"Brazilians, let us unite." That is the tone of the Revérbero Constitucional Fluminense, written by Joaquim Gonçalves Ledo and Januário da Cunha Barbosa, priest of the Capela Real, in Rio de Janeiro. It is one of the main pieces of propaganda for an idea of an autonomous Brazil, free from "tyranny," "despotism," and so many other adjectives that, at the time, represented more than insults: they were a certificate of enmity. Alongside independence, it stimulated the creation of a national, brasílico, sentiment.
The Reverbero began circulating on September 15, 1821, in the wake of the decree issued by the king, King João VI, which established the end of prior censorship in Brazil. The name chosen for the newspaper was no accident. On the contrary, it says a lot about its editors' initial aspirations. Its content was openly liberal and constitutionalist — and the newspaper is said to have been the first to raise these banners so vehemently. It would thus be an instrument that would circulate among the population, reverberating, that is, amplifying such ideas. This was a press much more pamphleteering than news-driven.
Figura 1 — Revérbero Constitucional Fluminense. Rio de Janeiro, RJ: Typ. Nacional, 1821-1822. Fundação Biblioteca Nacional [per700223_1821_00001]
Image description: The image is a black-and-white book cover. From top to bottom, there is the title "REVERBERO" in capital letters, followed by "CONSTITUCIONAL FLUMINENSE." Below, it reads "ESCRITO POR DOIS BRASILEIROS," followed by "AMIGOS DA NAÇÃO, E DA PATRIA." Next is "TOMO PRIMEIRO." In the lower center, there are two seals, one with a circular symbol and the other with a coat of arms. Below the seals, it reads "RIO DE JANEIRO," followed by "NA TYPOGRAPHIA NACIONAL." The date "M. DCCC. XXII" is at the bottom.Before advocating the severance of political and institutional ties between Brazil and Portugal, the Revérbero championed a political-level equalization between the two parties that, since 1815, had made up a single United Kingdom. Its writings envisioned a possible (and even harmonious) relationship between the parts here and there, provided Brazil's autonomy was guaranteed — which implied a constitution of its own, one that would address local contexts, with the Brazilian provinces not being subordinated to Lisbon. However, as the decisions of the Cortes in Portugal increasingly proved contrary to the interests of Rio de Janeiro, the newspaper's writers also progressively adopted a less conciliatory tone between the two kingdoms.
Figure 2 — Portrait of Joaquim Gonçalves Ledo. Oscar Pereira da Silva, 1925. Public domain / Museu Paulista Collection [ref.: 1-19548-0000-0000]
Image description: This is a painting depicting Joaquim Gonçalves Ledo. The figure is centered, wearing a black suit with a white tie. In the background, there is a brown wall and a white circular frame. On the left, part of a table with gold details can be seen. On the right, there is a red curtain. The work was created by Oscar Pereira da Silva, dated 1925.Starting in 1822, the Revérbero embraced constitutional monarchy centered on the prince regent, Dom Pedro, as an exemplary model of a "new spectacle in the Theater of the civilized World." The prince's presence, "pledge of our tranquility and center of a great Empire," would avoid "the reefs of pure democracy, and the shackles of hateful despotism, and must lead us free and happy to the fulfillment of our prudent and honorable desires." Increasingly, the Revérbero sought in its articles to trace a national history that would guide, or justify, the destiny of this independent kingdom and of the sense of nation that was being built. Also at stake was the circle of influence over the one who would reign in Brazil, Dom Pedro.
After 13 months of its first edition, Revérbero was targeted by an inquiry led by Gonçalves Ledo's main political rival, José Bonifácio de Andrada e Silva. In November 1822 — shortly after, therefore, the proclamation of Brazil's Independence, in which the newspaper played an important role —, José Bonifácio was at the height of his influence over d. Pedro. He led an inquiry known as the "Bonifácia," arresting opponents and shutting down spaces for ideas — among them Revérbero Constitucional Fluminense. Januário da Cunha Barbosa and Joaquim Gonçalves Ledo were accused of republicanism and conspiracy. The former was arrested and sent into exile in France; the latter, however, managed to flee to Buenos Aires.
Figure 3 — Canon Januário da Cunha Barbosa. Modesto Brocos, n/d. Fundação Biblioteca Nacional [icon1464762]
Image description: This is a black-and-white engraving. The image shows a portrait of a man in profile, looking to the right. The face is centered, with short, wavy hair. The neck is covered by a collar of medals and stars, arranged symmetrically. The medals are of different sizes and shapes, with visible metallic details. In the lower left corner, there is a signature that appears to read "M. Brouss." Below the portrait, there is an inscription that reads: "Conego Iaimari da Cunha Barbosa."In late 1823, with José Bonifácio's fall from favor, both were able to return to the country. In addition to the pardon, they were awarded the Order of the Southern Cross, the highest honor of the newly -founded Empire of Brazil. The Revérbero, however, was never printed again.
Bibliographic References
ENDERS, Armelle. A história do Rio de Janeiro. Rio de Janeiro: Gryphus Editora, 2015.
LUSTOSA, Isabel. Insultos impressos: the journalists' war during Independence, 1821-1823. São Paulo: Cia das Letras, 2000.
PEDREIRA, Jorge Miguel Viana; COSTA, Fernando Dores. D. João VI: a prince between two continents. São Paulo: Companhia das Letras, 2008.
SODRÉ, Nelson Werneck. História da imprensa no Brasil. Rio de Janeiro: Maud, 1999.
