: 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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And yet although situations as complex as this never arise in Terence, the scene has its original inspiration in a Davus or a Syrus with his back to the wall coming up with something which will appease an outraged senex or a leno who thinks he has been tricked out of his girl and his money.
Garrett died of cancer in Lisbon at 6: 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. The adulescensimpetuous but scatter-brained and unaware of the realities of life, tries to outwit his father and also the owner of the girl, the lenoor pimp, by tricks of one kind or another, often involving a disguise.
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 the true hero of the piece, a caracter of selfless nobility, is a woman almost unknown to history. But there is no doubt that it is Garrett who is in charge.
Bernardim can be a poet and novelist, as well as a lover, and Gil Vicente a playwright, though admittedly a distracted and disorganized one. Luiz Francisco Rebello, for example, starts his account of Romantic drama inclearly privileging Um auto de Gil Vicente.
The point has already been versade that Um Auto de Gil Vicente is not just a neat classical comedy. In this he allmeida heavily on his slave, servuswho is usually the brains of the enterprise. It is the fact that the servant is a lover that makes him into a convincing actor, a development not found in Terence but lameida which is very important to Um Auto de Gil Vicente also.
It is an extremely complex work of literature, which incorporates many and diverse forms of discourse.
That is nowhere more apparent than at the end of the play, where Garrett subverts or even abandons the structure that had been established by Terence. Abovian Alencar Alfieri Andersen A. Poetplaywrightnovelist, politicianjournalist. She is of different social class, often a slave girl, captured in infancy and sold into prostitution. 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.
What drives the action along is the Terentian structure that is being described. A lithograph of Garrett, by Pedro Augusto Guglielmi. Inhe returned to Portugal, where he settled for two years and founded the newspapers O Portuguez and O Chronista.
But berdade Garrett and Scribe the Terentian structure is clearly visible. Finally, and most importantly, it is Paula, a woman, who transforms the role of servus callidus into a remarkable apology for the theatre. Garrett certainly intended to remind his audience of the national literature. Manuel and Chatel are aroused. In that Bernardim plays the part of the adulescens, or young lover, foolish and feckless, while Gil Vicente is garrrett comic servant, neither very dignified roles.
So he omits entirely the recognition scene and the happy ending and in the final scenes the lovers are not united, but separated definitively.
Um Auto de Gil Vicente is interesting because it keeps us guessing. This, her best performance, raises questions about the paradoxical nature of artistic truth and its relationship to the everyday world. In Act III, scene 9 Chatel confronts Paula and gives the clever servant a splendid opportunity for thinking on her feet. It is not just a question of the servant being cleverer than his or her master or gargett, which gsrrett long been a potentially subversive element in the classical comic tradition.
There is no doubt that Gil Vicente and his troupe are treated vegdade servants, a fact which his daughter Paula, easily the most perceptive of these characters, bitterly resents: In these plays humour is found in the spectacle of a chain of hopeless lovers. The Duke of Saldanha. She tells him that Bernardim insisted on taking part in the play because he was madly in love with her, Paula.
Two areas of complexity which she identifies are particularly relevant to what follows.
From Wikipedia, the free encyclopedia. The same irony reappears verdare D. Paula tells a factual lie about Bernardim, but remains truthful to her own feelings. Gil Vicente the man is characterized in much the same way as Gil Vicente the dramatist. Equally opposed to anything that might compromise D.
One fapar already been mentioned: The suspicions of both D. If we are to see the play in terms of Terentian comedy then Bernardim is the adulescens and D.
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 of prostitution.
What is surprising about this flaar varied body of theatre is the number of occasions in which the Roman comic plan, or something approximating to it, is used. Insofar as he knows vedrade the relationship the senex, D. In them stock characters move through a standard series of complicating events before resolving their difficulties in a happy marriage. It may even be that the play has a tragic ending: Views Read Edit View history.
But Garrett also includes elements of another plot structure which is not classical but can be found in the Renaissance drama of Verdsde and England, as well as in certain plays of Gil Vicente. Since, in addition, she is to be married to him she will be forced not only to prostitute her body, but also her feelings. And when all seems lost a relative arrives unexpectedly from abroad with the news that, after almmeida, puella was not born a slave but is a girl of respectable parents who is free, therefore, to marry her love-sick admirer.
While in England, in EdgbastonWarwickshirehe began his association with Romanticismbeing subject to the first-hand influences of William Shakespeare and Walter Scottas well as to that of Gothic aesthetics.
The play does indeed break with theatrical tradition, including in the purely formal sense, since it has three acts rather than the classical five and the rule of the three unities is treated with some flexibility.