Abstract
This paper intends to show, in an embryonic format, how Fernando Pessoa embodied the subjective process, presented in all his work through a heteronimic construction, in his writing project of Portuguese Faust . Consistent with the idea of Static Drama, Pessoa’s Fausto sights the construction of an animistic and apathetic tragedy, supported on a discursive monologism and the tragic conception of existence.
Highlights
The assertive that Fernando Pessoa is more than a poet has already turned into a fact
Even if Fausto is not set as one of his heteronymous, he surely configures as more than one simple character. The works of these three poets comprise, as it has been said, a dramatic set; and the intellectual interaction of personalities is properly studied, as well as their own personal relationships. All of this will consist of biographies to make, accompanied by horoscopes and possibly photographs, when published
From action traditionally presented in many of tragedies, in which the mystery is solved at the end, we find the reason why the hero, throughout his trajectory, has faced a series of misfortunes, or we realize whether he is being punished or condemned
Summary
The assertive that Fernando Pessoa is more than a poet has already turned into a fact. Even if Fausto is not set as one of his heteronymous, he surely configures as more than one simple character The works of these three poets comprise, as it has been said, a dramatic set; and the intellectual interaction of personalities is properly studied, as well as their own personal relationships. All of this will consist of biographies to make, accompanied by horoscopes and possibly photographs, when published. To understand this category of subject, we must return to that term: subject
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