Sabina Freire (1905)

Sabina Freire. The show and the Portuguese


In Sabina Freire, let's be clear, we are in a real fight for our heads. And this fight is a females fight! The women rule. Men are part of the puppet universe. Even when Julius dares to give up the headache for the ultimate confrontation with Sabina, the result is to finally get to know her. If analyzed at the time it was written and analyzed today, after almost 100 years, we are dazzled (if we know how to dazzle) with the Sabina material, which Teixeira-Gomes bequeathed us. We Portuguese, as old as we claim and so unable to discover ourselves in the modernity we carry. So jealous of our moral victories, so petty and bragging, so capable of spitting into the air, and so envious of their neighbors' saliva, professional “stalkers”, boneless servants, self-esteem intruders, and DNA bearers of ontological sense of inferiority congenital, we went and are "seen through the magnifying glass" by the head of Teixeira-Gomes. We are still a ruined people, where Silves Castle, as Sabina says, is “its noblest ruin, its only historical ruin,” she thinks, “in this region only monuments and ruins abound in hearts and souls! And yet I get the impression of a luminous land, where everything smiles… If I populated it again and in my own way I could be happy living in it… ”maybe a good example. Little or nothing has changed significantly between the time of Sabina's writing and the time we will represent it. And therein lies the greatness of the Author and the smallness of the "observed." This is why Sabina fires before the match, “She excludes the old people: the crucible of dull selfishness; the priests: and perhaps the lyric poets of the Julius species.

Rui Madeira