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    "title": "GARO HILLS",
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    "verified_text": "garo hills, a district of british india, in the hills division of eastern bengal and assam. it takes its name from the garos, a tribe of doubtful ethnical affinities and peculiar customs, by whom it is almost entirely inhabited. the garos are probably a section of the great bodo tribe, which at one time occupied a large part of assam. according to the census of 1901 they numbered 128,117. in the 18th century they are mentioned as being frequently in conflict with the inhabitants of the plains below their hills, and in 1790 the british government first tried to reduce them. no permanent success was achieved. in 1852 raids by the garos were followed by a blockade of the hills, but in 1856 they were again in revolt. again a repressive expedition was despatched in 1861, but in 1866 there was a further raid. a british officer was now posted among the hills; this step was effective; in 1869 the district was constituted, and though in 1871 an outrage was committed against a native on the survey staff, there was little opposition when an expedition was sent in 1872-1873 to bring the whole district into submission, and there were thereafter no further disturbances. the district consists of the last spurs of the assam hills, which here run down almost to the bank of the brahmaputra, where that river debouches upon the plain of bengal and takes its great sweep to the south. the administrative headquarters are at tura. the area of the district is 3140 sq. m. in 1901 the population was 138,274, showing an increase of 14% in the decade. the american missionaries maintain a small training school for teachers. the public buildings at tura were entirely destroyed by the earthquake of june 12, 1897, and the roads in the district were greatly damaged by subsidence and fissures. coal in large quantities and petroleum are known to exist. the chief exports are cotton, timber and forest products. trade is small, though the natives, according to their own standard, are prosperous. they are fair agriculturists. communications within the district are by cart-roads, bridle-paths and native tracks. garonne (lat. _garumna_), a river of south-western france, rising in the maladetta group of the pyrenees, and flowing in a wide curve to the atlantic ocean. it is formed by two torrents, one of which has a subterranean course of 2-1/2 m., disappearing in the sink known as the trou du taureau (\"bull's hole\") and reappearing at the goueil de joueou. after a course of 30 m. in spanish territory, during which it flows through the fine gorge called the vallee d'aran, the garonne enters france in the department of haute garonne through the narrow defile of the pont du roi, and at once becomes navigable for rafts. at montrejeau it receives on the left the neste, and encountering at this point the vast plateau of lannemezan is forced to turn abruptly east, flowing in a wide curve to toulouse. at saint martory it gives off the irrigation canal of that name. at this point the garonne enters a fertile plain, and supplies the motive power to several mills. it is joined on the right by various streams fed by the snows of the pyrenees. such are the salat, at whose confluence river navigation proper begins, and the arize and the ariege (both names signifying \"river\"). from toulouse the garonne flows to the north-west, now skirting the northern border of the plateau of lannemezan which here drains into it, the principal streams being the save, the gers and the baise. on its right hand the garonne is swelled by its two chief tributaries, the tarn, near moissac, and the lot, below agen; farther down it is joined by the drot (or dropt), and on the left by the ciron. between toulouse and castets, 33-1/2 m. above bordeaux, and the highest point to which ordinary spring-tides ascend, the river is accompanied at a distance of from a 1/2 to 3 m. by the so-called \"lateral canal\" of the garonne, constructed in 1838-1856. this canal is about 120 m. long, or 133 m. including its branches, one of which runs off at right angles to montauban on the tarn. from toulouse to agen the main canal follows the right bank of the garonne, crossing the tarn on an aqueduct at moissac, while another magnificent aqueduct of twenty-three arches carries it at agen from the right to the left bank of the river. it has a fall of 420 ft. and over fifty locks, and is navigable for vessels having the maximum dimensions of 98-1/2 ft. length, 19 ft. breadth and 6-1/2 ft. draught. the carrying trade upon it is chiefly in agricultural produce and provisions, building materials, wood and industrial products. at toulouse the canal connects with the canal du midi, which runs to the mediterranean. after passing castets the garonne begins to widen out considerably, and from being 160 yds. broad at agen increases to about 650 yds. at bordeaux, its great commercial port. from here it flows with ever increasing width between two flat shores to the bec d'ambes (15-1/2 m.), where, after a course of 357 m., it unites with the dordogne to form the vast estuary known as the gironde. the triangular peninsula lying between these two great tidal rivers is called entre-deux-mers (\"between two seas\") and is famous for its wines. the drainage area of the garonne is nearly 33,000 sq. m. floods are of common occurrence, and descend very suddenly. the most disastrous occurred in 1875, 1856 and in 1770, when the flood level at castets attained the record height of 42-1/2 ft. above low-water mark. garret (from the o. fr. _garite_, modern _guerite_, a watch-tower, connected ultimately with \"guard\" and \"ward\"), properly a small look-out tower built on a wall, and hence the name given to a room on the top storey of a building, the sloping ceiling of which is formed by the roof. garrett, joao baptista da silva leitao de almeida, visconde de almeida-garrett (1799-1854), perhaps the greatest portuguese poet since camoens, was of irish descent. born in oporto, his parents moved to the quinta do castello at gaya when he was five years old. the french invasion of portugal drove the family to the azores, and garrett made his first studies at angra, beginning to versify at an early age under the influence of his uncle, a poet of the school of bocage. going to the university of coimbra in 1816, he soon earned notoriety by the precocity of his talents and his fervent liberalism, and there he gained his first oratorical and literary successes. his tragedy _lucrecia_ was played there in february 1819, and during this period he also wrote _merope_ as well as a great part of _cato_, all these plays belonging to the so-called classical school. leaving coimbra with a law degree, he proceeded to lisbon, and on the 11th of november 1822 married d. luiza midosi; but the alliance proved unhappy and a formal separation took place in 1839. the reactionary movement against the radical revolution of 1820 reached its height in 1823, and garrett had to leave portugal by order of the absolutist ministry then in power, and went to england. he became acquainted with the masterpieces of the english and german romantic movements during his stay abroad. imbued with the spirit of nationality, he wrote in 1824 at havre the poem \"camoes,\" which destroyed the influence of the worn-out classical and arcadian rhymers, and in the following year composed the patriotic poem \"d. branca,\" or \"the conquest of the algarve.\" he was permitted to return to portugal in 1826, and thereupon devoted himself to journalism. with the publication of _o portuguez_, he raised the tone of the press, exhibiting an elevation of ideas and moderation of language then unknown in political controversy, and he introduced the \"feuilleton.\" but his defence of liberal principles brought him three months' imprisonment, and when d. miguel was proclaimed absolute king on the 3rd of may 1828, garrett had again to leave the country. in london, where he sought refuge, he continued his adhesion to romanticism by publishing _adozinda_ and _bernal-francez_, expansions of old folk-poems, which met with the warmest praise from southey and were translated by adamson. he spent the next three years in and about birmingham, warwick and london, engaged in writing poetry and political pamphlets, and by these and by his periodicals he did much to unite the portuguese _emigres_ and to keep up their spirit amid their sufferings in a foreign land. learning that an expedition was being organized in france for the liberation of portugal, garrett raised funds and joined the forces under d. pedro as a volunteer. sailing in february 1832, he disembarked at terceira, whence he passed to s. miguel, then the seat of the liberal government. here he became a co-operator with the statesman mousinho da silveira, and assisted him in drafting those laws which were to revolutionize the whole framework of portuguese society, this important work being done far from books and without pecuniary reward. in his spare time he wrote some of the beautiful lyrics afterwards collected into _flores sem fructo_. he took part in the expedition that landed at the mindello on the 8th of july 1832, and in the occupation of oporto. early in the siege he sketched out, under the influence of walter scott, the historical romance _arco de sant' anna_, descriptive of the city in the reign of d. pedro i.; and, in addition, he organized the home and foreign offices under the marquis of palmella, drafted many important royal decrees, and prepared the criminal and commercial codes. in the following november he was despatched as secretary to the marquis on a diplomatic mission to foreign courts, which involved him in much personal hardship. in the next year the capture of lisbon enabled him to return home, and he was charged to prepare a scheme for the reform of public instruction. in 1834-1835 he served as consul-general and charge d'affaires at brussels, representing portugal with distinction under most difficult circumstances, for which he received no thanks and little pay. when he got back, the government employed him to draw up a proposal for the construction of a national theatre and for a conservatoire of dramatic art, of which he became the head. he instituted prizes for the best plays, himself revising nearly all that were produced, and a school of dramatists and actors arose under his influence. to give them models, he proceeded to write a series of prose dramas, choosing his subjects from portuguese history. he began in 1838 with the _auto de gil vicente_, considering that the first step towards the recreation of the portuguese drama was to revive the memory of its founder, and he followed this up in 1842 by the _alfageme de santarem_, dealing with the holy constable, and in 1843 by _frei luiz de sousa_, one of the few great tragedies of the 19th century, a work as intensely national as _the lusiads_. the story, which in part is historically true, and has the merit of being simple, like the action, is briefly as follows. d. joao de portugal, who was supposed to have died at the battle of alcacer, returns, years afterwards, to find his wife married to manoel de sousa and the mother of a daughter by him, named maria. thereupon the pair separate and enter religion, and manoel becomes the famous chronicler, _frei luiz de sousa_ (q.v.). the characters live and move, especially telmo, the old servant, who would never believe in the death of his former master d. joao, and the consumptive child maria, who helps telmo to create the atmosphere of impending disaster; while the episodes, particularly those of the return of d. joao and the death of maria, are full of power, and the language is portuguese of the best. entering parliament in 1837, garrett soon made his mark as an orator. in that year he delivered many notable discourses in defence of liberal ideas. he also brought in a literary copyright bill, which, when it became law in 1851, served as a precedent for similar legislation in england and prussia. in 1840 he made his famous speech known as _porto pyreu_, in which he skilfully turned the well-known anecdote of the \"mad athenian\" against his opponents. while attending with assiduity to his duties as a deputy, he wrote, about this time, the drama _d. filippa de vilhena_, founded on an incident in the revolution of 1640, for representation by the pupils of the conservatoire, and the session of 1841 saw another of his oratorical triumphs in his speech against the law of tithes. in july 1843 an excursion to santarem resulted in his prose masterpiece _viagens na minha terra_, at once a novel and a miscellany of literary, political and philosophic criticism, written without plan or method, easy, jovial and epigrammatic. he took no part in the civil war that followed the revolution of maria da fonte, but continued his literary labours, producing in 1848 the comedy _a sobrinha do marquez_, dealing with the times of pombal, and in 1849 an historical memoir on mousinho da silveira. he spent much of the year 1850 in finishing his _romanceiro_, a collection of folk-poetry of which he was the first to perceive the value; and in june 1851 he was created a viscount. in the following december he drew up the additional act to the constitutional charter, and his draft was approved by the ministers at a cabinet meeting in his house. further, he initiated the _conselho ultramarino_; and the _law of the misericordias_, with its preamble, published in 1852, was entirely from his pen. in the same year he became for a short time minister of foreign affairs. in 1853 he brought out _folhas cahidas_, a collection of short poems ablaze with passion and exquisite in form, of which his friend herculano said: \"if camoens had written love verses at garrett's age, he could not have equalled him.\" his final literary work was a novel, _helena_, which he left unfinished, and on the 10th of february 1854 he made his last notable speech in the house. he died on the 9th of december 1854, and on the 3rd of may 1903 his remains were translated to the national pantheon, the jeronymos at belem, where they rest near to those of camoens. as poet, novelist, journalist, orator and dramatist, he deserves the remark of rebello da silva: \"garrett was not a man of letters only but an entire literature in himself.\" besides his strong religious faith, garrett was endowed with a deep sensibility, a creative imagination, rare taste and a singular capacity for sympathy. thus, though a learned man and an able jurist, he was bound to be first and always an artist. his artistic temperament explains his many-sided activity, his expansive kindliness, his seductive charm, especially for women, his patriotism, his aristocratic pretensions, his huge vanity and dandyism, and the ingenuousness that absolves him from many faults in an irregular life. from his rich artistic nature sprang his profound, sincere, sensual and melancholy lyrics, the variety and perfection of his scenic creations, the splendour of his eloquence, the truth of his comic vein, the elegance of his lighter compositions. two books stand out in bold relief from among his writings: _folhas cahidas_, and that tragedy of fatality and pity, _frei luiz de sousa_, with its gallery of noble figures incarnating the truest realism in an almost perfect prose form. the complete collection of his works comprises twenty-four volumes and there are several editions. authorities.--gomes de amorim, _garrett, memorias biographicas_ (3 vols., lisbon, 1881-1888); d. romero ortiz, _la litteratura portuguesa en el siglo xix_ (madrid, 1869), pp. 165-221; dr theophilo braga, _garrett e o romantismo_ (oporto, 1904), and _garrett e os dramas romanticos_ (oporto, 1905), with a full bibliography; innocencio da silva, _diccionario bibliographico portuguez_, vol. iii. pp. 309-316, and vol. x. pp. 180-185. see _revue encyclopedique larousse_, no. 284, for a bibliography of the foreign translations of garrett. _frei luiz de sousa_ was translated by edgar prestage under the title _brother luiz de sousa_ (london, 1909). (e. pr.)",
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