Auto da alma

by Gil Vicente, Carlos Ramiro Courinho Ouguella

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. 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.: Com ... Um Estudo Critico Do Auto Pelo Visconde de Ouguella

Genres: Classics, Theatre

78 pages, Paperback

First published January 1, 1518

About the author

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." Vicente worked in Portuguese as much as he worked in Spanish and is thus, with Juan del Encina, considered joint-father of Spanish drama.

Vicente was attached to the courts of the Portuguese kings Manuel I and John III. 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.

He may also have been identical to an accomplished goldsmith of the same name, creator of the famous monstrance of Belém, and master of rhetoric of King Manuel I.

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.

Reviews

[ema castelo · Rating 4 out of 5]

mais uma incrível sátira de Gil Vicente.
"Não me detenhais aqui!
Deixai-me ir, que em al me fundo!
Oh descansai neste mundo,
que todos fazem assi!
Não são embalde os haveres,
não são embalde os deleites
e fortunas;
não são debalde os prazeres
e comeres:
tudo são puros afeites
das criaturas."

[anni · Rating 3 out of 5]

2.5

[Julia · Rating 4 out of 5]

bonito demais, primeira vez que gosto de uma peça escrita

[Lucsbooks · Rating 4 out of 5]

Tinha-me esquecido de quão engraçados são os diabos do Gil

[catarina · Rating 3 out of 5]

epa…percebi o conceito mas nhe

[Ricardo · Rating 4 out of 5]

por se tratar de uma peça de caráter moralista e religioso, em auto da alma não estão presentes as tiradas irônicas e o senso de humor típicos do dramaturgo português.

trata de uma alma que percorre um longo caminho no além-vida, sendo tentada pelo diabo no decorrer do percurso. ela finalmente encontra a salvação ao ser abrigada por uma estalajadeira que representa a igreja católica apostólica romana.

[Isaura · Rating 2 out of 5]

Esta peça de Gil Vicente usa a viagem como alegoria para a vida. A Alma que viaja é constantemente tentada pelo diabo de seguir uma vida superficial, fazendo-se bonita com roupas, sapatos e jóias, esquecendo-se do aspecto espiritual da vida. É uma peça que dá uma lição, sim, mas é previsível e sem surpresas, e o fim é bastante vazio. Não gostei tanto desta peça como das outras de Gil Vicente que já tive a ocasião de ler (Auto da Barca do Inferno, Auto da Índia, Farsa de Inês Pereira)

[Sergio Oliveira]

VI- 32