Nov 28, Paulo Ribeiro rated it liked it. Barbara rated it really liked it Jan 25, Ana rated it it was amazing Jan 27, Diana Rizwan rated it it was amazing Sep 19, Madalena rated it did not like it May 06, Dimas Sewaybricker rated it really liked it Jun 08, Bira Dantas rated it it was amazing Dec 11, Aline Delarmelina rated it liked it Sep 01, Juliana Costa rated it liked it Mar 02, Joana Ribeiro rated it really liked it Mar 22, Ana rated it liked it Nov 29, Ana Luisa rated it liked it Oct 10, Ryuzaki Ryuga rated it it was ok Aug 07, Harissa Bittar rated it liked it Jan 12, Amanda Learte rated it it was amazing Mar 30, Juliana rated it liked it Sep 10, Lucas rated it liked it Jan 27, Carol rated it really liked it Sep 25, Lina rated it really liked it Sep 23, Rodrigo Caetano rated it really liked it Feb 08, Bruna Andrade rated it liked it Jun 06, Nei Teixeira rated it really liked it Oct 02, Aline added it Apr 04, Ana Nunes marked it as to-read Jun 30, Breno marked it as to-read Mar 09, Danielle Bertani marked it as to-read May 23, Beatriz Tito marked it as to-read Nov 10, Daniela Dinis added it Mar 02, Priscila Gon added it Jun 09, Pp added it Jul 20, He was also a noted lyric poet in both Portuguese and Spanish, [4] as represented by several poems in the Cancioneiro of Garcia de Resende.
Some of his works are profoundly religious, while other are particularly satirical, particularly when commenting upon what Vicente perceived as the corruption of the clergy and the superficial glory of empire which concealed the increasing poverty of Portugal's lower classes. Vicente's works were partially influenced by the Iberian popular and religious theatre that was already being done. Pastoral themes present in the writings of Juan del Encina strongly influenced Vicente's early works and continued to inform his later, more sophisticated plays. The humanism of Erasmus and of Renaissance Italy also impacted his work.
His plays may be further divided into pastoral acts, religious allegories , biblical narratives , episodical farces, and narrative acts.
However, many of his works blend both secular and sacred elements; for example, Triologia das Barcas "Trilogy of the Ships" contains both farcical and religious motifs. Vicente is one of the most important satirical authors of the Portuguese language. He portrayed Portuguese society of the 16th century with perceptiveness and insight, using many characters inspired by Portuguese social stereotypes of his time.
In addition, rustic characters, such as sailors, gypsies , and peasants, are common, as are more fantastical characters such as fairies and demons. Though he commonly referenced popular dialects , Vicente maintained the lyricism of his words. Positive aspects of Vicente's works include imagination, originality, and a proficiency in technical knowledge of theatre. Though spontaneous, sardonic, and emotive, his works maintain a directness and simplicity of dialogue which is lyrical without being florid or exaggerated.
He expresses himself in an unexpected, Dionysian way which does not always obey the aesthetic and artistic principles of balance. Vicente's works seem to show a spirit in conflict: In contrast, his works sometimes include a romanticism which combines eroticism and waggery with more erudite influences such as Petrarch.
The worlds presented in Vicente's works could be considered as representative of the duality of Platonic idealism. The first world is the abstract, an ideal place of serenity and divine love that leads to inner peace, quietness, and "resplendent glory", according to his letter to John III of Portugal. The second world, which he portrays in his farces, is the physical: His satirical works depict the second world, in which human flaws are caricatured with little regard for actual or historical truth.
Though critics call attention to these anachronisms and narrative inconsistencies, it's possible that Vicente considered these errors trivial in his portrayals of an already false and imperfect world. In contrast, his representations of the mythic, symbolic, and religious aspects of Christmas , such as the figure of the Virgin Mother , the infant Jesus , and Christmas eve , demonstrate a harmony and purity which is not present in his social commentary.
Unlike plays which echo Manichaeism by presenting the dichotomy of darkness and light, Vicente's work juxtaposes the two elements in order to illustrate the necessity of both. Christmas eve, one of his common motifs, is symbolic of his philosophical and religious views: The darkness is necessary to provide contrast with the light. Like a morality play, it explores the journey of the Soul as it travels to the arms of the Mother Church.
On its way, it is waylaid by the Devil and led to goodness by an Angel.
These plays combine morality narratives with criticism of 16th-century Portuguese society by placing stereotypical characters on a dock to await the arrival of one of the ships which will take them to their eternal destination. The characters are of a variety of social statuses; for example, in Auto da Barca do Inferno , those awaiting passage include a nobleman , a madam , a corrupt judge and prosecutor, a dissolute friar, a dishonest shoemaker, a hanged man, and a Jew who would have been considered bound for Hell in Vicente's time.
For this reason, Vicente is sometimes called the "Poet of the Virgin.
Auto da Barca do Inferno - revised and illustrated (Portuguese Edition) - Kindle edition by Gil Vicente, Press Boutique. Download it once and read it on your. Auto da Barca do Inferno - revised and illustrated (Portuguese Edition). $ Kindle Edition. Teatro: Antologia (Portuguese Edition). $ Kindle Edition.
Vicente's comedies and farces were likely influenced by indigenous popular entertainment. Contemporaneous Spaniards, like Lucas Fernandez and Torres Naharro, may also have influenced his style. Vicente's comedies blended slapstick and satire; in addition, his use of dialect clearly delineated the social classes of his characters.
The staging of these plays maintained the simplicity of morality plays. For example, two simultaneous scenes might utilize a single curtain to divide them. This play, which shows his proficiency with the form, is comparable to a modern bedroom farce.
Prior to Vicente, few dramatic stagings had taken place in Portugal. However, a few notable performances had established theatrical precedence in courtly and religious contexts.
During the reign of Sancho I of Portugal — , Bonamis and Acompaniado, the first recorded Portuguese actors, put on a show of arremedillo and were paid by the King with the donation of lands. In a document dated , Dom Frei Telo, Archbishop of Braga, refers to liturgical dramas which were performed during Catholic festivities. For example, Rui de Pina refers to one instance in which King John II himself played the part of The Knight of the Swan in a production which included a scene constructed of fabric waves.
During the action, a fleet of carracks with a crew of spectacularly dressed actors entered the room accompanied by the sound of minstrels , trumpets , kettledrum , and artillery. Vicente likely assisted in the production of these works, which include comedic scenes. Though Vicente did not invent Portuguese theatre, his works surpassed any done before that time. His writing in Portuguese and in Spanish shaped both modern Spanish and modern Portuguese drama. Though some of his works were later suppressed by the Inquisition, he is now recognized as one of the greatest dramatists of the Renaissance and the leading name in Portuguese theatre.
In , the second edition was published; however, many parts were heavily censored by the Inquisition. The third edition was not published until in Hamburg by Barreto Feio, after which Vicente's work was finally rediscovered. Most of these were translated into German by Emanuel van Geibel. From Wikipedia, the free encyclopedia.