: Falar Verdade a Mentir (Hardback): Language: Portuguese. Brand New Book. FALAR VERDADE A MENTIR.(CLASSICOS PORTO EDITORA) ( ) and a 2. Falar Verdade a Mentir. Garrett, Almeida. Published by PORTO. Falar verdade a mentir by João Baptista de Almeida Garrett at – ISBN – ISBN – Edições Colibri –
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A lithograph of Garrett, by Pedro Augusto Guglielmi. The difference between them is social; as artists and as human beings they have much in common. The joke depends on the ironic use of the modern titles Dona and Mademoiselle, the French word being a hint that Gil Vicente was always prepared to follow the fashions of the court. But servants can also be comically incompetent, like Gil Vicente himself.
It is an extremely complex work of literature, which incorporates many and diverse forms of discourse. But although Garrett wanted to bring alive the great writers of the past he also wanted to establish a distance between his work and theirs. And what separates Bernardim and Gil Vicente from Garrett is the classicism which became the dominant mode of Portuguese literature in the Renaissance and in which Garrett himself had been brought up.
In my view, though, the play is underpinned by a structure which is clearly classical in origen. Garrett himself claimed that the play, first staged inmarked the start of a truly national style of drama in Portugal, and that is a view frequently repeated, especially in histories of literature.
When a constitutional monarchy was established, he briefly served as its Consul General to Brussels ; upon his return, he was acclaimed as one of the major orators of Liberalism, and took initiative in the creation of a new Portuguese theatre during the period, he wrote his historical plays Gil VicenteD. Garrett died of cancer in Lisbon at 6: Certainly the great changes almeiea social life between ancient times and the Europe of the sixteenth century led the Renaissance imitators of Terence to change the convention that the heroine had to be a loose woman.
Garrett certainly intended to remind his audience of the national literature. Today the tragedy continues to be very successful, both in terms of staging and nentir the quantity of critical attention that it receives. What drives the action along is the Terentian structure that is being described.
This page was last edited on 29 Decemberat Garrett wrote a good deal of literary criticism, and nearly everything that he says about Gil Vicente is dismissive. There is no doubt that Gil Vicente and his troupe are treated as servants, a fact which his daughter Paula, easily the most perceptive of these characters, bitterly resents: Inhe returned to Portugal, where he settled for two years and founded the newspapers O Portuguez almeica O Chronista.
A young man of good family, referred to by critics since ancient times as adulescensloves a young woman, puella or meretrix.
Paula tells a factual lie about Bernardim, but remains truthful to her own feelings. But in the case of Um Auto de Gil Vicente it is not necessary to invoke this argument, because marriages of state are a form fa,ar prostitution. Paula shows how a woman can triumph in the traditionally male world of diplomacy.
He is considered to be the introducer of the Romantic movement in Portugal.
It could be argued that this is a relatively trivial consideration, that what is really significant is the difference in rank between puella and adulescens. Garrett, as dramatist, tends to be a man of a single work. The Duke of Saldanha. He does not absorb them magically or symbolically, as Barbas believes, but puts them in their verdadw, fitting them into the structure of his own, classical comedy. Um auto de Gil Vicente garrrett already looking as though it deserves more than the page or two allotted to it in literary histories.
Gil Vicente the man is characterized in much the same way as Gil Vicente the dramatist.
Books by Almeida Garrett
Manuel, is opposed to it, because his daughter is promised to the Duke of Savoy. Since, in addition, she is to be married to him she will be forced not only to prostitute her body, but also her feelings. In them stock characters move through a standard series of complicating events before resolving their difficulties in a happy marriage.
No relative lands after a sea-voyage with news that will allow Bernardim and Beatriz to marry; instead, Beatriz leaves by sea, never to return, a complete inversion of the Roman model.
And when all seems lost a relative arrives unexpectedly from abroad with the news that, after all, puella was not born a slave but is a girl of respectable parents who is free, therefore, to marry her love-sick admirer. But it is usually thought of as a cultural event, a turning-point in the history of Portuguese Romanticism, rather than as a work of art in its own right.
Filipa de Vilhena are three-act plays, but others are much shorter. It is the fact that the servant is a lover that makes him into a convincing actor, a development not found in Terence but one which is very important to Um Auto de Gil Vicente also.
The point has already been made that Um Auto de Gil Vicente is a many layered play.
Bicentenário de Almeida Garrett
Insofar as he knows about the relationship the senex, D. On two occasions in the play Bernardim approaches Beatriz, though on both his impetuosity nearly gets him into serious trouble. They are separated by a difference of social rank, though D. At one level the aristocratic Bernardim seems to be a very amleida character from Gil Vicente.
But there is no doubt that it is Garrett who is in charge. The roles allow for a certain flexibility of approach.
Meu pobre pai, como ele vive enganado! In these plays humour is found in the spectacle of a chain of hopeless lovers. In Act III, scene 9 Chatel confronts Paula and gives the clever servant a splendid opportunity for thinking on her feet. Beatriz is superior to Bernardim, not inferior as in the case of Roman comedy, a point that will be returned to later.
O Arco de Santana signified a change in Garrett’s style, leading to a more complex and subjective prose with which harrett experimented at grrett in Viagens na Minha Terra  Travels in My Homeland Manuel, Gil Vicente and Bernardim Ribeiro are all, each in his own way, great historical figures, and yet they are made to operate through a structure which is that of light comedy.
But Garrett also includes elements of another plot structure which is not classical but can be found in the Renaissance drama of Spain verdaxe England, as well as in certain plays of Gil Vicente. This is a classic situation of Roman comedy, in which the adulescens pretends to be someone else, but can only do so with the assistance of servants.
Um Auto de Gil Vicente is not exactly forgotten.