Auto de Mofina Mendes (Portuguese Edition)

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Isabel Oliveira marked it as to-read Feb 11, There are no discussion topics on this book yet. About Gil Vicente. Gil Vicente. Gil Vicente, called the Trobadour , was a Portuguese playwright and poet who acted in and directed his own plays. Considered the chief dramatist of Portugal he is sometimes called the "Portuguese Plautus" and often referred to as the "Father of Portuguese drama.

He rose to prominence as a playwright largely on account of the influence of Queen Dowager Leonor, who noticed him as he participated in court dramas and subsequently commissioned him to write his first theatrical work. His plays and poetry, written in both Portuguese and Spanish, were a reflection of the changing times during the transition from Middle Ages to Renaissance and created a balance between the former time of rigid mores and hierarchical social structure and the new society in which this order was undermined.

While many of Vicente's works were composed to celebrate religious and national festivals or to commemorate events in the life of the royal family, others draw upon popular culture to entertain, and often to critique, Portuguese society of his day. Though some of his works were later suppressed by the Inquisition, causing his fame to wane, he is now recognised as one of the principal figures of the Portuguese Renaissance.

More information at Wikipedia. Books by Gil Vicente. Trivia About Auto de Mofina Me No trivia or quizzes yet. Welcome back. The Auto da Festa was probably acted in a private house at Evora. It contains scarcely an indication as to its date [80] , but it has passages similar to others in the Farsa de Ines Pereira , the Fragoa de Amor [81] and the Farsa das Ciganas ? That the play was prior to the Templo de Apolo seems evident, and the author would be unlikely to copy from what he calls an obra doliente II.

Critical Studies:

Les absents ont tort. He felt that he had his back against the wall [83]. He made a prodigious effort to vary the themes of his plays and to produce them with increasing frequency. The year is his annus mirabilis. The Nao de Amores celebrated the entry of Queen Catharina into Lisbon in , and before the autumn [85] three plays, the Divisa da Cidade de Coimbra , the Farsa dos Almocreves and the Tragicomedia da Serra da Estrella , h [Pg xxx] ad been presented before the Court at the charming old town of Coimbra which ten years later definitively became the University town of Portugal.

His great efforts were not unrewarded, for in the following year he received a yet further pension of 12 milreis. On his way back from Coimbra to Santarem he fell among some Spanish carriers who took advantage of the new Queen's favour to fleece the poet, and he wrote some verses of comic complaint to the King II.

The author introduced the play in a long lament in verse over the forgotten jollity of earlier times and then, to show that his own hand had lost none of its cunning, he gave his audience a feast of lyrical passages in the Triumphs of Winter and Spring.

Auto de Mofina Mendes adaptado para os mais novos by Gil Vicente

And now in O Clerigo da Beira [87] we have a priest addressing his son Francisco and telling him that a priest's son will never come to any good. That the King, when he had leisure, consulted Vicente on weightier matters than the production of Court plays is proved by a passage [88] in the letter addressed to him by the poet from Santarem. A terrible earthquake shock on Jan. Terruerant satis haec pavidam praesagia plebem , and to make matters worse the monks of Santarem, with an eye on the new Christians, spoke of the wrath of God and announced another earthquake as calmly as if they were giving out the hour of evensong.

Vicente, who in his letter to the King [89] says, like Newman's Gerontius, 'I am near to death,' assembled the monks and preached them an eloquent sermon. The prestige of the Court poet restrained their zeal and probably avoided another massacre such as he had seen at Lisbon a quarter of a century before. It was in December of this year that the Jubileu de Amores was acted in the house of the Portuguese Ambassador at Brussels, to the [Pg xxxi] horror of Cardinal Aleandro, who almost persuaded himself that he was witnessing the sack of Rome four years earlier.

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At all events Vicente continued to produce his plays. In the birth of the long desired heir to the throne was celebrated at Lisbon, and Vicente presented the Auto da Lusitania , while two long plays, the Romagem de Aggravados and Amadis de Gaula , belong to the following year. The former was acted at Evora in honour of the birth of the Infante Felipe May Amadis de Gaula perhaps shows some signs of weariness, and if he played the part of Amadis he would apply to himself the lines.

The Auto da Cananea was written at the request of the Abbess of Oudivellas and acted at that convent near Lisbon in It contains perhaps a reference to the earthquake of I. The Auto da Mofina Mendes may have been written some years before it was acted in the presence of the King at Evora on Christmas morning it alludes to the capture of Francis I at Pavia and to the sack of Rome Vicente had returned to Evora at least as early as August , and in he produced there before the King his last play, the Floresta de Enganos , which may well have been a collection of farcical scenes written at various periods of his career [90].

We know that he was dead on April 16, He did not follow the Court to Lisbon in August and his death may be assigned with some plausibility to the end of at Evora [91]. The children of his second marriage were almost [Pg xxxii] certainly with him, Paula and Luis, who edited his works in and were now still in their teens, and the even younger Valeria.

Paula seems to have inherited her father's versatility and his musical, dramatic and literary tastes. Tradition connects her closely with him and would even assign her a part in the composition of his plays. Another and a more reliable tradition says that he was buried in the Church of S. Francisco at Evora. His life had been full and strenuous and we leave him in this quiet little town depois da vida cansada descansando [92]. That is, we should have known nothing that we could not learn from his plays and it is to his plays that we must go if we would be more closely acquainted with his character and his attitude towards the problems of his day.

The impression left by his plays is, rather, that of the worthy thoughtful face of Velazquez as painted in his Las Meninas picture, a figure closely familiar with the Court yet still somewhat aloof, apartado. Vicente regards himself as a rustico peregrino III.

follow link But Vicente was no ascetic, his was a genial, generous nature, he liked to have enough to spend and give and leave in his will. Kindly and chivalrous, he was a champion of the down-trodden but had first-hand knowledge of the malice and intrigu [Pg xxxiii] es of the peasants and of the poor in the towns. Above all he was thoroughly Portuguese.

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He might place his scene in Crete but in that very scene he would refer to things so Portuguese as the janeiras and lampas de S. Portugal is. Pequeno e muy grandioso, Pouca gente e muito feito, Forte e mui victorioso, Mui ousado e furioso Em tudo o que toma a peito,. Did he also share the people's hostility towards the priests and the Jews?

It cannot be said that the priests presented in his plays are patterns of morality.

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It was during the last ten years of Vicente's life that the question of the new Christians came especially to the front from In earlier plays Vicente seems more sympathetic towards them and the pleasant sketch of the Jewish family in Lisbon is as late as [97]. In , the very year of the massacre of Jews at Lisbon, he had gone to the root of the question when he declared in his lay sermon that:.

And twenty-five years later he said to the monks at Santarem: 'If there are some here who are still strangers to our faith it is perhaps for the greater glory of God [99]. That Vicente himself was a devout Christian and Catholic and a deeply religious man such plays as the Auto da Alma , the Barcas , the Sumario , the Auto da Cananea are sufficient proof. He had much of the Erasmian spirit but nothing in common with the Reformation.

His irreverence is wholly external, it was abuses not doctrine that he attacked, the ministers of the Church and not the Church itself. Nam culpes aos reis da terra, Que tudo te vem de cima I.

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He wished to reform the Church from within. All are perversely asleep, a sleep of death [].

ca. 1470 - ca. 1536

Many prayers do not suffice without almas limpas e puras []. Men must be judged by their works []. But four years earlier and ten before Luther's formal protest against the papal indulgences we find Vicente in his lay sermon referring to the question 'whether the Pope may grant so many pardons' and laughing at the hair-splitting of preachers: was the fruit that Eve ate an apple, a pear or a melon []?

His own religion certainly had a mystical and pantheistic tendency []. It was as deep as was his love of Nature. He would have the hearts of men dance with jocund May [] :. Almeirones y magarzas, Florecitas por las zarzas, Madresilvas y rosillas I. And he sympathized closely with what was nearest to Nature: peasants and children. At Court he certainly had many friends. A friendly rivalry in art and letters bound him to Garcia de Resende for probably over forty years and he was no doubt on excellent terms with the dadivoso Conde de Penella II.

High rank was no certain shelter from the shafts of Vicente's wit, but when it was a case of princes he [Pg xxxv] was more careful:. Kings, says Vicente, are the image of God []. That was in , when it might seem to him that the authority of the throne was more than ever necessary to cope with the confusion of the times. The King's power stood for the nation, that of a noble might mean mere private ambition or power in the hands of one unworthy, and Gil Vicente asks nobly:. Who himself cannot control Why should he o'er others rule?

He had witnessed many changes, and looking back as an old man his memory might well be overwhelmed by a period so crowded []. He had seen the provinces and capital of Portugal transformed by the overseas discoveries.