Baroque is a literary school that emerged in the 17th century and its main characteristics are dualism, exaggeration and richness of details.
Check below the questions about Baroque in Brazil and Portugal commented by our expert professors.
question 1
(UFRN) The work of Gregório de Matos – an author who stands out in Brazilian Baroque literature – comprises:
a) epic-loving poetry and dramatic works.
b) satirical poetry and burlesque tales.
c) lyrical poetry, of a religious and loving character, and satirical poetry.
d) confessional poetry and religious documents.
e) lyrical poetry and costume theater.
Alternative c: lyrical poetry, of a religious and loving character, and satirical poetry.
Gregório de Matos wrote more than 700 religious, loving and satirical poems. Just to name some of the most representative ones:
"To Jesus Christ Our Lord" - sacred poem.
"At the same d. Angela" - love poem.
"Triste Bahia" - satirical poem.
Remembering that Gregório de Matos is known as "Boca de Inferno", precisely because of his satirical sonnets.
question 2
(FEI)
In sad shadows beauty dies,
in continuous sadness the joy
In the verses mentioned above, Gregório de Matos used a figure of speech that consists of bringing together terms with opposite meanings, such as “sadness” and “joy”. The name of this figure of speech is:
a) metaphor
b) alliteration
c) euphemism
d) antithesis
e) synecdoche
Alternative d: antithesis.
The antithesis, the most used resource in Baroque, is a figure of thought that uses the approximation of words with opposite meanings. It is the case of sadness and joy.
question 3
(UFV) Read the text:
Enjoy, enjoy the flower of youth,
Let time trot at full speed,
And prints in every flower your footstep.Oh wait, that ripe old age
Convert this flower to you, this beauty,
On earth, in gray, in dust, in shadow, in nothing.(Gregory of Matos)
The triplets above illustrate:
a) character of verbal game characteristic of the lyric poetry of the century. XVI, sustaining a critique of women's preoccupation with beauty.
b) Baroque metaphorical game, about the fleetingness of life, exalting the enjoyment of the moment.
c) pedagogical style of neoclassical poetry, confirming the poet's reflections on mature women.
d) the characteristics of a romantic, because he speaks of flowers, earth, shadows.
e) a poetry that speaks of an existence more materialist than spiritual, characteristic of the nostalgic-cultist worldview.
Alternative b: Baroque metaphorical game about the fleetingness of life, exalting the enjoyment of the moment.
The authors of Baroque use many figures of speech, metaphor being one of them. The metaphor presents an implicit comparison, in this case, the short duration of youth with the enjoyment of the moment.
question 4
(UFRS) Consider the following statements about Brazilian Baroque:
I. Baroque art is characterized by presenting dualities, conflicts, paradoxes and contrasts, which tensely coexist in the unity of the work.
II. Conceptism and cultism, expressions of baroque poetry, present a bucolic imagery, always populated by shepherdesses and nymphs.
III. The opposition between the Reformation and the Counter-Reformation expresses, on the religious plane, the same dilemmas that the Baroque is concerned with.
Which ones are correct:
a) Only I.
b) Only II.
c) Only III.
d) Only I and III.
e) I, II and III.
Alternative d: Only I and III.
Cultism and conceptism are characteristics of Baroque. Cultism is a style that values textual form, while conceptism values content. It is not correct to say that they present shepherdesses and nymphs.
question 5
(Fatec) "When he was young, Antônio Vieira believed in words, especially those that were said with faith. However, all the words he had said, in pulpits, in classrooms, in meetings, in catechesis, in corridors, in the ears of kings, clerics, inquisitors, dukes, marquises, ombudsmen, governors, ministers, presidents, queens, princes, indigenous, of these millions of words spoken with an effort of thought, few - or none - there were had effect. The world was just as it always was. The man, like himself."
Ana Miranda, MOUTH OF HELL.
This passage in the text makes reference to a trace of the baroque language present in Vieira's work; it's about:
a) gongorism, characterized by the play of ideas.
b) cultism, characterized by the exploration of the sound of words.
c) cultism, characterized by the conflict between faith and reason.
d) conceptism, characterized by the precious vocabulary and the exploration of alliteration.
e) conceptism, characterized by the exploration of logical relationships, of argumentation.
Alternative e: conceptism, characterized by the exploration of logical relationships, of argumentation.
Father Antônio Vieira had conceptualism as his literary style, whose objective is to convince people through argumentation.
question 6
(UCS) Choose the alternative that correctly completes the sentence below:
The ________ language, the paradox, ________ and the registration of sensory impressions are linguistic resources present in ________ poetry.
a) simple; the antithesis; parnassian.
b) far-fetched; the antithesis; baroque.
c) objective; the metaphor; symbolist.
d) subjective; the free verse; romantic.
e) detailed; subjectivism; symbolist.
Alternative b: far-fetched; the antithesis; baroque.
Among the main characteristics of Baroque are the elaborate language and the use of figures of speech as antithesis and paradox.
question 7
(Fuvest) Bocage's sonnets that poetically transpose the author's experience in the colonial region of Goa present some features similar to those of the poems in which, previously, Gregório de Matos focused on the colonial society of Bahia. In this regard, there are traits common to both poets:
a) presumption of superiority, criticism of vanity, color prejudice.
b) sensualism, criticism of presumption, praise of miscegenation.
c) presumption of superiority, praise of the local nobility, satire on miscegenation.
d) sensualism, criticism of ancient nobility, color prejudice.
e) tropical style, criticism of vanity, praise of miscegenation.
Alternative to: presumption of superiority, criticism of vanity, color prejudice.
Both Bocage and Gregório de Matos were known to be presumptuous and prejudiced.
In Bocage, we can see this in "From the land you are the worst, O Goa":
You are the worst of the lands, O Goa,
You look more bleak than a city,
But you lodge in you greater vanity
What London, what Paris or what Lisbon.
In Gregório de Matos, we can see this in "Describes what the city of Bahia was at that time":
In every corner a great adviser,
Who wants to rule us cabin and vineyard;
They don't know how to govern their kitchen,
And they can rule the entire world.
question 8
(Objective Faculties) About cultism and conceptism, the two constructive aspects of the Baroque, tick the only incorrect alternative:
a) Cultism operates through sensory analogies, valuing the identification of beings through metaphors. Conceptism values the intellectual attitude, the argumentation.
b) Cultism and conceptism are constructive parts of Baroque that are not mutually exclusive. It is possible to locate both elements in the same author and in the same text.
c) Cultism is noticeable in the refinement of language, by the abuse in the use of semantic, syntactic and sonorous figures. Conceptism values the intellectual attitude, which is materialized in the discourse through the use of sophisms, syllogisms, paradoxes, etc.
d) Cultism in Spain, Portugal and Brazil is also known as gongorism and its most ardent defender, among us, it was Fr. Antônio Vieira, who, in the Sermon of the Sexagesima, proposes the primacy of the word over the idea.
e) The cultist methods most followed by our poets were those of Gôngora and Marini and the conceptism of Quevedo was the one that left most of Gregório de Matos.
Alternative d: Cultism in Spain, Portugal and Brazil is also known as gongorismo and its most ardent defender, among us, was Fr. Antônio Vieira, who, in the Sermon of the Sexagesima, proposes the primacy of the word over the idea.
This is because Father Antônio Vieira was not a cultist, but a conceptist. He wrote about 200 sermons using conceptism.
It is worth remembering that the Brazilian poet Gregório de Matos explored the two baroque styles (cultism and conceptism) in his lyrical and religious poetry.
question 9
(UFRS) Read the text and mark the incorrect alternative for your purpose.
"Death has two doors. A glass door, through which one leaves life; another diamond door, through which one enters eternity. Between these two doors a man suddenly finds himself in the moment of death, unable to turn back, nor stop, nor flee, nor expand, but enter where he does not know, and forever. Oh what a tight trance! oh what a narrow pass! oh what a terrible moment! Aristotle said that among all terrible things, the most terrible is death. Said well; but he didn't understand what he said. Death is not terrible for the life that ends, but for the eternity that begins. The door you go out is not terrible; the terrible is the door through which one enters. If you look up: a ladder that reaches heaven; if you look down: a precipice that will end up in hell. And this is uncertain".
a) Famous passage from the Sermon on Ash Wednesday, celebrated in Rome in 1670. The canonical theme of this sermon is found in the biblical book of Genesis, 3, 13, in the words of God to Adam: "Memento, homo, quia pulvis es et in pulverem reverteris" ("Remember, man, that you are dust, and to dust you shall return"), which constitutes its predicable concept.
b) The metaphors of the doors establish an antithetical relationship: the image of the glass awakens the notion of ephemerality of the things of life, which returns to the dust from which it came, since glass is made of sand; the diamond image is associated with the notion of perenniality, meaning the beginning of eternal life.
c) The doctrine expressed by Vieira in this passage, being based on Aristotle, contradicted the view canonical of the counter-reformist Catholic Church, especially for saying that the existence of hell was uncertain.
d) The influence of the counter-reformist doctrine can be clearly seen, in the threatening and terrible vision that the text presents regarding eternal life. The authority of Greek philosophy is invoked, while declaring its inferiority to Christian thought.
e) Imagination supports the demonstration of ideas, rationally arranged and valued by a style that knows how to make use of construction figures, like the anaphora, of thought, like the antithesis, and tropes, like the metaphor, for, with eloquence, better persuade. These marks allow us to frame the above fragment in the Baroque conceptist style.
Alternative c: The doctrine expressed by Vieira in this passage, being based on Aristotle, contradicted the canonical view of the counter-reformist Catholic Church, especially by saying that the existence of hell was uncertain.
The doctrine expressed by the priest is not based on Aristotle. The philosopher is only being quoted with regard to death. The precept taught by Father Antônio Vieira is that we are nothing (we are dust). That's why this is the only wrong alternative.
question 10
(PUC-Campinas)
What is missing in this city... Truth.
What more for your dishonor... Honor.
There's more to be done... Shame.The demo to live exposes itself,
As much as fame exalts it,
In a city where
Truth, honor, shame.
It can be recognized in the verses above by Gregório de Matos:
a) character of a verbal game typical of the Baroque style, in the service of a satire-like critique of the moral profile of the city of Bahia.
b) the verbal game character of 16th century religious poetry, sustaining pious lamentation for the Gentile's lack of faith.
c) pedagogical style of neoclassical poetry, through which the poet invests himself in the functions of an authentic moralizer.
d) character of a verbal game typical of the Baroque style, in the service of the lyrical expression of the sinful poet's repentance.
e) pedagogical style of neoclassical poetry, sustaining in a lyrical tone the poet's reflections on the moral profile of the city of Bahia.
Alternative to: the character of a verbal game typical of the Baroque style, in the service of a satire-like critique of the moral profile of the city of Bahia.
The above verses are taken from the poem Epilogos, by Gregório de Matos, the main Baroque author known for his criticisms of Bahia.
question 11
(UEL) Check the alternative whose terms correctly fill in the blanks in the initial text.
As good baroque and opportunist as he was, this poet on the one hand flatters the vanity of the nobles and the powerful, on the other he attacks the governors, the "false nobles". The fact is that his satirical poems constitute a vast panel ________, which ________ composed with rancor and ingenuity still admired today for their expressiveness.
a) from 19th century Brazil - Gregório de Matos.
b) the 18th century Minas Gerais society - Cláudio Manuel da Costa.
c) from 17th century Bahia - Gregório de Matos.
d) of the sugarcane cycle - Antônio Vieira.
e) the exploration of gold in Minas - Cláudio Manuel da Costa.
Alternative c: from 17th century Bahia - Gregório de Matos.
Gregório de Matos (1636-1696), the poet known as "Boca de Inferno", earned this nickname especially because of his criticisms of Bahian society in his time.
question 12
(Mackenzie) Tick the wrong alternative:
a) In the work of José de Anchieta, there are poems that follow the medieval tradition and texts for theater with a clear catechist intention.
b) The informative literature of Brazilian 16th century strives to carry out a survey of the land, which is why it is predominantly descriptive.
c) The 17th century literature reflects a dualism: the human being divided between matter and spirit, sin and forgiveness.
d) Baroque presents states of soul expressed through antitheses, paradoxes, interrogations.
e) Conceptism is characterized by a refined, cultured, extravagant language, while cultism is marked by the play of ideas, following a logical, rationalist reasoning.
Alternative e: Conceptism is characterized by fancy, cultured, extravagant language, while cultism is marked by the play of ideas, following a logical, rationalist reasoning.
Concepts are exchanged. Far-fetched, cultured, extravagant language are characteristics of cultism, while game of ideas, following a logical reasoning, rationalist are characteristics of conceptism.
question 13
(FEI-SP) The sonnet transcribed below belongs to the work of Gregório de Matos Guerra. Read it carefully:
I offended you, my God, well it's true,
It's true, my God, that I am delinquent,
I have offended you and offended you,
Offended you have my malice.Evil, which leads to vanity,
Vanity, that everything has defeated me;
I want to see myself and I'm sorry,
Sorry for so much enormity.Sorry I'm at heart,
From my heart I seek you, give me your arms,
Hugs that yield me your light.Light, that clearly shows me salvation,
Salvation, I intend in such hugs,
Mercy, love, Jesus, Jesus.
Now, answer: Gregório de Matos Guerra wrote:
a) only sacred poetry.
b) lyrical, religious and loving poetry, and satires.
c) lyrical and satirical poetry.
d) just satirical poetry.
e) just lyric poetry
Alternative b: lyrical, religious and loving poetry and satires.
The work of Gregório de Matos comprises more than 700 lyrical, religious and amorous or erotic, and satirical poems.
Some of his poems:
"Seeking Christ" - sacred poem.
"To a lady" - love poem.
"To the farewell of the bad government that made the governor of Bahia" - satirical poem.
question 14
(UFV/99) Consider the following statements. All of them link Gregório de Matos' poetry to the aesthetic and ideological principles of Brazilian Baroque, except:
a) The lyrical side of Gregório de Matos' poetics worshiped love made up of small affections, gentle tenderness and gentle tournaments, with a rural and pastoral environment as a backdrop.
b) The "Boca do Inferno" rebelled not only against the administrative and political excesses of Bahia do 17th century, but against the human being, who, in the poet's conception, is by nature corrupt and bad.
c) The religious poems of Gregório de Matos merged the contemplation of divinity, the guilt complex, the desire for repentance and the horror of being dust, sensations, finally, frequent in the tormented spirit baroque.
d) The social significance of Brazilian Baroque was remarkable, since the poetry of Gregório de Matos was heavily critical of the vices and violence of colonial society.
e) The literary production of Gregório de Matos was divided between the lyrical-religious theme and a critical view of the social ills arising from the colonization process in Brazil.
Alternative to: The lyrical side of Gregório de Matos' poetics worshiped love made up of small affections, gentle tenderness and gentle tournaments, with a rural and pastoral environment as a backdrop.
Gregório de Matos' love poetry presents elements of mythology and also of nature.
The woman is seen in two ways: as a divine figure, who inspires devotion (angel), and as one who awakens carnal desire (demon).
question 15
(Fatec)
The sun rises, and it doesn't last more than a day,
After the Moon follows the dark night,
In sad shadows beauty dies,
In continual sadness, joy.However, if the sun ends, why did it rise?
If the Light is so beautiful, why doesn't it last?
How is beauty thus transfigured?
How does the pen taste like that?But in the Sun, and in the Light, the firmness is lacking,
In beauty, don't be constant,
And in joy, feel sadness.The world finally begins by ignorance,
And have any of the goods by nature
Firmness only in inconstancy.(Gregory of Matos)
Regarding the baroque characteristics of this sonnet, consider the following statements:
I. There is in it a symmetrical game of contrasts, expressed by antagonistic pairs such as Sun/Moon, day/night, light/shadow, sadness/joy, etc., which make up the figure of the antithesis.
II. This is a nineteenth-century sonnet, which meets the fixed-form standards, namely, rich rhymes, interpolated in quatrains ("A-B-A-B") and alternating in triplets ("A-B-B-A").
III. The theme of the eternal struggle between worldly elements and sacred forces is indicated there, by "ignorance of the world" and "anything good" on the one hand, and "consistency", "joy" and "firmness" on the other.
Regarding such statements, it should be said that:
a) only I is correct.
b) only II is correct.
c) only III is correct.
d) only I and III are correct.
e) all are correct.
Alternative to: only I is correct:
I. There is in it a symmetrical game of contrasts, expressed by antagonistic pairs such as Sun/Moon, day/night, light/shadow, sadness/joy, etc., which make up the figure of the antithesis.
Figures of speech are one of the main features of Baroque. Among them, the antithesis, constant in this poem, stands out.
As for the remaining alternatives:
II. This is a nineteenth-century sonnet, which meets the fixed-form standards, namely, rich rhymes, interpolated in quatrains ("A-B-A-B") and alternating in triplets ("A-B-B-A").
The rhymes are not rich, as the words that rhyme belong to the same class of words: nascia/fia and dura/transfigura, for example, are verbs.
Interpolated rhymes follow the ABBA scheme, while alternate rhymes follow ABAB.
III. The theme of the eternal struggle between worldly elements and sacred forces is indicated there, by "ignorance of the world" and "anything good" on the one hand, and "consistency", "joy" and "firmness" on the other.
The highlighted elements make no reference to the sacred and the mundane. The motto of this poem, called "The instability of things in the world", is inconstancy.
question 16
(UFPR) Considering the poetry of Gregório de Matos and the literary moment in which his work is inserted, evaluate the following statements:
1. Presenting the struggle of man in the clash between flesh and spirit, earth and sky, present and eternity, the poems The author's religious correspond to the sensitivity of the time and find a parallel in the work of one of his contemporaries, Padre Antônio Scallop.
2. The erotic-ironic poems are an example of the poet's versatility, but they are not representative of the best poetry of the author, for not presenting the same sophistication and richness of poetic resources as lyrical or religious poems feature.
3. As a good example of baroque poetry, the author's poetry increases and exaggerates some poetic resources, making its language more elaborate and entangled by the use of rare figures of speech and results devious.
4. The presence of the mulatto element in this poetry brings back to literature a problematic social dimension of society Bahia at the time: in a country of slaves, the mestizo is a being in conflict, victim and executioner in a society violently uneven.
Check the correct alternative.
a) Only statements 1 and 2 are true.
b) Only statements 1, 2 and 3 are true.
c) Only statements 1, 3 and 4 are true.
d) Only statements 2 and 4 are true.
e) Only statements 3 and 4 are true.
Alternative c: Only statements 1, 3, and 4 are true.
What is stated in number 2 is incorrect. This is because the erotic-ironic poems of Gregório de Matos are as sophisticated as the poet's others.
question 17
(Cefet-MG) An ardent defender of human freedom, he fought against the enslavement of the Indian and the inhumanity with which slaves were treated. Considered, by literary critics, the greatest example of conceptism in the Portuguese language. Its about:
a) Father José de Anchieta
b) Gregory of Matos
c) Father Antônio Vieira
d) Father Eusebio de Matos
e) Bento Teixeira
Alternative c: Father Antônio Vieira.
Father Antônio Vieira was a great supporter of the Indians. For this reason, among the Indians, he was known as "Paiaçu", which means "Great Father".
His 200 or so sermons were written in a Conceptual style, the aim of which was to convince people with arguments.
question 18
(PUC-MG) Relate this excerpt to your respective style, according to the information contained in the alternatives below:
that you are earth, man, and on earth you shall become,
He reminds you today of God for his church;
From dust he made you a mirror, in which you can see
The vile matter from which I wanted to form you.
a) BAROQUE: The Baroque man is anguished, lives between religion and paganism, spirit and matter, forgiveness and sin. The works reflect such dualism, permeated by the instability of things.
b) ARCADISM: In opposition to Baroque, this style seeks to achieve the ideal of simplicity. Arcadians look to nature for the ideal of a simple, bucolic, pastoral life.
c) ROMANTICISM: Romantic art values the folkloric, the national, which is manifested by the exaltation of the native nature, the return to the historical past and the creation of the national hero.
d) PARNASIANISM: Poetry is descriptive, with exactness and economy of images and metaphors.
e) MODERNISM: Original and controversial, nationalism is manifested in it by the search for a Brazilian and informal language, by parodies and by the appreciation of the truly Brazilian Indian.
Alternative to: BAROQUE: The Baroque man is anguished, lives between religion and paganism, spirit and matter, forgiveness and sin. The works reflect such dualism, permeated by the instability of things.
This is the first stanza of a poem by Gregório de Matos, one of the greatest Baroque poets. The poem expresses the anguish at the ephemeral nature of the earthly world.
question 19
(Unicamp) The colonial art of Minas Gerais followed the propositions of the Council of Trent (1545-1553), giving visibility to Reformed Catholicism. The craftsman should represent sacred passages. It was not, therefore, completely free in defining the features and themes of the works. Its function was to create, according to the Church's standards, the pieces commissioned by the brotherhoods, great patrons of the arts in Minas Gerais.
(Adapted from Camila F. G. Santiago, “European traits, Minas colors: three colonial paintings inspired by an engraving by Joaquim Carneiro da Silva”, in Junia Furtado (ed.), Sounds, shapes, colors and movements in modernity Atlantic. Europe, Americas and Africa. São Paulo: Annablume, 2008, p. 385.)
Considering the information in the statement, colonial art from Minas Gerais can be defined as:
a) Renaissance, as it created in the colony a sacred art typical of Reformed Catholicism, rescuing the classical ideals, according to the standards of the Council of Trent.
b) Baroque, as it followed the precepts of the Counter-Reformation. It was financed and commissioned by the confraternities and created by local craftsmen.
c) scholastic, because it followed the propositions of the Council of Trent. Local artisans, financed by the Church, only reproduced European sacred works of art.
d) popular, because it was created by local artisans, which included slaves, freedmen, mulattos and poor whites who placed themselves under the protection of the brotherhoods.
Alternative b: Baroque, as it followed the precepts of the Counter-Reformation. It was financed and commissioned by the confraternities and created by local craftsmen.
Baroque emerged during the Counter-Reformation, a movement that culminated in the Council of Trent, and for this reason, religious themes are one of the main characteristics of this style.
question 20
(UFRS) Regarding Brazilian Baroque, tick the incorrect alternative.
to the Sermons, by Padre Antônio Vieira, elaborated in a conceptist language, reflected the author's concerns with Brazilian problems at the time, for example, slavery.
b) The ethical conflicts experienced by the Baroque man corresponded, in literary form, to the exaggerated use of paradoxes and syntactic inversions.
c) Baroque poetry was the confirmation, on the aesthetic plane, of the Renaissance precepts of harmony and balance, in force in Europe in the 16th century, which arrived in Brazil in the 17th century, then adapted to national reality.
d) One of the main themes of the Baroque is the ephemerality of life, an issue that was dealt with in the dilemma of living in the present moment and, at the same time, worrying about eternal life.
e) The baroque sculpture was named in Brazil after Antônio Francisco Lisboa, the Aleijadinho, who, in the century XVII, elaborated an art of religious theme with national and popular traits, in a representative mixture of the Baroque.
Alternative c: Baroque poetry was the confirmation, on the aesthetic plane, of the Renaissance precepts of harmony and balance, in force in Europe in the 16th century, which arrived in Brazil in the 17th century, then adapted to reality national.
The alternative "a" is correct, after all, Father Antônio Vieira wrote in the conceptist style and was a defender of the indigenous people.
Alternative "b" is correct, after all, Baroque literature exaggerates the use of figures of speech. The Baroque is contextualized during the Counter-Reformation, a change in mentality and a confusion of ideas and conflicts.
Alternative "d" is correct, after all, the motto of the Baroque is precisely the ephemeral nature of life. That's why the premise of carpe diem it is widely used in this period.
The alternative "e" is correct, after all, Aleijadinho was the greatest representative of the Baroque. The theme of his works focuses on religiosity.
question 21
(Vunesp) Check what is incorrect about Gregório de Matos.
a) The lyric poetry of Gregório de Matos is divided into three themes: love lyric poetry; reflective lyric poetry; religious poetry.
b) In Gregório de Matos's amorous lyrics, the praise of women's beauty is commonly used in comparisons and metaphors associated with nature, celebrating the superiority of that woman over nature.
c) In addition to the praise of feminine beauty, the theme of the "carpe diem" is usually added, in which the poet invites his beloved to enjoy the pleasures of life: Enjoy, enjoy the flower of youth".
d) "carpe diem" takes on a tone of urgent dramatic appeal, when associated with the themes of the fleeting of time and the ephemerality of all things: "Oh don't wait for ripe old age / That flower, that beauty, / Into earth, to ash, to dust, to shade, to nothing".
e) In view of the moral and religious precepts of the Counter-Reformation, the poet never recoils from the erotic temptation: "My eyes, I said then for defending myself, / If beauty shall you see to kill me, / Better blind eyes than I lose me".
Alternative e: In view of the moral and religious precepts of the Counter-Reformation, the poet never recoils from temptation erotic: "My eyes, I said then for defending myself, / If beauty shall you see to kill me, / Better blind eyes than I lose me".
Erotic temptation is opposed to the religious ideal. For this reason, the lyrical self prefers to be blind than to fall into temptation ("Better blind eyes, than I lose myself").
question 22
(PUC)
Angel in the name, Angelica in the face,
This is to be a flower, and an Angel together:
Being Angelica Flower and Angel Florent,
In whom, if not in you, will he be uniform?
In the stanza above, the play on words:
a) it is a resource that the poet uses to satirize the excesses of the rulers of his time;
b) portrays the conflict experienced by the Baroque man, divided between the sense of sin and the desire for forgiveness;
c) expresses the poet's awareness of the ephemeral existence and the horror of death;
d) reveals the search for unity, for a spirit divided between idealism and the appeal of the senses;
e) allows the manifestation of man's eroticism, provoked by the belief in the ephemerality of the physical predicates of human nature.
Alternative d: reveals the search for unity, for a spirit divided between idealism and the appeal of the senses;
Idealism is represented by the figure of the angel (spiritual plane), while the senses are manifested by the flower (material plane), both of which have the same name: Angelica.
question 23
(Mackenzie) To Brazilian Baroque belong:
a) Camões and Gil Vicente.
b) Manoel B. Oliveira and Gregório de Matos.
c) Sór Mariana Alcoforado and Gregório de Matos.
d) Gandavo and Camões.
e) Gil Vicente and Manoel B. Oliveira.
Alternative b: Manoel B. Oliveira and Gregório de Matos.
As for the other authors:
- Camões: Portuguese classicism.
- Gil Vicente: Portuguese Humanism.
- Sór Mariana Alcoforado: Portuguese Baroque.
- Gandavo: Portuguese 16th century.
question 24
(UFBa) Mark the proposition or propositions in which the poet Gregório de Matos, moving away from Baroque's aesthetic proposal, assumes a critical-satirical stance towards reality and then adds the values.
(01) "Sun of divine justice / you are omnipotent Love, / because you are continually / in the finest light: / however, Lord; if the continuous / shine is owed to you, / making a brief repair / of that sun in the light, / you are a sun, but in the Sacrament / With divine reason snow."
(02) "And what justice protects it... bastard
Is it distributed free... sold
What is it that frightens everyone... unfair
God help us, what it costs, / what El-Rei gives us for free, / let justice walk in the square / Bastard, Sold, Unjust."
(04) "God help me, what will be/ of this sad life of mine,/ that so badly I am lost./ Where, Lord, will you stop?/ What counts if you will make me/ there at the end, where it is refined / the evil, which always lasts in me, / the good, which I never embraced, / the joys, which I despised, for an eternal bitterness."
(08) "Among those born only you / by privilege in life / were you, Lady, born / exempt from atrocious guilt: / but if God (we know we) / who can do anything, whatever he wants, / and he came to elect you / for his Mother so high, / impurity, stain, or lack / I could never in you be."
(16) "The greedy Merchant, / when his purchase extends, / in what he buys, and in what he sells, / takes two hundred percent: / he's not such a donkey, / he didn't know, that in Lisbon/ if you'll give it to him,/ but the money has already been eaten/ he says, that honor comes first,/ and that all Law is honored:/ this is justice, which rules El-Rei."
(32) "Senhor Antão de Souza de Meneses,/ Who climbs to a high place, who doesn't deserve it,/ Man climbs, donkey goes, donkey seems,/ That climbing is often a disgrace./ A fortunilha author of intermeces / They transpose the hero into an ass, who grows unworthy: / The wheel goes down, and soon the man descends, / That the fortune is discreet in his setbacks."
(64) "Out of frail and vile clay,/ Lord, you have formed man,/ whose work you have exaggerated/ for ingenious and subtle:/ I give you thanks a thousand to a thousand,/ for in a known increase/; my being has the foundation / in reason, on which it rests, / if you infuse a living soul, / that much, that I live nourishment."
Answer: 02 + 16 + 32 = 50
The verses above contain harsh criticisms of Bahian society:
- (02) The verses are part of the poem "Epilogues".
- (16) These verses are part of the 10 stanzas of "Pretending the poet who comes for the honors of the city, it enters to do justice to its inhabitants, pointing out to them the vices, in which some of them depravity".
- (32) The verses are part of "The farewell of the government hand that made this governor".
question 25
(Enem-2014)
When God redeemed from tyranny
From the hand of the hardened Pharaoh
The Hebrew People, beloved, and enlightened,
Easter was the day's redemption.Easter of flowers, day of joy
That People were so afflicted
The day, when by God he was redeemed;
Ergo is you, Lord, God of Bahia.For sent by the High Majesty
redeemed us from such sad captivity,
Delivered us from such a vile calamity.Who can be but a true God,
who came to drain this city
The Pharaoh of the Brazilian people.DAMASCENE, D. (Org.). Best poems: Gregório de Matos. São Paulo: Globo, 2006.
With an elaboration of language and a view of the world that present baroque principles, the sonnet by Gregório de Matos presents thematic expressed by
a) skeptical view of social relations.
b) concern with Brazilian identity.
c) veiled criticism of the current form of government.
d) reflection on the dogmas of Christianity.
e) questioning the pagan practices in Bahia.
Alternative c: veiled criticism of the current form of government.
This poem is a sample of the attacks made by the poet to Bahian society.
question 26
The greatest representative of Portuguese literary Baroque was:
a) Luís Vaz de Camões
b) Father Antônio Vieira
c) Manuel Maria Barbosa du Bocage
d) Almeida Garret
e) Eça de Queirós
Alternative b: Father Antônio Vieira
Although he spent a great part of his life in Brazil, Padre Antônio Vieira is the greatest highlight in Portuguese literary baroque. His work consists of poems, letters, sermons and novels.
In the other alternatives, we have:
a) Luís de Camões, writer of Portuguese classicism
c) Manuel Maria Barbosa du Bocage, poet of Portuguese Arcadianism
d) Almeida Garret, writer of Portuguese romanticism
e) Eça de Queirós, writer of Portuguese realism
question 27
Portuguese baroque began with the death of ___ in 1580. In Brazil, it began in ___ with the publication of the work ___ by Bento Teixeira.
The option that correctly fills in the blanks is:
a) Gil Vicente; 1584; Eustachians
b) Fernão Lopes; 1593; music from parnassus
c) Bocage; 1598; mouth of hell
d) Sá de Miranda; 1600; History of the Custody of Brazil
e) Luís Vaz de Camões; 1601; Prosopopoeia
Alternative e: Luís Vaz de Camões; 1601; Prosopopoeia
Portuguese baroque began in 1580 with the death of Luís Vaz de Camões, one of the greatest writers of the Portuguese language who belonged to the previous literary movement: Classicism.
In Brazil, Baroque began in 1601 with the publication of the work “Prosopopoeia”, an epic poem written by Bento Teixeira.
In the other alternatives, we have:
a) Gil Vicente: writer of Portuguese humanism
b) Fernão Lopes: writer of Portuguese humanism
c) Bocage: poet of Portuguese Arcadianism
d) Sá de Miranda: poet of Portuguese classicism
question 28
All the options below present characteristics of literary baroque, except:
a) Religious and profane themes
b) Cultism and conceptism
c) Complexity and thoroughness in details
d) Imitation of classic models
e) Dramatic and far-fetched language
Alternative d: Imitation of classic models
The imitation of classical models was one of the main features of the earlier literary school called Classicism.
The writers of that period cherished aesthetic perfection and relied on the classical models of Greece and Rome to develop their texts.
question 29
The literary baroque is marked by two styles called: cultism and conceptism. The correct alternative on these concepts is:
a) Conceptism is defined by the game of ideas, being characterized by the use of rational and logical thoughts.
b) In conceptism, the words are carefully chosen by writers in order to avoid exaggeration.
c) Both conceptism and cultism have similar characteristics in order to enhance details.
d) Cultism represents the game of ideas where the presentation of concepts is its main characteristic.
e) The great focus of cultism is the play on words characterized, above all, by the use of strong argumentation.
Alternative to: Conceptism is defined by the play of ideas, characterized by the use of rational and logical thoughts.
Cultism, also called Gongorism, is characterized by "word play". It has this name because cult writers used cult terms to express their ideas.
Conceptism, also called Quevedism, is characterized by the "game of ideas". Conceptual writers used rational arguments to impose their ideas.
In summary, the first values textual form, while the second values textual content.
question 30
The use of figures of speech in the Baroque movement is something remarkable, the main ones being:
a) metaphor, comparison, metonymy and synesthesia
b) metaphor, antithesis, euphemism and paradox
c) antithesis, paradox, hyperbole and metaphor
d) antithesis, hyperbate, hyperbole and pleonasm,
e) antithesis, synesthesia, paradox and metonymy
Alternative c: antithesis, paradox, hyperbole and metaphor
The works produced during the Baroque period used many figures of speech that are related to the historical context of the time.
The main figures of speech that were used in the Baroque movement are:
- Antithesis: use of terms that have opposite meanings.
- Paradox: use of ideas that have opposite meanings.
- Hyperbole: use of terms or expressions that demonstrate exaggeration.
- Metaphor: comparing words with different meanings.