VIEIRA, P. Antonio, S.J., supposed author [actual author:...
Arte de furtar, espelho de enganos, teatro de verdades, mostrador de horas minguadas, gazúa geral dos Reynos de Portugal. Offerecida a ElRey nosso senhor D. João IV. Para que a emende.
Amsterdam, Na Officina Elvizeriana, 1652 [i.e. Lisbon: João Baptista Lerzo, between 1743 and 1744].Title page in red and black. (12 ll.), 512 pp. [i.e. 508 pp.; skips from p. 192 to p. 197, as in all copies; collation by signatures is correct]. Extra-illustrated with an engraved frontispiece portrait of Vieira, one of several which were sometimes added to this work. No portrait is required. 4º, contemporary sheep (minor wear), spine gilt with raised bands in five compartments, crimson leather lettering piece, gilt letter. Very slight worming in ten leaves, from M1 through N2, touching a few letters of text, but never affecting legibility. Overall a good to very good copy. Relatively recent comments, in a neat hand in pencil, filling the front pastedown endleaf and almost filling the front free endleaf recto. ---- FIRST EDITION of this monument of baroque prose, a moralizing and often amusing satirical literary "obra prima" on the noble art of lying and thieving of all kinds, private and official, civil and military, today firmly attributed to the Jesuit Father Manuel da Costa (1601-1667). Possibly the most readable Portuguese work of the seventeenth century, it is an emblematic literary text of the Restauração, and the highest point of the Portuguese literature of customs from the sixteenth through eighteenth centuries. Completed in 1652, in the lifetime of D. João IV, and dedicated to the king by the author, it was only published almost a century later. The book was an immediate success. There have been many subsequent editions, including three more with the false imprint Amsterdam: Na Officina de Martinho Schagen, 1744, but in reality by the same Lisbon printer as the present edition, probably actually printed in 1744 or 1745, and as the present edition printed without proper licenses or privileges. Quite a few editions have been published in recent years. Vieira's name continued to appear on the title page with few exceptions, probably due mainly to its promise of editorial success.Almost immediately upon publication, the attribution of authorship to Father António Vieira on the title page was disputed. The names of Thomé Pinherio da Veiga, João Pinto Ribeiro, Duarte Ribeiro de Macedo, António da Silva e Sousa, António de Sousa de Macedo, and D. Francisco Manuel de Melo were put forth. Only in 1940 did the Jesuit researcher Father Francisco Rodrigues propose the name of the relatively obscure Jesuit Manuel da Costa, presenting documentary evidence at the Congresso do Mundo Português held in Lisbon in July of that year, and publishing the following year @O autor da Arte de Furtar: @resolução de um antigo problema. Several critics refused to accept that this could be true, but the authorship of Costa was convincingly confirmed by J. Pereira Gomes, S.J.,"O autor da @Arte de Furtar" in @Brotéria, LXXV, n. 4, October 1962, and "Manuel da Costa, autor da Arte de Furtar", @Colóquio, n. 34, June 1965, pp. 42-45. Further confirmation appeared in @Arte de Furtar. Edição crítica, com introdução e notas de Roger Bismut, Lisbon, 1991. The authorship of Manuel da Costa is now generally accepted, though brief texts by another author or authors may have been inserted at the time of publication.The @Arte de furtar was prohibited by the Spanish Inquisition in 1755, and was listed in the @Indices expurgatorios
published in Madrid, 1790. Curiously, it was never prohibited by the Inquisition in Portugal.The engraved portrait of Father António Vieira present in this copy appears to be slightly different from any described in Henrique de Campos Ferreira Lima, @Dicionário de iconografia portuguesa; cf. 3437-A for one which is very similar, but with some small differences.---- Innocêncio I, 306-8; VIII, 329-31, XXII, 433-7. HSA p. 41. Palha 396. Pinto de Mattos (1970), p. 617. This edition not in Azevedo Samodães; cf. 3509 note. See also Maria Luisa Cusati, "Introduzione bibliografica all' @Arte de Furtar", @AION-SR (@Annali Istituto Universitario Orientale, Napoli, Sezione Romanza), 1983-1, pp. 215-251; "O apógrafo eborense da @Arte de Furtar", AION-SR, XXV, 2, (1983), pp. 605-634; "A propósito da @Arte de Furtar e da sua primeira tradução", in Actas do I Congresso da Associação Internacional de Lusitanistas, Poitiers, 1988, pp. 275-283; "Un problema di bibliografia testuale: l'@Arte de Furtar e l'ultima volontà dell'Autore", Studi in memoria di Erilde Melillo Reali Napoli, IUO, 1989, pp. 63-75; "L'edizione di un testo anonimo portoghese del XVII secolo: tra 'bibliografia e materiale' e informatica", in @I moderni ausili all'ecdotica, Napoli, Edizioni Scientifiche Italiane, 1994, pp. 371-383; "Padre Manuel da Costa in 'Historia et Acta' (Lus. 55): a proposito dell'@Arte de Furtar", AION-SR, XXXVIII, 1, (1996), pp. 89-105. Bell, @Portuguese literature, pp. 264-5. Zulmira Santos in Machado, ed., @Dicionário de literatura portuguesa, pp. 150-1. Luís da Silva Pereira in @Biblos, I, 409-10; João Francisco Marques, @op. cit., I, 1336-7. Saraiva & Lopes, @História da literatura portuguesa (17th ed.), pp. 559-62, 571-2. NUC: NN, MH, DCU-IA, RPJCB, ICN. OCLC: 80135745 (University of Pennsylvania, supplied by us); 57645434 (Cambridge University Library, Universiteit van Amsterdam-Centrale Bibliotheek, National Library of Israel); 46188591 (Niedersächsische Staats- und Universitätsbibliothek Göttingen); 504890264 (British Library). Porbase locates two copies, both in the Biblioteca Nacional de Portugal (one copy lacks the title page and is shaved, affecting the text; both copies have portraits of Vieira, but they are different ones, and neither is the same portrait as the one in our copy). Copac repeats British Library and Cambridge University, adding University College London.
[Bookseller: Richard C. Ramer]