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A doide do Candal
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
236 pages, Paperback
Published August 25, 2011
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About the author
Camilo Castelo Branco
623 books299 followers«Camilo Ferreira Botelho Castelo Branco (1825-1890) foi um dos escritores mais prolíferos e marcantes da literatura portuguesa contemporânea tendo sido romancista, cronista, crítico, dramaturgo, historiador, poeta e tradutor. Teve uma vida atribulada, que lhe serviu muitas vezes de inspiração para as suas novelas. Foi o primeiro escritor de língua portuguesa a viver exclusivamente do que escrevia. Durante quase 40 anos, entre 1851 e 1890, escreveu à pena, logo sem qualquer ajuda mecânica, mais de duzentas e sessenta obras, com a média superior a 6 por ano. Prolífico e fecundo escritor, deixou obras de referência na literatura lusitana. Apesar de toda essa fecundidade, Camilo Ferreira Botelho Castelo Branco não permitiu que a intensa produção prejudicasse a sua beleza idiomática ou mesmo a dimensão do seu vernáculo, transformando-o numa das maiores expressões artísticas e a sua figura num mestre da língua portuguesa.»
Fonte; http://www.luso-livros.net/biografia/...
Camilo Ferreira Botelho Castelo-Branco (1st Viscount de Correia Botelho), was born out of wedlock and orphaned in infancy. He spent his early years in a village in Trás-os-Montes. He fell in love with the poetry of Luís de Camões and Manuel Maria Barbosa de Bocage, while Fernão Mendes Pinto gave him a lust for adventure, but Camilo was a distracted student and grew up to be undisciplined and proud.
He intermittently studied medicine and theology in Oporto and Coimbra and eventually chose to become a writer. After a spell of journalistic work in Oporto and Lisbon he proceeded to the episcopal seminary in Oporto in order to study for the priesthood. During this period Camilo wrote a number of religious works and translated the work of François-René de Chateaubriand. Camilo actually took minor holy orders, but his restless nature drew him away from the priesthood and he devoted himself to literature for the rest of his life. He was arrested twice, the second time due to his adulterous affair with Ana Plácido, who was married at the time. During his incarceration he wrote his most famous work "Amor de Perdição" and later it inspired his "Memórias do Cárcere" (literally "Memories of Prison"). Camilo was made a viscount (Visconde de Correia Botelho) in 1885 in recognition of his contributions to literature, and when his health deteriorated and he could no longer write, Parliament gave him a pension for life. Going blind (because of syphilis) and suffering from chronic nervous disease, Castelo Branco committed suicide in 1890.
Fonte; http://www.luso-livros.net/biografia/...
Camilo Ferreira Botelho Castelo-Branco (1st Viscount de Correia Botelho), was born out of wedlock and orphaned in infancy. He spent his early years in a village in Trás-os-Montes. He fell in love with the poetry of Luís de Camões and Manuel Maria Barbosa de Bocage, while Fernão Mendes Pinto gave him a lust for adventure, but Camilo was a distracted student and grew up to be undisciplined and proud.
He intermittently studied medicine and theology in Oporto and Coimbra and eventually chose to become a writer. After a spell of journalistic work in Oporto and Lisbon he proceeded to the episcopal seminary in Oporto in order to study for the priesthood. During this period Camilo wrote a number of religious works and translated the work of François-René de Chateaubriand. Camilo actually took minor holy orders, but his restless nature drew him away from the priesthood and he devoted himself to literature for the rest of his life. He was arrested twice, the second time due to his adulterous affair with Ana Plácido, who was married at the time. During his incarceration he wrote his most famous work "Amor de Perdição" and later it inspired his "Memórias do Cárcere" (literally "Memories of Prison"). Camilo was made a viscount (Visconde de Correia Botelho) in 1885 in recognition of his contributions to literature, and when his health deteriorated and he could no longer write, Parliament gave him a pension for life. Going blind (because of syphilis) and suffering from chronic nervous disease, Castelo Branco committed suicide in 1890.
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Displaying 1 - 3 of 3 reviews
July 8, 2023
“A Doida do Candal” is a tragedy composed, in general, of three stories that intertwine. The story of Maria de Nazaré (which will come to be known as the crazy one of Candal), that of Marcos Freire / Lúcia Peixoto, and that of Simão Peixoto / Sister Margarida das Dores.
Marcos Freire is the father of a son by Maria de Nazaré and transfers them from the belligerent Porto to Candal. Lúcia Peixoto is Marcos’ cousin with whom she is in love. Simão is Lucia’s brother and makes Margarida, a nun, his lover. (Camilo became the lover of a fifty-year-old nun, Isabel Cândido Vaz Mourão!). Simão kills Marcos in a duel. “From then on, the long via crucis of the other characters begins, who expiate an undeserved guilt.”
It is not the plot of the tragedy that seduces the reader. Instead, they are the narrative form, the dialogues, the progress and construction of the novel, and the approach to conflicts, which are sometimes extreme.
Marcos Freire is the father of a son by Maria de Nazaré and transfers them from the belligerent Porto to Candal. Lúcia Peixoto is Marcos’ cousin with whom she is in love. Simão is Lucia’s brother and makes Margarida, a nun, his lover. (Camilo became the lover of a fifty-year-old nun, Isabel Cândido Vaz Mourão!). Simão kills Marcos in a duel. “From then on, the long via crucis of the other characters begins, who expiate an undeserved guilt.”
It is not the plot of the tragedy that seduces the reader. Instead, they are the narrative form, the dialogues, the progress and construction of the novel, and the approach to conflicts, which are sometimes extreme.
October 10, 2022
Cada vez gosto mais do Camilinho!
Como a sociedade abre sepulturas, e abre tanto para os pobres como para os ricos.
Nesta tragédia Camilo faz uma grande crítica aos casamentos arranjados por interesse, ao domínio das famílias sobre os destinos das vidas dos filhos e, finalmente, a situação de opressão e dependência das mulheres que em muito casos as levam ao enlouquecimento, ou levam a sociedade a rotulá-las de doidas devido aos seus comportamentos que vão contra as regras impostas.
Como a sociedade abre sepulturas, e abre tanto para os pobres como para os ricos.
Nesta tragédia Camilo faz uma grande crítica aos casamentos arranjados por interesse, ao domínio das famílias sobre os destinos das vidas dos filhos e, finalmente, a situação de opressão e dependência das mulheres que em muito casos as levam ao enlouquecimento, ou levam a sociedade a rotulá-las de doidas devido aos seus comportamentos que vão contra as regras impostas.
November 25, 2017
Camilo precisava de escrever para viver. Escreveu «A Doida do Candal» para viver. A obra confunde-se com dezenas de outras publicadas com o mesmo propósito. Como Camilo não sabia escrever mal, nós saímos a ganhar. Mais do que ele.
Displaying 1 - 3 of 3 reviews