Summary and complete analysis of Auto da Barca do Inferno, by Gil Vicente
Considered the pai of the Portuguese theater, Gil Vicente is an icon of the Portuguese culture. O Auto da Barca do Inferno is a small piece composed by a single year and was written in 1517. As a forte viés comic, it is two most celebrated works by the author.
I summarize
Also known as Auto da moralidade, or Auto da Barca do Inferno, written in 1517, it was represented as King Manuel I of Portugal and Rainha Lianor. A peça, which contains a single year, belongs to a set of the Trilogia das Barcas which also includes the Auto da Barca do Purgatório and the Auto da Barca da Glória.
O diabo is a two personagens centralis do Auto da Barca do Inferno. He drives a boat and invites, um a um, you have members for his nau. Or first guest or fidalgo, who is accompanied by a pajé. Ao to observe Barca do Paraíso passar, or fidalgo see anjo and pede to enter, but he is challenged.
Or second guest is or onzeneiro, he will also stop, also like fidalgo, na boat rumo to or inferno. Or third to emerge - and curiously or first to ter a happy destiny - é or parvo.
Parvo - Hou da barca!
Anjo - What do you love me?
Parvo - Do you want to pass me além?
Anjo - What is you?
Parvo - Samica somebody.
Anjo - You will pass, you will; because in all your faces per malícia you did not miss. Your simplicity was enough to enjoy two prazeres. Wait so much per i: we will see you see someone, deserving of such a bem, that you must enter here.
Logo após o parvo vem o sapateiro e o frade accompanied by uma moça formosa. Nenhum give them the authorization to take a boat out of paradise.
Brízida Vaz, a bruxa alcoviteira, emerges immediately and also forbidden to enter the boat of Glória. Or a Jew who follows a goat and is equally forbidden to enter, not because he is not a Christian.
O corregedor e o procurador also ficam na barca do inferno, but for a different reason: place your interests pessoais in front of justice and do povo.
For the sake of us cavaleiros, who will fight in life with Christianity and by isso são led to the boat of paradise with anjo hair.
Personagens
Diabo
Known as Belzebu, he drove a boat in the direction of hell.
Anjo
He drove to barca da Glória, heading to paradise.
Fidalgo
He always walks with a handjob and carries a very tight tail, even with a cadeira on his back. He ends up hitting the boat rumo to or port of Lucifer.
Onzeneiro
O onzeneiro, a species of agiota, face companhia ao fidalgo na barca do inferno.
Parvo
He finds peace in simplicity and is headed for the boat of paradise.
Sapateiro
O sapateiro accredits that, after completing the religious rituals on earth, he would enter the boat of paradise. Porém, as he deceives his clients, he does not win or will go up na nau do anjo.
Frade
Accompanied by a moça, or frade I am not afraid to enter paradise.
Brízida Vaz
Because she is a brux, a prostitute and an alcoviteira, she does not receive authorization to enter the boat of Glory.
Judeu
He cannot embark without feeling like paradise because he is not Christ.
Corregedor
Contrary to the fact that he was presumed, or corregedor only defends his own interests, being immediately condemned to barca do inferno.
Attorney
Corrupt, he hardly thinks of himself and, as a consequence, he continues to go directly to the nau of Belzebu.
Cavaleiros
Os Cavaleiros de Deus, martyrs of Santa Igreja, who will dedicate to life for the cause of Christ, are awarded with eternal peace in the boat of paradise.
Historic context
Gil Vicente testemunhou or process of overseas expansion, viveu or golden period of Portugal. He was a contemporary of the great navigations of Vasco da Gama and observed how the country was abandoned because it was turned overseas, for the colonies.
The author has deeply criticized the disorder of the Portuguese society of outrora: aos values, a morality, a corrupt home, a Catholic religious institution. Gil Vicente was not properly against igreja, but he was against or that faziam dela (a band of indulgences, or false celibacy of parents and freiras).
He criticized the vices of medieval and modern society, placed the wrong finger to denounce an oppressive structure and dated itself. He was or carries a voice that denounces social hypocrisy: frades sem vocação, a corrupt justice that communicates with nobreza, exploração two rural workers.
Before Gil Vicente, there was no documentary record of theaters lit in Portugal, only brief performances, of a cavalier, religious, satirical or burlesque character.
Some of Gil Vicente's still have Castilian influences, but he also has traces of the Castilian palatial poet Juan del Encina. There are traces in which it is possible to observe the author even imitating the language of the Castilian poet. As the Portuguese court was bilingual, this Castilian cultural influence was quite frequent.
Almeida Garrett, another great name for Portuguese culture, observed that Gil Vicente had not been the founder / initiator of the theater In Portugal, he was a leading figure in the Lusitanian theater, leaving for later the foundations of a national school of theater.
Where were Gil Vicente's peças encendas?
A work of Gil was lida only not inside two palaces. The author was even supported by rainha. This theater was produced to entertain royalty and fidalguia, and as a central resource or sense of spontaneity and popular spirit, but was represented for an elite audience. All his works of him tinham forte espaço para o improviso.
Characteristics of Gil Vicente's writing
A written by Gil Vicente is in theatrical poetry format, in rhymes. The author incorporates a linguistic and social variety of his early days (for example: either nobre uses a characteristic linguagem two nobres, or camponês uses a unique vocabulary of two camponeses).
É recurrente or use da satire, do riso, do ridiculous and do achincalhe. All of them suas peças de him, including or Auto da barca do inferno, possuem um forte cunho didactic. A satire serves to emphasize the social holidays of his time.
In general, the cars are a parade of types or cases under the pretext of a central allegory. O author trabalhou sobretudo com os types sociais: eram personagens caricatures and folk. Some of his parts are observed in a detailed description of his behavior, his clothes, and his intended language.
The characters, in general, do not present psychological conflicts as not classical theater. Não é um individual theater (with contradictions of a eu), is sim uma social satire, a theater of ideas, controversial.
You people represent your social conditions: ama represents any mistress, or camponês qualquer camponês, no effort of individualization. There are human types like or shepherd, or camponês, or escudeiro, a moça de vila, a alcoviteira, or frade. There are also many allegorical personifications such as Rome, representing Santa Sé, biblical and mythical personages (case of two Prophets), theological figures (Deus, or Diabo, anjos) and or Parvo.
Folklore types, humble people, Camponese, appear to laugh at court with their naivety and ignorance. Or a type more satirized by Gil Vicente or a clergyman, sobretudo or frade, who reveals his incoerências of worldly and religious conduct (in search of frugal prazer, a ganância, a cobiça).
Another interesting type is or Escudeiro that imitates the patrons of nobility, has the face of brave and cavaleiro embora passe fome, has half and is left unoccupied. The fidalgos are frequently portrayed as presumptuous and explorers of work, alheio and the judges, corregedores and meirinhos são, via de regra, corrupted figures.
Gil Vicente denounces the absurdities of the court, the corruption, the cases of nepotism, or waste as a public verba.
Read in full, low or PDF
A peça de Gil Vicente is in the public domain and is available for free download in PDF format. Have fun-eat reading of or Car da barca do inferno!
Prefere ouvir? Or Auto da Barca do Inferno is also available in audio
What was Gil Vicente?
Gil Vicente was born around 1465, started his first peça in 1502 and was a collaborator of Cancioneiro Geralby Garcia de Resende. He published in his life some of his cars, inquanto some other censored foram. His last car dates from 1536. His most famous works are: o Auto da Índia (1509), o Auto da barca do inferno (1517), o Auto da Alma (1518), a Farsa de Inês Pereira (1523), or D. Duardos (1522), or Auto de Amadis de Gaula (1523) and o Auto da Lusitânia (1532).
In 1562, Luís Vicente reunited that he had the production of pai morto em Copilaçam of All Works by Gil Vicente. The authenticity of the works has been questioned one time that you have made small alterations, no text.
You want to know this classic Portuguese culture, also access:
- Livro Os Lusíadas, from Camões
- Auto da compasdecida, by Ariano Suassuna
- Film Vida Maria
- Romeu e Julieta, by William Shakespeare
- Livro Quarto de Despejo, by Carolina Maria de Jesus
