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・ Morten Nielsen (footballer born 1990)
・ Morten Nordeide Johansen
・ Morten Nordstrand
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・ Morten Olsen (composer)
・ Morten Olsen (handballer)
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・ Morten Pedersen Porsild
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・ Morten Petersen
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・ Morte di Un Amico
Morte e Vida Severina
・ Morte Point
・ Morteau
・ Morteau sausage
・ Morteaux-Coulibœuf
・ Mortefontaine
・ Mortefontaine, Aisne
・ Mortefontaine, Oise
・ Mortefontaine-en-Thelle
・ Mortegliano
・ Mortehoe
・ Mortehoe and Woolacombe railway station
・ Mortein
・ Mortel Transfert
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Morte e Vida Severina : ウィキペディア英語版
Morte e Vida Severina

''Morte e Vida Severina'' (literally ''Severine Life and Death'' and translated by Elizabeth Bishop as ''The Death and Life of a Severino'') is a long poem by Brazilian author João Cabral de Melo Neto, his most famous and often read work. Published in 1955 and written between 1954 and 1955, it is written in heptasyllabic meter, recalling the popular poetry of the culture of the northeastern Brazil, where he was born and lived, and divided in 18 parts.
''Morte e Vida Severina'' is subtitled ''Auto of Pernambucan Life'', which, notwithstanding evokes theatrical characterizations, but already introduces its theme: the poem is a narrative of the journey of what is known in Brazil as a ''retirante'', a person who, in the northeastern areas of the country, flees from the drought – rather common in that region – either to the city or to livable lands.
==Style and Structure==

Properly, ''Morte e Vida Severina'' recounts the journey of a ''retirante'' and his life style, both which truly resembles more of death than of life, a paradox Melo Neto would deal with several times within poem.
The poem is formally divided in 18 named parts; however, the poem can be split between a first period, the ''retirante'' before reaching the city, and a second, from when he has. These parts are strictly constructed in seven syllable metric and create a strong sense of singing rhythm. In fact, "Morte e Vida Severina" made use of the regional style of writing cordel.
It is written in first-person, thus narrated by Severin himself – and therefore alike an object and a subject in the work –, but it is cut several times in monologues and dialogues of third parties.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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