7a aos p\xe9s. Sosseguei-o: - N\xe3o, n\xe3o temos Ana Pl\xe1cido, camarada!","reference":"Di\xe1rio I"}],"year1940":[{"title":"21 setembro 1940","description":"Aqui estou. Vim mostrar a mulher aos velhos, \xe0 Senhora da Azinheira e ao negrilho. Gostaram todos.","reference":"Di\xe1rio I"},{"title":"22 setembro 1940","description":"O dia foi em Gui\xe3es, a ca\xe7ar e a vindimar de manh\xe3, e a ler de tarde versos num cemit\xe9rio que s\xf3 visto. Se um dia vier a talho de foice, hei-de escrever uma p\xe1gina sobre estas necr\xf3poles transmontanas, de granito, aninhadas no cimo de uma serra, com ar de quem lava as m\xe3os disto da vida e da morte.","reference":"Di\xe1rio I"},{"title":"2 outubro 1940","description":"Fui mostrar-lhe a Vila. Mas fui mostrar-lha como os meus av\xf3s a mostraram \xe0s mulheres deles - a p\xe9. Foram s\xf3 seis l\xe9guas…","reference":"Di\xe1rio I"},{"title":"Natal de 1940","description":"<p> <strong>Dia Santo</strong> <br /> Dia de sol e de Natal; <br /> Andam guerras no mundo e d\xf3i-me a vista; <br />  Mas, com Deus no Mar\xe3o sem neve, n\xe3o h\xe1 mal <br /> Que resista. </p> <p>De mais, fora do tempo, este latim <br /> Que o padre Bento sabe, basta <br /> Para me transcender a mim <br />E a quantas m\xe1s not\xedcias o correio arrasta.</p>","reference":"Di\xe1rio I"}],"year1950":[{"title":"29 outubro 1955","description":"O solar da fam\xedlia, t\xe9rreo, de telha-v\xe3, encimado pelo seu bras\xe3o de armas esquartelado, com enxad\xf5es em todos os campos… Foi desta realidade que parti, e \xe9 a esta realidade que regresso sempre, por mais voltas que d\xea 

1nos caminhos da vida. \xc9 uma certeza de marco com testemunhas, que nunca me deixa desorientado quando quero avivar as estremas da alma. Basta escavar um pouco a crosta da apar\xeancia, e a\xed estou eu na matriz, confrontado. (…)","reference":"Di\xe1rio VIII"},{"title":"1 novembro 1955","description":"Vim buscar o velho, mas volto sem ele. N\xe3o tenho coragem de o arrancar da cama e lev\xe1-lo por a\xed abaixo, como a n\xe3o tive de erguer a filha do ber\xe7o e traz\xea-la por a\xed acima. Queria junt\xe1-los, ligar a vida que come\xe7a \xe0 vida que se extingue, mas ainda n\xe3o \xe9 desta vez, e n\xe3o sei se algum dia ser\xe1. (…) E aqui estou eu, crucificado entre o des\xe2nimo e a esperan\xe7a, com o passado e o futuro em cada m\xe3o, sem os poder atar.","reference":"Di\xe1rio VIII"},{"title":"25 mar\xe7o 1956","description":"Apresenta\xe7\xe3o da neta ao av\xf4. O melhor vi\xe1tico que eu podia trazer ao velho para a viagem do al\xe9m, que est\xe1 prestes a fazer. Pus-lhe nos bra\xe7os secos a verg\xf4ntea de vida tenra, e a paz que a minha pr\xf3pria exist\xeancia nunca lhe deu nimbou-o como um resplendor. (…) A maratona da vida tinha agora tr\xeas estafetas: um cansado, que de todo perdera a corrida; outro a cansar, que certamente ia perd\xea-la tamb\xe9m; e outro ainda, inteiramente folgado, que podia muito bem chegar ao fim vencedor.","reference":"Di\xe1rio VIII"},{"title":"27 setembro 1956","description":"Aqui estou a enraizar a filha, a mergulh\xe1-la na terra como meu Pai fazia \xe0s pernadas tenras dum rododendro de estima\xe7\xe3o. Quero dela tamb\xe9m o prolongamento da rubra vitalidade de alguns cromossomas honrados e obstinados.","reference":"Di\xe1rio VIII"}],"year1960":[{"title":"11 abril 1960","description":"A casa nativa actualizada, com todas as sombras do passado pintadas de branco. A natureza humana \xe9 assim. A mais afectuosa e fiel acaba sempre por caiar as paredes fuliginosas da mem\xf3ria. N\xe3o esquece os mortos; deixa, simplesmente, de os lembrar.","reference":"Di\xe1rio IX"},{"title":"3 outubro 1960","description":"Rodo trezentos e sessenta graus sobre o eixo. E fica-me nos olhos a imagem do que sou: a encarna\xe7\xe3o humana destas serras inamov\xedveis, secas e desesperadas, que esperam pelas tempestades do Inverno e pelo sol da Primavera com o mesmo inquebrant\xe1vel estoicismo.","reference":"Di\xe1rio IX"},{"title":"30 dezembro 1960","description":"<p> <strong>Borralho</strong> <br /> Vou aquecendo os sonhos \xe0 lareira, <br /> Sem reparar nas cinzas do brasido. <br /> Ou olho-as distra\xeddo, <br /> Na ba\xe7a inconsci\xeancia <br /> De que s\xe3o a ver\xf3nica da morte. <br /> Sentado na cadeira habitual, <br /> Dilig\xeancia irreal <br /> Que atravessa, morosa, a noite fria, <br /> De mim pr\xf3prio alheado, <br /> Dou concreto calor \xe0 fantasia <br /> Como se o lume fosse imaginado. </p>","reference":"Di\xe1rio IX"},{"title":"29 março 1961","description":"As alucina\xe7\xf5es que podem advir de uma brusca descompress\xe3o psicol\xf3gica! Depois de alguns dias de total isolamento aqui, esta manh\xe3, na Vila, tive a sensa\xe7\xe3o de que estava em Paris.","reference":"Di\xe1rio IX"},{"title":"27 dezembro 1961","description":"Com tantos ju\xedzos no p\xealo - e frescos, quase todos! -, chego ao fim da vida na completa ignor\xe2ncia do \xfanico que verdadeiramente me interessava conhecer: o desta gente. Que pensar\xe1 ela do trangalhadan\xe7as que atravessa o largo da povoa\xe7\xe3o duas ou tr\xeas vezes por ano de espingarda ao ombro, e desaparece misteriosamente nos montes, sempre com as mesmas cal\xe7as de bombazina, a mesma boina vasca, e a mesma cara escaveirada? Saber\xe1 que, obrigado pela for\xe7a do destino a emigrar para outros mundos, aqui deixei a alma, que venho de vez em quando encarnar? (…)","reference":"Di\xe1rio IX"},{"title":"18 abril 1962","description":"<p> <strong>Instru\xe7\xe3o prim\xe1ria</strong> <br /> N\xe3o saibas: imagina… <br /> Deixa falar o mestre, e devaneia… <br />A velhice \xe9 que sabe, e apenas sabe <br /> Que o mar n\xe3o cabe <br /> Na po\xe7a que a inoc\xeancia abre na areia. </p> <p> Sonha! <br /> Inventa um alfabeto <br /> De ilus\xf5es… <br /> Um \xe1-b\xea-c\xea secreto <br /> Que soletres \xe0 margem das li\xe7\xf5es… </p> <p> Voa pela janela <br />  De encontro a qualquer sol que te sorria! <br /> Asas? N\xe3o s\xe3o precisas: <br /> Vais ao colo das brisas, <br /> Aias da fantasia… </p>","reference":"Di\xe1rio IX"},{"title":"23 dezembro 1964","description":"C\xe1 estamos os dois, o Z\xe9 Ferreiro e eu, \xe0 bigorna. Ele a malhar no ferro, e eu nas palavras. Mas na minha forja h\xe1 mais marteladas e menos chispas…","reference":"Di\xe1rio X"},{"title":"12 abril 1965","description":"(…) Tudo o que sou claramente n\xe3o \xe9 daqui. Mas tudo o que sou obscuramente pertence a este ch\xe3o. A minha vida \xe9 uma corda de viola esticada entre dois mundos. No outro, oi\xe7o-lhe a m\xfasica; neste, sinto-lhe as vibra\xe7\xf5es.","reference":"Di\xe1rio X"}

1,{"title":"16 abril 1967","description":"Seja qual for a esta\xe7\xe3o do ano e a direc\xe7\xe3o seguida, antes de sair de casa j\xe1 sei que alimento os olhos v\xe3o ter pelo caminho. Neve no Larouco, rododendros cor de fogo em Magueija, soutos a pingar castanhas em Carrazedo de Montenegro. Mas \xe9 sempre com o mesmo alvoro\xe7o que parto, e com o mesmo deslumbramento que regresso. Para o verdadeiro crente, a missa, que nunca varia, nunca se repete. E a minha missa \xe9 esta. Uma \xedntima e di\xe1ria comunh\xe3o com a natureza, nos transes da sua perp\xe9tua agonia, morte e ressurrei\xe7\xe3o.","reference":"Di\xe1rio X"},{"title":"12 agosto 1968","description":"Malhada de centeio na eira ao lado, que pertence \xe0 fam\xedlia, onde h\xe1 sessenta anos minha M\xe3e largou \xe0 pressa a coanheira, para vir de rastos, j\xe1 com o saco das \xe1guas roto e crucificada de dores, parir-me debaixo de telhas. Enquanto oi\xe7o o baque surdo dos manguais a esbagoar as paveias, vou filosofando sobre esse long\xednquo nascimento, que a data e o cen\xe1rio casualmente reconstitu\xeddo recordaram cruciantemente. Parece que foi um parto f\xe1cil, e que ningu\xe9m previu que eu sa\xedsse poeta. Mas sa\xed. E come\xe7aram ent\xe3o as dificuldades. Tentado pelas promessas da imagina\xe7\xe3o, muito embora a timidez objetasse, e empurrado pelas circunst\xe2ncias, a que durante muito tempo chamei destino, saltei o risco da freguesia, larguei vela ao desconhecido, e, quando fui a dar conta, estava enredado num matagal de h\xe1bitos e contradi\xe7\xf5es de onde nunca mais consegui sair.","reference":"Di\xe1rio XI"},{"title":"20 setembro 1968","description":"De todos os mitos de que tenho not\xedcia, \xe9 o de Anteu o que mais admiro e mais vezes ponho \xe0 prova, sem me esquecer, evidentemente, de reduzir o tamanho do gigante \xe0 escala humana, e o corpo divino da Terra ol\xedmpica ao ch\xe3o natural de Tr\xe1s-os-Montes. E n\xe3o h\xe1 d\xfavida de que os resultados obtidos confirmam a sua veracidade. Sempre que, prestes a sucumbir ao morbo do desalento, toco uma destas fragas, todas as energias perdidas come\xe7am de novo a correr-me nas veias. \xc9 como se recebesse instantaneamente uma transfus\xe3o de seiva. (…)","reference":"Di\xe1rio XI"},{"title":"12 julho 1969","description":"Sempre que venho por a\xed acima, come\xe7o a avistar o Mar\xe3o e o Doiro, e me ponho a pensar na morte, o que mais me entristece \xe9 n\xe3o poder deixar em testamento os olhos \xe0 filha.","reference":"Di\xe1rio XI"}],"year1970":[{"title":"4 setembro 1975","description":"O dia inteiro na cama a curtir uma gripe real. A vida da aldeia chega-me ao quarto atrav\xe9s de ru\xeddos familiares a que imediatamente dou significa\xe7\xe3o verdadeira. O relinchar do cavalo do Z\xe9 Ferreiro a reconhecer-lhe da loja os passos na cal\xe7ada, o carro de bois do Roberto a chiar carregado de lenha, os tamancos da Gomes a choutar na eira. A pressa de um diz-me se anda a regar na veiga, se a trovoada ronda, se h\xe1 inc\xeandio. O sino a tocar, se \xe9 missa, enterro ou novena. E todo eu sou uma comovida comunh\xe3o com a trama das vidas que me envolvem. Mesmo assim emparedado e a fumegar de febre, a discorrer ou a delirar, j\xe1 n\xe3o sei bem, vejo-me mais uma vez possu\xeddo pela revela\xe7\xe3o da minha unidade. A unidade de um homem que o destino tentou desgarrar de todas as maneiras, mas a quem basta sentir os sinais deste ch\xe3o primordial para se reencontrar firme e certo na fundura das ra\xedzes e naturalmente integrado no jogo harmonioso das m\xfaltiplas conex\xf5es da exist\xeancia greg\xe1ria.","reference":"Di\xe1rio XII"},{"title":"25 dezembro 1976","description":"A velha escola do senhor Botelho finalmente reconstru\xedda e atualizada. Mais sol, mais higiene, menos gram\xe1tica e menos palmatoadas. Mas faltavam no terreiro \xe0 volta as mimosas da minha meninice. E passei a tarde de ferro e p\xe1 na m\xe3o a plant\xe1-las. N\xe3o estarei c\xe1 para as ver crescidas como as de outrora. Deix\xe1-lo. O meu prop\xf3sito n\xe3o era reflorir o passado, mas florir o futuro.","reference":"Di\xe1rio XII"},{"title":"24 dezembro 1977","description":"A bra\xe7os com os meus fantasmas, que nunca deixam de estar presentes nesta data, vou ati\xe7ando o lume na lareira. \xc9 meu Pai, \xe9 minha M\xe3e, \xe9 meu Av\xf4… Est\xe3o sentados a meu lado, calados, num recolhimento letal. Vieram porque eu vim, e como h\xe1 muito me disseram tudo o que tinham a dizer, fazem-me apenas companhia. \xc9 uma consoada suplementar, consecutiva \xe0 outra, mas silenciosa e abstinente, de que n\xe3o compartilha o resto da fam\xedlia, que j\xe1 dorme. A noite \xe9 comprid

1a, e nenhum de n\xf3s tem pressa. E vamos deixando correr as horas sacrais, \xe0 espera da luz da manh\xe3. Nela, eles regressar\xe3o discretamente ao mundo tranquilo dos mortos e eu acordarei estremunhado no mundo inquietante dos vivos. At\xe9 que outro Natal nos junte de novo, ainda aqui, unidos pela minha mem\xf3ria, ou l\xe1 onde os imagino lembrados de mim no eterno esquecimento.","reference":"Di\xe1rio XIII"},{"title":"11 abril 1979","description":"A casa vasculhada por uma objectiva cinematogr\xe1fica. Custou-me os olhos da cara consentir na devassa, mas a tenacidade paciente do realizador e um estranho sentimento de fim pr\xf3ximo venceram os meus escr\xfapulos. Pois que fique escancarada pela imagem a intimidade de um homem que se rodeou de s\xedmbolos \xedntimos: a balan\xe7a de meu Pai, a roca de minha M\xe3e, uma bandeira das almas, um calv\xe1rio de pedra, um Ju\xedzo Final de barro, um almofariz, um b\xfazio… Poder\xe1\xa0ser que um leitor futuro assim se aproxime mais simpaticamente da minha mem\xf3ria, perante a realidade que apenas lhe mostrei por escrito.","reference":"Di\xe1rio XIII"},{"title":"15 setembro 1979","description":"A casa nativa. O retiro sagrado da mem\xf3ria. A eternidade paralisada.","reference":"Di\xe1rio XIII"}],"year1980":[{"title":"7 junho 1980","description":"A casa nativa, cerejas maduras, ninhos, flores… Mas n\xe3o consigo encontrar-me nesta paz matricial e buc\xf3lica. \xc9 na afli\xe7\xe3o do dia de amanh\xe3 que j\xe1 estou a viver hoje.","reference":"Di\xe1rio XIII"},{"title":"17 setembro 1980","description":"Ao alargar-me os horizontes do mundo, com necessidades de toda a ordem a que j\xe1 n\xe3o posso renunciar, a vida fez de mim um ser ub\xedquo. Tenho aqui as ra\xedzes de suporte e l\xe1 longe as pastadeiras…","reference":"Di\xe1rio XIII"},{"title":"8 outubro 1980","description":"Homem de muitas letras, n\xe3o sei se suspeitoso de que a flagr\xe2ncia do natural fique sempre aqu\xe9m da literatura que o reflete, quis ver para crer. E veio de Paris passear a suspic\xe1cia cartesiana nesta realidade agreste que pintei nos livros e agora lhe escancarei sem a media\xe7\xe3o das palavras. Creio que regressa rendido e que leva que contar. A serra, de t\xe3o celta, parecia enfeiti\xe7ada; o Doiro, pasmado aos p\xe9s de S. Leonardo, era um espelho de eternidade; e o ronc\xe3o que bebeu nunca mais lhe vai sair do paladar. Nisso, ningu\xe9m me bate. Quando aqui recebo algu\xe9m, sou um anfitri\xe3o de \xeaxito seguro. Gra\xe7as aos recursos em que este ch\xe3o \xe9 pr\xf3digo, os meus h\xf3spedes partem duplamente obsequiados. Fascino-lhes os sentidos e embriago-lhes a mem\xf3ria.","reference":"Di\xe1rio XIII"},{"title":"5 setembro 1982","description":"A casa paterna. A matriz sagrada da fam\xedlia. Mas come\xe7o a n\xe3o ter palavras para a emo\xe7\xe3o que sinto quando entro nela. Engulo-as todas.","reference":"Di\xe1rio XIV"},{"title":"31 março 1985","description":"Visita de Camilo Jos\xe9 Cela, que veio a Portugal receber um pr\xe9mio. No meu fervor ib\xe9rico, n\xe3o sei at\xe9 que ponto sou frequentemente levado a investir cada espanhol singular que conhe\xe7o de toda a casti\xe7a grandeza de Espanha. O que muitas vezes n\xe3o deixar\xe1 de desconcertar os contemplados. Se calhar, foi o que hoje aconteceu.","reference":"Di\xe1rio XIV"},{"title":"6 abril 1985","description":"<p> <strong>Surdina</strong> <br /> N\xe3o h\xe1 musas aqui. <br /> H\xe1 sombras tutelares <br />A que vivo obrigado <br />E devotado, <br />E me inspiram tamb\xe9m. <br /> Mas t\xe3o contidamente <br /> Que o meu canto <br />\xc9 sempre como um salmo murmurado <br /> Num altar. <br /> Assim breve e embargado <br /> Para n\xe3o perturbar <br /> No presente o sil\xeancio do passado. </p>","reference":"Di\xe1rio XIV"},{"title":"15 setembro 1987","description":"Tantas p\xe1ginas e tantos poemas que aqui tenho escrito, e morro na convic\xe7\xe3o de que nada disse de significativo da minha liga\xe7\xe3o \xe0 terra onde nasci e de onde nunca verdadeiramente sa\xed. Tudo o que fui l\xe1 longe, apenas serviu para me afundar mais as ra\xedzes. (…)","reference":"Di\xe1rio XV"},{"title":"19 dezembro 1987","description":"Atafulho de fugida a mala do carro. Batatas, ma\xe7\xe3s, nozes, ovos, perdizes e alheiras. Mas deixo de fora a melancolia esparsa de um Natal - j\xe1 manifesto no semblante cordial de todos e no pr\xf3prio cariz solene e regelado do tempo - que n\xe3o seguir\xe1 comigo e ficar\xe1 a doer-me na alma como um remorso, pois s\xf3 aqui o sei celebrar. Fechada, a casa \xe9 como que um n\xe3o ao passado. Os mortos, dentro dela, n\xe3o ter\xe3o lareira, nem mem\xf3ria.","reference":"Di\xe1rio XV"},{"title":"3 abril 1988","description":"Despe\xe7o-me da casa paterna, do jardim, do negrilho e das fragas. Das \xfanicas riquezas que gostei verdadeiramente de possuir no mundo, e de que sou avaro. Que n\xe3o tive de ganhar, mas de merecer.","reference":"Di\xe1rio XV"},{"title":"9 setembro 1989","description":"Vou e venho. Perco-me por l\xe1 e encontro-me aqui.","reference":"Di\xe1rio XV"},{"title":"11 setembro 1989","description":"Os mitos s\xe3o verdades eternas. Quando aqui chego, \xe9 sempre um Anteu combalido que me sinto, a tocar a terra alentadora e a recuperar as for\xe7as. N\xe3o as do corpo, mas as da alma. \xc9 um gosto s\xfabito de estar no mundo, uma alegria \xedntima e sadia do esp\xedrito, como se me fossem dadas de repente raz\xf5es de vida que n\xe3o tenho l\xe1 longe. Sei que \xe9 neste ch\xe3o que hei-de ser enterrado. Mas nem essa certeza me abranda a exalta\xe7\xe3o. No di\xe1logo com os meus antepassados, que nele jazem e ressuscito a cada momento, a pr\xf3pria obsess\xe3o da morte que trago comigo se transforma num inexprim\xedvel sentimento de perenidade.","reference":"Di\xe1rio XV"}],"year1990":[{"title":"30 abril 1990","description":"(…) Desde h\xe1 muito que sei que sou o usufrutu\xe1rio de uma heran\xe7a sagrada, que s\xf3 merecerei se nunca me esquecer que S. Martinho \xe9 um ber\xe7o onde tenho de nascer todas as horas e morrer um dia.","reference":"Di\xe1rio XVI"},{"title":"9 setembro 1990","description":"Entro na casa paterna no sonambulismo de sempre. Desde que a deixei pela primeira vez, que nunca mais lhe transpus os umbrais inteiramente senhor de mim. (…) O destino exagerou comigo. Baralhou

1-me a condi\xe7\xe3o. Plantou-me aqui e arrancou-me daqui. E nunca mais as ra\xedzes me seguraram bem em nenhuma terra.","reference":"Di\xe1rio XVI"}]}')},7059:(e,a,r)=>{"use strict";r.d(a,{A:()=>i});var o=r(4232);let i=e=>{let[a,r]=(0,o.useState)(!1);return(0,o.useEffect)(()=>{let o=window.matchMedia(e);o.matches!==a&&r(o.matches);let i=()=>r(o.matches);return window.addEventListener("resize",i),()=>window.removeEventListener("resize",i)},[a,e]),a}},8018:(e,a,r)=>{var o={"./en/about.json":2111,"./en/crabbe.json":9171,"./en/diary.json":3413,"./en/footer.json":9715,"./en/house.json":234,"./en/life.json":1086,"./en/navbar.json":3970,"./en/places.json":1004,"./en/prizes.json":4237,"./en/visit.json":5989,"./en/work.json":5081,"./fr/about.json":5304,"./fr/crabbe.json":1750,"./fr/diary.json":6870,"./fr/footer.json":894,"./fr/house.json":369,"./fr/life.json":3391,"./fr/navbar.json":8991,"./fr/places.json":2541,"./fr/prizes.json":1460,"./fr/visit.json":8054,"./fr/work.json":1856,"./pt/about.json":5112,"./pt/crabbe.json":9606,"./pt/diary.json":6950,"./pt/footer.json":9278,"./pt/house.json":3665,"./pt/life.json":2511,"./pt/navbar.json":607,"./pt/places.json":9565,"./pt/prizes.json":4036,"./pt/visit.json":8886,"./pt/work.json":9136};function i(e){return r(t(e))}function t(e){if(!r.o(o,e)){var a=Error("Cannot find module '"+e+"'");throw a.code="MODULE_NOT_FOUND",a}return o[e]}i.keys=function(){return Object.keys(o)},i.resolve=t,e.exports=i,i.id=8018},8054:e=>{"use strict";e.exports=JSON.parse('{"name":"Visiter","_id":"7976621310995353","title":"Contacts","description":"Pour visiter, contacter l\'Espace Miguel Torga","title_2":"R\xe9seaux Sociaux","title_3":"","title_4":"En savoir plus","poem":"<br></br>Espace Miguel Torga<br></br><a href=\'https://escritoresanorte.pt/\' target=\'_blank\' rel=\'noreferrer\'>Escritores a Norte</a> — Site web d\xe9di\xe9 \xe0 la promotion des Maisons-mus\xe9es d\'\xc9crivains de la R\xe9gion et de leurs itin\xe9raires litt\xe9raires respectifs<br></br>Maison-Mus\xe9e Miguel Torga \xe0 Coimbra — r\xe9sidence de Miguel Torga de 1953 \xe0 1995.<br></br><a href=\'https://onortelaemcima.pt/\' target=\'_blank\' rel=\'noreferrer\'>O Norte \xe9 l\xe1 em cima</a> — Site web d\xe9di\xe9 \xe0 la promotion des exp\xe9riences touristiques \xe0 Porto et dans le Nord."}')},8886:e=>{"use strict";e.exports=JSON.parse('{"name":"Visitar","_id":"7976621310995353","title":"Contactos","description":"Para visitar, contactar Espa\xe7o Miguel Torga","title_2":"Redes Sociais","title_3":"","title_4":"Saber mais","poem":"<br></br>Espa\xe7o Miguel Torga<br></br><a href=\'https://escritoresanorte.pt/\' target=\'_blank\' rel=\'noreferrer\'>Escritores a Norte</a> — Website dedicado \xe0 divulga\xe7\xe3o das Casas-museu de Escritores da Regi\xe3o e respetivos itiner\xe1rios liter\xe1rios<br></br>Casa-Museu Miguel Torga em Coimbra — resid\xeancia de Miguel Torga desde 1953 at\xe9 1995.<br></br><a href=\'https://onortelaemcima.pt/\' target=\'_blank\' rel=\'noreferrer\'>O Norte \xe9 l\xe1 em cima</a> — Website dedicado \xe0 divulga\xe7\xe3o das experi\xeancias tur\xedsticas no Porto e no Norte."}')},8991:e=>{"use strict";e.exports=JSON.parse('{"name":"navbar","_id":"797664195353","menu":[{"value":"Miguel Torga","href":"","submenu":[{"value":"Vie","href":"/vida"},{"value":"Œuvre","href":"/obra"},{"value":"Prix","href":"/premios"},{"value":"Andr\xe9e Crabb\xe9 Rocha et Clara Rocha","href":"/andree-crabbe-rocha-e-clara-rocha"}]},{"value":"La maison","href":"/casa","submenu":[]},{"value":"Les Lieux","href":"/lugares","submenu":[]},{"value":"Journal","href":"/diario","submenu":[]},{"value":"Visiter","href":"/visitar","submenu":[]}]}')},9136:e=>{"use strict";e.exports=JSON.parse('{"name":"Obra","_id":"79766678213195353","blockquote":"Homem de palavras, testemunhei com elas a imagem demorada de uma tenaz, paciente e dolorosa constru\xe7\xe3o reflexiva feita com o material candente da pr\xf3pria vida. <br /><span>A Cria\xe7\xe3o do Mundo</span>","intro_text":"Poeta sedento de absoluto, autor de uma obra extensa e multifacetada que abarca v\xe1rios g\xe9neros liter\xe1rios (poesia, conto, romance, di\xe1rio, ensaio, teatro), mostra-se como \xe9 num registo autobiogr\xe1fico que transcende a sua pr\xf3pria hist\xf3ria. O Di\xe1rio, que escreveu ao longo de quase 60 anos, \xe9 o testemunho de um tempo e de um espa\xe7o, o registo da paisagem f\xedsica e humana, o lugar da procura duma identidade coletiva, e ainda relato de viagens, anota\xe7\xe3o e coment\xe1rio de leituras, reflex\xe3o sobre a pr\xe1tica da medicina, justifica\xe7\xe3o da escrita, responsabiliza\xe7\xe3o social e protesto. Portugu\xeas e europeu, regional e universal, Torga \xe9 um escritor do mundo, traduzido em mais de vinte l\xednguas e distinguido internacionalmente por v\xe1rias vezes.","work_list":[{"title":"Poesia","list":["Ansiedade (1928)","Rampa (1930)","Tributo (1931)","Abismo (1932)","O Outro Livro de Job (1936)","Lamenta\xe7\xe3o (1943)","Liberta\xe7\xe3o (1944)","Odes (1946)","Nihil Sibi (1948)","C\xe2ntico do Homem (1950)","Alguns Poemas Ib\xe9ricos (1952)","Penas do Purgat\xf3rio (1954)","Orfeu Rebelde (1958)","C\xe2mara Ardente (1962)","Poemas Ib\xe9ricos (1965)","Antologia Po\xe9tica (1981)","Poesia Completa (2000)"]},{"title":"Prosa","list":["P\xe3o \xc1zimo (1931)","A Terceira Voz (1934)","A Cria\xe7\xe3o do Mundo - Os Dois Primeiros Dias (1937)","A Cria\xe7\xe3o do Mundo - O Terceiro Dia (1938)","A Cria\xe7\xe3o do Mundo - O Quarto Dia (1939)","Bichos (1940)","Contos da Montanha (1941)","Um Reino Maravilhoso (Tr\xe1s-os-Montes) (1941)","Rua (1942)","O Senhor Ventura (1943)","Novos Contos da Montanha (1944)","O Porto (1944)","Vindima (1945)","Portugal (1950)","Pedras Lavradas (1951)","Tra\xe7o de Uni\xe3o (1955)","A Cria\xe7\xe3o do Mundo - O Quinto Dia (1974)","Fogo Preso (1976)","A Cria\xe7\xe3o do Mundo - O Sexto Dia (1981)"]},{"title":"Poesia e Prosa","list":["Di\xe1rio I (1941) ","Di\xe1rio II (1943)","Di\xe1rio III (1946)","Di\xe1rio IV (1949)","Di\xe1rio V (1951)","Di\xe1rio VI (1953)","Di\xe1rio VII (1956)","Di\xe1rio VIII (1959)","Di\xe1rio IX (1964)","Di\xe1rio X (1968)","Di\xe1rio XI (1973)","Di\xe1rio XII (1977)","Di\xe1rio XIII (1983)","Di\xe1rio XIV (1987)","Di\xe1rio XV (1990)","Di\xe1rio XVI (1993)"]},{"title":"Teatro","list":["Terra Firme. Mar (1941)","Sinfonia (1947)","O Para\xedso (1949)","Mar (1958)","Teatro, 1\xaa ed. conjunta (2001)"]}]}')},9171:e=>{"use strict";e.exports=JSON.parse('{"name":"Andr\xe9e Crabb\xe9 Rocha and Clara Rocha","_id":"79766209813195353","header_1":"Andr\xe9e Crabb\xe9 Rocha, his wife. Clara Crabb\xe9 Rocha, his daughter. Torga marries on July 27, 1940 with the young Belgian woman who would become his life companion. From the beginning he admires in her the culture, civic sense and independence of spirit: \\"She would be, therefore, by my side a traveling companion, also owner of her personality and her destiny,\\" he writes in the autobiographical novel A Cria\xe7\xe3o do Mundo. To his daughter Clara he dedicates several poems, including \\"Birth\\", \\"Preserved Flower\\", \\"Star of the West\\" and \\"Ascension\\".","articles":[{"title":"Andr\xe9e Crabb\xe9 Rocha (1917-2003)","content":"University professor of Belgian nationality, Andr\xe9e Jeanne Fran\xe7oise Crabb\xe9 Rocha graduated in Romance Philology in 1939 from the Free University of Brussels, where she was a Portuguese student of Vitorino Nem\xe9sio. She completed her degree with \\"great distinction\\", presenting a dissertation on the work of Fialho de Almeida. While still a student, she made a trip to Spain with a group of students from the University of Brussels, in support action for the Republicans during the Civil War. <br /> In 1938, she attended the Summer Course at the University of Coimbra and met Miguel Torga at Nem\xe9sio\'s house. She received her doctorate in 1944 from the University of Lisbon, with a thesis on O Teatro de Garrett, and the following year began teaching at the Faculty of Letters of that University. Dismissed in 1947, in a wave of political dismissals that included more than a dozen prestigious university professors, she was prevented from teaching in public education for more than twenty years. During this period she developed extensive research work, being particularly interested in Portuguese literature of the 16th century and the Cancioneiro Geral by Garcia de Resende. In 1970, she was finally able to return to teaching at the University of Lisbon, later transferring to the University of Coimbra, where she taught until 1986. Among other titles, her bibliography includes A Epistolografia em Portugal (1965), Garcia de Resende e o Cancioneiro Geral (1979) and Temas da Literatura Portuguesa (1986). Between 1978 and 1986 she directed the magazine Cadernos de Literatura, of which 25 

1issues were published. She was distinguished in 1979 with the National Order of Merit in France, and in 1986 President of the Republic M\xe1rio Soares awarded her the Order of Infante Dom Henrique."},{"title":"Clara Crabb\xe9 Rocha (1955)","content":"Daughter of Miguel Torga and Andr\xe9e Crabb\xe9 Rocha, she received her doctorate in 1985 from the University of Coimbra, with a thesis entitled Revistas Liter\xe1rias do S\xe9culo XX em Portugal, published the same year by INCM. She was an assistant at the University of Coimbra between 1977 and 1985, and a professor at the Nova University of Lisbon from 1985. She dedicated a significant part of her studies to autobiographical literature and Portuguese poetry of the 20th century, having published the following books: O Espa\xe7o Autobiogr\xe1fico em Miguel Torga (1977), Os \\"Contos Exemplares\\" de Sophia de Mello Breyner (1978), O Essencial sobre M\xe1rio de S\xe1-Carneiro (1985; 2nd ed., 2017), M\xe1scaras de Narciso. Estudos sobre a Literatura Autobiogr\xe1fica em Portugal (1992), Miguel Torga – Fotobiografia (2000; 2nd ed., 2018), O Cachimbo de Ant\xf3nio Nobre e Outros Ensaios (2003, distinguished with the PEN Club Essay Prize and the A.P.E. Grand Essay Prize), O Essencial sobre Michel de Montaigne (2015, Jacinto do Prado Coelho Prize) and O Essencial sobre o Surrealismo Portugu\xeas (2024). Author of several prefaces, she collaborated with literary criticism articles in newspapers and magazines, in literature dictionaries and in international scientific volumes. She was the first woman president of the Academic Association of Coimbra (1976). In 1987, she was awarded the Order of Infante Dom Henrique by President of the Republic M\xe1rio Soares. She was a visiting professor at the Sorbonne in 2004. In 2011, she organized the anthology A Caneta que Escreve e a que Prescreve, with the collaboration of Teresa Jorge Ferreira (Verbo, 2012; ed. in Brazil, 2025). She has been part of various juries of national and international literary prizes, such as the European Literary Prize and the Cam\xf5es Prize.","content_2":"Clara Rocha was born on October 3, 1955, in Coimbra. On that day, Torga writes a poem."}],"blockquote_1":" Surrounded by students is when she gave her best. Of colloquial and didactic nature, it was in communicating within the boundaries of the collective forum that she felt truly fulfilled. Inventive, she put in the lessons, besides knowledge, the grace of fantasy. And she transformed each class into a pedagogical adventure that fascinated and stimulated the disciples. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","poem":{"date":"Coimbra, October 3, 1955","title":"Birth","content":" Men are born like poor gods: <br /> Naked and from a womb that despaired <br /> Of keeping them <br /> Sacred and secret in its lake. <br /> They are born deformed, without any caress <br /> From the wild rage that expels them <br /> And from the terrified hands that receive them. <br /> They drink <br />The air of the world with cries. <br /> They look without seeing, and are <br /> Deaf and transient myths <br /> Of our devotion.","diary":"Diary VII"}}')},9278:e=>{"use strict";e.exports=JSON.parse('{"name":"footer","_id":"79766213195353","menu":{"value":"Sobre","href":"/sobre"}}')},9565:e=>{"use strict";e.exports=JSON.parse('{"name":"Os Lugares","_id":"7976621319765353","header":["Roteiro liter\xe1rio de tr\xeas","dias no Douro"],"blockquote_1":"<blockquote><span> S\xe3o Martinho de Anta, 3 de Julho de 1966</span> <br /> Estas paisagens j\xe1 est\xe3o de tal modo explicitadas dentro de mim, que parecem escritas no meu entendimento. Quando cuido que estou a interpret\xe1-las, estou a ler-me.<br /><span>Di\xe1rio X</span></blockquote>","blockquote_2":"<blockquote>A terra \xe9 de tal natureza que, n\xe3o contente com as d\xe1divas a c\xe9u aberto, encerra nas entranhas riquezas que n\xe3o t\xeam conto. Entra-se no ventre duma serra e \xe9 ferro, \xe9 oiro, \xe9 chumbo, \xe9 estanho, \xe9 volfr\xe2mio, \xe9 zinco, \xe9 ur\xe2nio, \xe9 tudo quanto Vulcano forjou.<br /><span>Portugal</span></blockquote>","subtitles":["Tem\xe1ticas Torguianas","Cultura","Natureza"],"days":["Primeiro Dia","Segundo Dia","Terceiro Dia"],"downloadble_content":{"title":["Roteiro liter\xe1rio de tr\xeas","dias no Douro"],"link":"Descarregar roteiro","p1":"<strong>Como chegar a S\xe3o Martinho de Anta</strong> <br />

1A uma hora de carro do Porto, a duas horas de Vigo. A partir do Porto, seguir pela A4 em dire\xe7\xe3o a Vila Real. Sair para o IP3, continuar pelo A24/IP3 at\xe9 \xe0 EN322. Sair em S\xe3o Martinho de Anta. A partir de Vigo, seguir a AP-9 em dire\xe7\xe3o a Tui. Em Portugal, seguir a A3, A11 e A4 para Vila Real. Sair na sa\xedda 13 da A4, continuar na EN322, sair em S\xe3o Martinho de Anta.","p2":"<strong>Na mala: livros e banda sonora</strong><br />Percorrer a geografia f\xedsica e sentimental de Miguel Torga \xe9 entrar na sua obra e na sua vida. Visitar os seus lugares com os seus livros, o Di\xe1rio, Portugal, os Contos e Novos Contos da Montanha, ajuda a desvendar esse universo t\xe3o \xfanico e singular. A poesia, A Cria\xe7\xe3o do Mundo, Bichos e Vindima s\xe3o tamb\xe9m belas companhias de viagem. Al\xe9m dos sons e dos sil\xeancios das paisagens, dos rios, das vinhas e das gentes, o disco Viagem a Um Reino Maravilhoso, dos Lavoisier, \xe9 a banda-sonora perfeita para estes passeios. O \xe1lbum parte de poemas de Torga para traduzir e recriar o som encontrado na poesia do escritor transmontano."},"first_day":{"name":"Primeiro Dia","title":"Primeiro Dia <br /> S\xe3o Martinho de Anta e <br />Sabrosa","subtitle":"A casa, a fam\xedlia, as ra\xedzes","blockquote_1":"<span>S\xe3o Martinho de Anta, 28 de Dezembro de 1953</span> <p> \xc9 uma pena que os montes n\xe3o falem, n\xe3o dialoguem nem testemunhem. Estes meus, pelo menos. Al\xe9m da emo\xe7\xe3o de os ouvir responder ao mon\xf3logo que o sil\xeancio em que vivem apagou nos meus l\xe1bios e tornou interior, gostaria sobretudo de saber se fica na alma deles, como na minha, a marca indel\xe9vel de cada um dos nossos encontros. \xc9 de tal modo apertado e medular o abra\xe7o que damos, t\xe3o \xedntima a comunh\xe3o que nos une horas a fio, que n\xe3o me resigno \xe0 ideia de que s\xf3 do meu lado haja consci\xeancia, e do outro o amor seja passivo. </p> <span>Di\xe1rio VII</span>","blockquote_2":"","content":{"p1":"<strong>O ponto de partida</strong><br />A aldeia do escritor, onde nasce e onde est\xe1 sepultado em campa rasa, gran\xedtica, com uma torga. Ponto de partida para um passeio de fim de semana ou mais demorado. Quando quiser, como quiser, o tempo que quiser.","p2":{"text":"Muitos itiner\xe1rios s\xe3o poss\xedveis a partir desta aldeia que se tornou vila e que abra\xe7a as paisagens transmontanas. O **Espa\xe7o Miguel Torga**, de autoria do arquiteto Souto Moura, \xe9 um equipamento cultural com uma exposi\xe7\xe3o permanente sobre a vida e a obra de Miguel Torga, uma sala de exposi\xe7\xf5es tempor\xe1rias e um audit\xf3rio onde se realizam regularmente palestras, concertos e recitais. Mesmo ao lado, cinco minutos a p\xe9, a porta da **Casa Miguel Torga** abre-se para acolher os visitantes: o hall de entrada com as armas decorativas e a boina, a sala de estar, a lareira e o cadeir\xe3o onde o autor se sentava e escrevia, primeiras edi\xe7\xf5es, fotografias e manuscritos, tradu\xe7\xf5es em v\xe1rias l\xednguas, obras de Andr\xe9e Rocha e Clara Rocha.","dataLink":["espaco-miguel-torga","casa-miguel-torga"]},"p3":{"text":"Ar livre, o c\xe9u, o cheiro a terra, a paisagem que agarra as cores do tempo, a pedra, o granito. Nos **Passos de Torga** \xe9 um trilho que parte da Casa Miguel Torga e termina no Eir\xf4, o largo de S\xe3o Martinho de Anta. No centro da vila havia dantes um negrilho (a designa\xe7\xe3o popular do olmo negro), a \xe1rvore centen\xe1ria a que o autor dedicou o poema \\"A um Negrilho\\". O trilho \xe9 um passeio circular de 11 quil\xf3metros que respira natureza, arbustos, pinheiros e azinheiras, tojo, giestas brancas e rosmaninho.","dataLink":["trilho-nos-passos-do-torga"]},"p4":{"text":"A **escola prim\xe1ria** de janelas com vista para o Mar\xe3o, evocada nas primeiras p\xe1ginas de A Cria\xe7\xe3o do Mundo, e onde, anos mais tarde, o poeta passou uma tarde a replantar as mimosas da sua inf\xe2ncia. Na povoa\xe7\xe3o de Garganta, outra antiga escola cujo edif\xedcio \xe9 agora o **P\xf3lo Arqueol\xf3gico da Garganta**, um equipamento que preserva alguns vest\xedgios arqueol\xf3gicos recolhidos na Necr\xf3pole das Tou\xe7as e na mamoa de Madorras, ambas a merecerem uma visita.","dataLink":["escola-primaria-do-poeta","polo-arqueologico-da-garganta"]},"p5":{"text":"No alto da serra, com o Mar\xe3o e o Alv\xe3o \xe0 vista, est\xe1 a **Senhora da Azinheira**, com o seu alpendre que lembra o cen\xe1rio do conto \\"Natal\\". Capela branca, singela, do s\xe9culo XVII, ret\xe1bulo barroco de talha dourada. O sino, os castanheiros em volta, a fonte velha, o cheiro a rosmaninho, a romaria de 15 de agosto, as fragas que se tornam mesas de merenda por um dia.","dataLink":["capela-da-senhora-da-azinheira"]},"p6":{"text":"A poucos quil\xf3metros, na aldeia de Parada de Pinh\xe3o, encontra-se a **Casa Aires Torres**. A vida e obra de Aires Torres, poeta, ator, militar e revolucion\xe1rio. A sala de exposi\xe7\xe3o permanente mostra pain\xe9is biogr\xe1ficos, objetos pessoais e uma parte da sua biblioteca. Em Sabrosa, vale a pena visitar o castro, datado da Idade do Ferro e depois ocupado pelos romanos. Destacam-se tamb\xe9m a **Igreja Matriz**, do s\xe9culo XVIII, em estilo barroco, a Casa da Capela e a Casa da Pereira, onde, segundo a tradi\xe7\xe3o, teria nascido Fern\xe3o de Magalh\xe3es. A grande viagem de circum-navega\xe7\xe3o \xe9 contada na exposi\xe7\xe3o **Locais e Culturas da Viagem de Magalh\xe3es**, no Parque BB King, em Sabrosa, que permite vivenciar a odisseia e descobrir territ\xf3rios long\xednquos.","dataLink":["casa-aires-torres","igreja-matriz-de-sabrosa","casa-de-fernao-magalhaes","os-locais-e-culturas-da-viagem-de-magalhaes"]}}},"second_day":{"name":"Segundo Dia","title":"Segundo Dia","subtitle":"A Caminho do Douro <br />O sublime <br />O para\xedso na terra","blockquote_1":"","content":{"p1":{"text":"Uma geografia afei\xe7oada durante s\xe9culos pelo trabalho do homem. Terra de socalcos nas margens de um rio de ouro, onde crescem as cepas. O Douro \xe9 a mais antiga e uma das mais importantes regi\xf5es demarcadas do mundo. Alto Douro Vinhateiro, Patrim\xf3nio Mundial da Humanidade."},"p2":{"text":"Na margem norte do rio, no Alto Douro Vinhateiro, fica a **Aldeia Hist\xf3rica de Provesende**. Casas senhoriais e brasonad

1as, um pelourinho, quintas e um trilho vinhateiro. O **Trilho Vinhateiro de Provesende** \xe9 um percurso pedestre no Douro que desce da aldeia hist\xf3rica at\xe9 ao Pinh\xe3o, ao longo de pouco mais de cinco quil\xf3metros. Um passeio com algumas das melhores vistas do vale do rio e com paisagens de suster a respira\xe7\xe3o.","dataLink":["aldeia-historica-de-provesende","trilho-vinhateiro-de-provesende"]},"p3":{"text":"Estes lugares s\xe3o para\xedsos de contempla\xe7\xe3o. Parar, observar, sentir a natureza no **Miradouro de S\xe3o Crist\xf3v\xe3o do Douro**, de onde se avista o encontro dos rios Pinh\xe3o e Douro, e um soberbo panorama de socalcos. E o **Pinh\xe3o** l\xe1 em baixo com as suas vinhas, as suas quintas e a sua bela esta\xe7\xe3o de caminhos de ferro revestida a azulejos. **Casal de Loivos**, a poucos minutos do Pinh\xe3o, oferece tamb\xe9m uma das mais belas vistas da regi\xe3o. E o miradouro de **S. Leonardo de Galafura**, com acesso pela estrada velha entre Vila Real e a R\xe9gua, \xe9 ponto de visita obrigat\xf3ria num roteiro duriense.","dataLink":["miradouro-de-sao-cristovao-do-douro","pinhao","casal-de-loivos","s-leonardo-de-galafura"]},"p4":{"text":"<h1>S. Leonardo de Galafura</h1><p>\xc0 proa dum navio de penedos, <br /> A navegar num doce mar de mosto, <br /> Capit\xe3o no seu posto <br /> De comando, <br /> S. Leonardo vai sulcando <br /> As ondas <br /> Da eternidade, <br /> Sem pressa de chegar ao seu destino. <br /> Ancorado e feliz no cais humano, <br /> \xc9 num antecipado desengano <br /> Que ruma em dire\xe7\xe3o ao cais divino.</p><p>L\xe1 n\xe3o ter\xe1 socalcos <br /> Nem vinhedos <br /> Na menina dos olhos deslumbrados; <br /> Doiros desaguados <br /> Ser\xe3o charcos de luz <br /> Envelhecida; <br /> Rasos, todos os montes <br /> Deixar\xe3o prolongar os horizontes <br /> At\xe9 onde se extinga a cor da vida.</p><p>Por isso, \xe9 devagar que se aproxima <br /> Da bem-aventuran\xe7a. <br /> \xc9 lentamente que o rabelo avan\xe7a <br /> Debaixo dos seus p\xe9s de marinheiro. <br /> E cada hora a mais que gasta no caminho <br /> \xc9 um sorvo a mais de cheiro <br /> A terra e a rosmaninho!</p>"}}},"third_day":{"name":"Terceiro Dia","title":"Terceiro Dia","subtitle":"Vila Real <br /> Patrim\xf3nio, arquitetura, hist\xf3ria","content":{"p1":{"text":"Vila Real, capital de distrito, \xe9 uma cidade com hist\xf3ria e patrim\xf3nio arquitet\xf3nico. No cora\xe7\xe3o da cidade, o **Centro Hist\xf3rico** agrupa v\xe1rios monumentos. A majestosa **S\xe9**, do s\xe9culo XV, \xe9 o melhor exemplo da arquitetura g\xf3tica da regi\xe3o de Tr\xe1s-os-Montes. Edif\xedcio s\xf3brio de tr\xeas naves escalonadas e capela-mor retangular, \xe9 lugar de sil\xeancio e contempla\xe7\xe3o.","dataLink":["centro-historico-vila-real","se-de-vila-real-igreja-de-sao-domingos"]},"p2":{"text":"A **Capela da Miseric\xf3rdia**, com o seu p\xf3rtico em arco de volta perfeita, data do s\xe9culo XVI. O **Pelourinho** foi erigido em 1515, quando Vila Real recebeu de D. Manuel um novo foral. A **Igreja de S\xe3o Paulo**, com desenho atribu\xeddo a Nicolau Nasoni, \xe9 uma igreja barroca composta por nave \xfanica e capela-mor, e fachada com pilastras nos cunhais coroadas por fogar\xe9us. A **Igreja de S\xe3o Pedro** \xe9 ainda um exemplo do estilo barroco, com a fachada principal ladeada por duas torres.","dataLink":["igreja-de-s-paulo-capela-nova","capela-da-misericordia","pelourinho","igreja-de-s-pedro"]},"p3":{"text":"O **Jardim da Carreira**, do s\xe9culo XIX, \xe9 um passeio p\xfablico ao gosto rom\xe2ntico onde apetece caminhar. Tem duas entradas, a principal com um port\xe3o em ferro e granito que ostenta a data de 1871. Ar puro na cidade, verde a toda a volta na avenida das t\xedlias, nos relvados e canteiros. H\xe1 um lago e uma fonte, um monumento a Camilo Castelo Branco, bancos para descansar, um coreto e um miradouro. As hist\xf3rias tamb\xe9m se contam no **Museu da Vila Velha**, que evoca o passado do territ\xf3rio, mostra as suas origens medievais e preserva mem\xf3rias das suas gentes. Outros museus espalhados pela cidade e a biblioteca municipal permitem descobrir um pouco mais.","dataLink":["jardim-da-carreira","museu-da-vila-velha"]},"p4":{"text":"A 4 quil\xf3metros de Vila Real fica a **Casa de Mateus**, com os seus belos jardins e as suas salas cheias de Hist\xf3ria. No interior do solar, desenhado por Nicolau Nasoni, o visitante pode admirar mobili\xe1rio, arte sacra, pinturas e esculturas, porcelanas e cristais, a biblioteca com a edi\xe7\xe3o monumental d\' Os Lus\xedadas em dois volumes e os originais das treze gravuras que a ilustram. Miguel Torga participou em v\xe1rios encontros culturais neste pal\xe1cio, e em 1980 foi distinguido com o Pr\xe9mio Morgado de Mateus, ex-aequo com o poeta brasileiro Carlos Drummond de Andrade. A sete minutos de carro, o **Santu\xe1rio de Pan\xf3ias** \xe9 o mais antigo santu\xe1rio pag\xe3o da Pen\xednsula Ib\xe9rica, constru\xeddo entre finais do s\xe9culo II e in\xedcios do s\xe9culo III. Lugar de ritos de inicia\xe7\xe3o e imola\xe7\xe3o de v\xedtimas.","dataLink":["fundacao-da-casa-de-mateus","fragas-de-panoias-santuario-de-panoias"]}},"gastronomia":{"title":"Gastronomia e vinhos","p1":"<strong>Douro \xe0 mesa</strong><br />Apreciar. Degustar. Saborear.<br />A gastronomia transmontana e duriense \xe9 cozinha generosa e genu\xedna. Densa e intensa, celebra a origem dos seus produtos e conta hist\xf3rias de gera\xe7\xf5es. Os vinhos guardam heran\xe7as e lembran\xe7as, tradi\xe7\xf5es de fam\xedlias, paisagens com hectares de vinhedos, casas senhoriais, dedica\xe7\xe3o e entrega, um saber-fazer de excel\xeancia.","p2":"Entre tantas outras \\"especialidades\\", refira-se o presunto b\xedsaro de Vinhais, tenro e suculento, ligeiramente salgado e fumado; o folar de carnes; a alheira; a moura, enchido de sangue, carnes em vinha-d\'alhos e p\xe3o cortado em fatias; os covilhetes de Vila Real, pequenos past\xe9is de massa folhada com recheio de carne picada; a vitela assada; o cabrito com arroz de forno; a perdiz e outras carnes de ca\xe7a; a posta maronesa, tenra e suculenta; e a posta mirandesa, carne DOP (Denomina\xe7\xe3o de Origem Protegida) de bovino de ra\xe7a mirandesa.","p3":"Para beber, vinhos de mesa do Douro e vinhos do Porto como aperitivo ou a terminar uma refei\xe7\xe3o. S\xe3o vinhos robustos e encorpad

1os, com aromas acentuados, tintos, brancos, vintages. Vinhos produzidos num microclima \xfanico e num territ\xf3rio que enche o olhar. Para brindar \xe0 vida. Para saborear cada gole.","p4":"Nos doces, vale a pena provar as tradicionais cristas de galo, em forma de meia-lua, com recheio de a\xe7\xfacar, am\xeandoa, ovos, toucinho e canela; os pitos de Santa Luzia, receita de antigo convento, em forma de pir\xe2mide quadrangular, recheados de ab\xf3bora, a\xe7\xfacar, canela e pimenta; o leite-creme caseiro e tantas outras del\xedcias."},"conhecer":{"title":"Conhecer Mais","p1":"<strong>Museu do C\xf4a</strong><br />O Museu \xe9 uma estrutura complementar ao Parque Arqueol\xf3gico do Vale do C\xf4a, auxiliando o viajante na descoberta da arte rupestre dos vales do C\xf4a e da paisagem do Douro, dois patrim\xf3nios mundiais da regi\xe3o.","p2":"<strong>Passaporte do Douro</strong><br />Parta \xe0 descoberta do Douro, fazendo-se acompanhar do Passaporte. Ao completar a viagem pelos 76 pontos de interesse assinalados, recolhendo todos os carimbos no Passaporte recebe um certificado de excel\xeancia e uma oferta exclusiva do Instituto do Vinho do Douro e Porto."}}}')},9606:e=>{"use strict";e.exports=JSON.parse('{"name":"Andr\xe9e Crabb\xe9 Rocha e Clara Rocha","_id":"79766209813195353","header_1":"Andr\xe9e Crabb\xe9 Rocha, a sua mulher. Clara Crabb\xe9 Rocha, a sua filha. Torga casa-se a 27 de julho de 1940 com a jovem belga que se tornar\xe1 a sua companheira de vida. Desde logo admira nela a cultura, o sentido c\xedvico e a independ\xeancia de esp\xedrito: \\"Seria, pois, a meu lado uma companheira de viagem, dona tamb\xe9m da sua personalidade e do seu destino\\", escreve no romance autobiogr\xe1fico A Cria\xe7\xe3o do Mundo. \xc0 filha Clara dedica v\xe1rios poemas, entre os quais \\"Nascimento\\", \\"Flor Preservada\\", \\"Estrela do Ocidente\\" e \\"Ascens\xe3o\\".","articles":[{"title":"Andr\xe9e Crabb\xe9 Rocha (1917-2003)","content":"Professora universit\xe1ria de nacionalidade belga, Andr\xe9e Jeanne Fran\xe7oise Crabb\xe9 Rocha licenciou-se em Filologia Rom\xe2nica, em 1939, na Universidade Livre de Bruxelas, onde foi aluna de Portugu\xeas de Vitorino Nem\xe9sio. Concluiu a licenciatura com \\"grande distinction\\", apresentando uma disserta\xe7\xe3o sobre a obra de Fialho de Almeida. Ainda estudante, fez uma viagem a Espanha com um grupo de alunos da Universidade de Bruxelas, em ac\xe7\xe3o de apoio aos republicanos durante a Guerra Civil. <br /> Em 1938, frequentou o Curso de F\xe9rias da Universidade de Coimbra e conheceu Miguel Torga em casa de Nem\xe9sio. Doutorou-se em 1944, na Universidade de Lisboa, com uma tese sobre O Teatro de Garrett, e no ano seguinte iniciou fun\xe7\xf5es docentes na Faculdade de Letras daquela Universidade. Demitida em 1947, numa leva de demiss\xf5es pol\xedticas que incluiu mais de uma dezena de prestigiados professores universit\xe1rios, ficou impedida de lecionar no ensino p\xfablico durante mais de vinte anos. Durante esse per\xedodo desenvolveu um extenso trabalho de investiga\xe7\xe3o, tendo-se interessado especialmente pela literatura portuguesa do s\xe9culo XVI e pelo Cancioneiro Geral de Garcia de Resende. Em 1970, p\xf4de finalmente regressar ao ensino na Universidade de Lisboa, transferindo-se posteriormente para a Universidade de Coimbra, onde lecionou at\xe9 1986. Entre outros t\xedtulos, destacam-se na sua bibliografia A Epistolografia em Portugal (1965), Garcia de Resende e o Cancioneiro Geral (1979) e Temas da Literatura Portuguesa (1986). Entre 1978 e 1986 dirigiu a revista Cadernos de Literatura, da qual se publicaram 25 n\xfameros. Foi distinguida, em 1979, com a Ordem Nacional do M\xe9rito, em Fran\xe7a, e em 1986 o Presidente da Rep\xfablica M\xe1rio Soares atribuiu-lhe a Ordem do Infante Dom Henrique."},{"title":"Clara Crabb\xe9 Rocha (1955)","content":"Filha de Miguel Torga e de Andr\xe9e Crabb\xe9 Rocha, doutorou-se em 1985 na Universidade de Coimbra, com uma tese intitulada Revistas Liter\xe1rias do S\xe9culo XX em Portugal, editada no mesmo ano pela INCM. Foi assistente da Universidade de Coimbra entre 1977 e 1985, e professora da Universidade Nova de Lisboa a partir de 1985. Dedicou parte significativa dos seus estudos \xe0 literatura autobiogr\xe1fica e \xe0 poesia portuguesa do s\xe9culo XX, tendo publicado os 

1seguintes livros: O Espa\xe7o Autobiogr\xe1fico em Miguel Torga (1977), Os \\"Contos Exemplares\\" de Sophia de Mello Breyner (1978), O Essencial sobre M\xe1rio de S\xe1-Carneiro (1985; 2\xaa ed., 2017), M\xe1scaras de Narciso. Estudos sobre a Literatura Autobiogr\xe1fica em Portugal (1992), Miguel Torga – Fotobiografia (2000; 2\xaa ed., 2018), O Cachimbo de Ant\xf3nio Nobre e Outros Ensaios (2003, distinguido com o Pr\xe9mio de Ensaio do PEN Clube e Grande Pr\xe9mio de Ensaio da A.P.E.), O Essencial sobre Michel de Montaigne (2015, Pr\xe9mio Jacinto do Prado Coelho) e O Essencial sobre o Surrealismo Portugu\xeas (2024). Autora de v\xe1rios pref\xe1cios, colaborou com artigos de cr\xedtica liter\xe1ria em jornais e revistas, em dicion\xe1rios de literatura e em volumes cient\xedficos internacionais. Foi a primeira mulher presidente da Associa\xe7\xe3o Acad\xe9mica de Coimbra (1976). Em 1987, foi agraciada com a Ordem do Infante Dom Henrique pelo Presidente da Rep\xfablica M\xe1rio Soares. Foi professora convidada na Sorbonne em 2004. Em 2011, organizou a antologia A Caneta que Escreve e a que Prescreve, com a colabora\xe7\xe3o de Teresa Jorge Ferreira (Verbo, 2012; ed. no Brasil, 2025). Tem feito parte de diversos j\xfaris de pr\xe9mios liter\xe1rios nacionais e internacionais, como o Pr\xe9mio Liter\xe1rio Europeu e o Pr\xe9mio Cam\xf5es.","content_2":"Clara Rocha nasce a 3 de outubro de 1955, em Coimbra. Nesse dia, Torga escreve um poema."}],"blockquote_1":" Rodeada de alunos \xe9 que dava o melhor de si. De natureza coloquial e did\xe1tica, era a comunicar dentro das fronteiras do foro coletivo que se sentia verdadeiramente realizada. Inventiva, punha nas li\xe7\xf5es, al\xe9m do saber, a gra\xe7a da fantasia. E transformava cada aula numa aventura pedag\xf3gica que fascinava e estimulava os disc\xedpulos. <br /> <span>A Cria\xe7\xe3o do Mundo</span>","poem":{"date":"Coimbra, 3 de outubro de 1955","title":"Nascimento","content":" Nascem os homens como deuses pobres: <br /> Nus e de um ventre que desesperou <br /> De os guardar <br /> Sagrados e secretos no seu lago. <br /> Nascem disformes, sem nenhum afago <br /> Da raiva desabrida que os expulsa <br /> E das m\xe3os aterradas que os recebem. <br /> Bebem <br />O ar do mundo aos gritos. <br /> Olham sem ver, e s\xe3o <br /> Surdos e transit\xf3rios mitos <br /> Da nossa devo\xe7\xe3o.","diary":"Di\xe1rio VII"}}')},9715:e=>{"use strict";e.exports=JSON.parse('{"name":"footer","_id":"79766213195353","menu":{"value":"About","href":"/sobre"}}')}}]);