Garcia de Orta - His Work

His Work

Garcia de Orta's busy practice evidently prevented him travelling beyond the west coast of India, but in the busy market and trading hub of Goa he met spice merchants, traders and physicians from many parts of southern Asia and the Indian Ocean coasts. He was confident in Portuguese, Spanish, Hebrew, Latin, Greek and Arabic; his work shows that he also had some knowledge of Persian, Marathi, Konkani, Sanskrit and Kannada. Correspondents and agents sent him seeds and plants; he also traded in spices, drugs and precious stones. He evidently kept a laboratory and botanical garden.

His remarkable knowledge of Eastern spices and drugs is revealed in his only known work, Colóquios dos simples e drogas he cousas medicinais da Índia ("Conversations on the simples, drugs and medicinal substances of India"), published at Goa in 1563. This deals with a series of substances, many of them unknown or the subject of confusion and misinformation in Europe at this period. He was the first European to describe Asiatic tropical diseases, notably cholera; he performed an autopsy on a cholera victim, the first recorded autopsy in India. Garcia de Orta reveals in his writings an unusual independence in face of the usually revered texts of ancient authorities, Greek, Latin and Arabic.

The book happens to include the first published verses by his friend the poet Luís de Camões, now counted as Portugal's national poet.

Garcia de Orta's work was soon recognized across Europe when translations appeared in Latin (then the scientific lingua franca) and other languages. Large parts of it were included in a similar work published in Spanish in 1578 by Cristóbal Acosta, Tractado de las drogas y medicinas de las Indias orientales ("Treatise of the drugs and medicines of the East Indies").

The standard author abbreviation Garcia de Orta is used to indicate this individual as the author when citing a botanical name.

Read more about this topic:  Garcia De Orta

Famous quotes containing the word work:

    To see distinctly the machinery—the wheels and pinions—of any work of Art is, unquestionably, of itself, a pleasure, but one which we are able to enjoy only just in proportion as we do not enjoy the legitimate effect designed by the artist.
    Edgar Allan Poe (1809–1849)

    The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender.
    Philip Guedalla (1889–1944)