poet who was the most colourful figure in early Brazilian literature. He was called the Brazilian Villon.

Born into the slave-owning gentry, Matos studied law at Coimbra, Port., and advanced to a high position in Lisbon until he fell into disfavour for using his caustic wit at the expense of court society. Returning to Bahia while in his 40s, he practiced law after his own fashion, sometimes defending the poor without charge. His sarcastic epigrams (directed chiefly against the ruling classes, though he did not spare the blacks, mulattoes, or Indians) became increasingly bitter. His satirical verses, recited to guitar accompaniment and circulated in manuscript, earned him the additional nickname bôca do inferno (“devil's mouthpiece”). Though he married, his private life was a scandal, and he was soon at odds with the clergy, government, and respectable society.

Exiled to the African colony of Angola, Matos composed a farewell to his native land in which he compared Brazilians to beasts of burden toiling to support Portuguese rascals. He was later permitted to return to Pernambuco on condition that he refrain from making verses and from associating with musicians, idlers, and low company, which conditions he ignored.

Matos' poetical works were not printed until 1882. Though he produced no single great work, his was the first native Brazilian poetic voice. He mixed the religious and the sensual in Baroque fashion. Matos was the first to write in a bold, informal style using national slang and idioms. His rebellious spirit has made him one of the cultural heroes of Brazil.