Live de dúvidas - 13/06/2026 - Português Maravilhoso!!!

[00:01:49]We have four people.

[00:02:07]That's great. Hello, hello, Johnny.

[00:02:12]Welcome to this first live session for the exams. I'm just sending the link to whoever asked me for it. Ah, however, I'm waiting for your questions.

[00:02:22]Well, I ask that you try to be clear in your questions, don't ask general questions like, "I don't understand anything about prayers," but rather be more specific, ask your questions in a particular way so I can help as much as I can.

[00:02:40]Okay, is everything alright?

[00:02:57]Thank you, Johnny, for being there. Do you have any questions you'd like answered?

[00:03:19]Just a second, please.

[00:03:22][Clearing throat] It's in the active and passive voice parts of the sentence. Very good. So, h, the active sentence is the sentence in which, uh, leave me alone, give me just a second.

[00:03:56]You sent me several, OK? Give me just a second to post the story here with the link to the live stream. An active sentence is a sentence in which we perform the action, right? For example, Maria bought a book, right? Okay, and then in the passive sentence, we'll have the object, so to speak, in this case, which will be the book undergoing the action, so it becomes "the book was bought by Maria," right? And that is the change. What happens?

[00:04:36]We have to change the sentence from the active to the passive voice; we have to use the verb "to be". And the verb "to be" must be used in the tense that the main verb is in the active sentence. Imagine, Maria will buy the book. In the passive sentence, the book will be bought by Maria. Why? Why you will buy is in the future. Therefore, the verb "to be" will change to the future tense and will be "bought".

[00:05:09]I hope that was enough. If it wasn't, tell me and we'll clarify it.

[00:05:17]Please exchange it.

[00:05:44]Oh, just end it.

[00:05:56]Just a second, I'm finishing putting the link here, which I need to paste for those who couldn't watch, and like you all who were so kind to the live stream on YouTube, I thank you so much, but there are people who might be having difficulty, so let me just put the link here for those people, I'm so grateful for the support you've given, and I'll just put the link to the live stream here. OK? Okay, that's it. Let's see if it's finished properly. Okay. Yes, ma'am. Okay, now I'm all yours. So, Johnny, I hope I've helped.

[00:06:47]Just a second.

[00:06:51]Yes, the live stream will be saved.

[00:06:54]Hey, just give me a second. M.

[00:07:24]Sorry, Johnny. Do you need anything else? Maria says she has doubts about verb tenses and moods. The live stream will be saved. Yes, I already answered. And Violeta says she has doubts about the prayers.

[00:07:38]HH. Okay, let's go point by point. Hey Maria, could you specify what your questions are about verb tenses and moods?

[00:07:45]Imagine, I'm not going to talk about the indicative mood here, for example, if you have no doubts about the indicative mood, because we're talking about a verb tense, a mood, in this case, which is quite simple. Therefore, if you have any questions, specify them so that more help can be given. Hey Johnny, very good. If you have any questions, don't forget, on the Wonderful Portuguese Patreon, there's a video explaining passive and active sentences, and you can watch it whenever you like. Eh, prayers are what our Violeta has. Violeta, what specific questions do you have about prayers? Imagine, you have doubts about sentences with "qus," you have doubts about adverbial clauses, you have doubts about complete sentences, consecutive sentences, or any specific one.

[00:08:27]I imagine, I deduce, that temporal and causal factors, for example, won't pose major problems for you.

[00:08:32]Okay, answer that so it will be easier for me to help you. With regard to prayers, I can effectively begin by giving a summary here. Ah, in the subjunctive mood. So, Maria, in the subjunctive mood we only have three tenses, correct? The subjunctive mood functions as a wish, as a hibade, as a hypothesis. And I'm going to write this on the tablet to see if you can see it, so I can do a trick to see if it helps you a little bit.

[00:09:05]So, what is easy in the subjunctive mood? I know it's a little difficult for you because it's a method you use when you're still very young, and then you think it's very complicated, but it's not. Now, notice the subjunctive mood; let me just take note of it here. I have the present tense, I have the imperfect past tense, and I have the future tense. Right? Let's imagine, let's take the verb "to love," it becomes "love" in the present tense, "to love oneself" in the imperfect past tense, and "to love" in the future tense.

[00:09:41]What's the trick I can use?

[00:09:45]And this applies to all verbs. I can sing here, I can study here, I can negotiate whatever I want.

[00:09:53]I put "que" before the present tense, I put "se" before the past perfect tense, and I put "quando" before the future tense. What happens? He is.

[00:10:06]So, guys, this gift here turned out awful. Wait a minute, let me delete this, it looks really bad. So, imagine, it stays that I love you, that you love him, that he loves you, right? If I put "se" before the imperfect past tense, it becomes " se eu amasse," "se tu amasses," "se ele amasse." And setting aside how much it will cost, when, I'm sorry, it will be in the future, when I love, when you love. As a rule, the verb tense that prompts you to ask will always be the imperfect, which is the most difficult.

[00:10:44]Usually in the first and second person plural. Therefore, if, for example, we loved, if you loved, that is what we want to know.

[00:10:55]So, if you memorize this and think that it's a wish, a hypothesis for the future, [laughs] notice that I sing if I were to sing or when I sing. It works for all verbs. This is the trick, this is the rule, because it ends up being a rule. Well, of course things change here sometimes, don't they?

[00:11:20]We have the phrase "há ele quer que se ele queria que eu amasse," but if you memorize that before the " eh" in the imperfect tense, in this case, " se" always appears, it's easier for you to remember which one it is. On the other hand, you can also remember that the imperfect subjunctive is the verb tense of the little snake, so it has many 'ss' sounds and you automatically go to 'to love oneself', 'to sing oneself', 'would live, would eat', just like you would to the 'Marias' tense in the conditional, right? Therefore, the subjunctive mood, my loves, here, and the verbs, there's only one way for us to learn verbs, which is to take a blank sheet of paper and write down the indicative verb tenses, of which there are five. The present tense, the past perfect tense, the past imperfect tense, the pluperfect tense, and the future tense. A ruma air ao indicativo, eu escuxo o conjuntivo, que são estas três tempos que vocês temos aqui, o presente, o pretérito imperfecto e futuro. And then I'll move on to the conditional. Tidying up is nothing special. And then I'll do exactly the same for compound tenses. When I see all this written out neatly in a table, I realize that there aren't that many verb tenses I have to master, and that they work in a very repetitive and even intuitive way, especially since you are native speakers of the language. But in the case of the subjunctive mood, which was Maria's question, this is the rule that I sometimes teach and also use to remember which form I have, the verb form I have to use, the verb tense I have to use for the subjunctive. Maria, I hope I was able to help in this little way. Once again, there's a video on Patreon that explains verb tenses very well, especially the subjunctive and compound tenses, which will certainly be present in any verb tense that appears on the test, likely a compound tense. Violeta told us that she had doubts about the sentences, specifically the adverbial clauses. Thanks. I, Maria. Ah, Violet is talking to me about adverbial clauses, adverbial clauses, and let's clean up our board here.

[00:13:38]Adverbial clauses are divided into... Hmm, okay, we have five CS.

[00:13:49]Oh, the other day I had a student who came up with a really funny trick here. I don't remember.

[00:13:54]Hmm.

[00:13:57]Which one was it? It was just a picture.

[00:14:02]Well, five dogs and a photo. Perhaps it was. I do n't know. I don't know if she's present or if any of the students from that class are present in our live stream. But 5Cs TF.

[00:14:14]Exactly, Johnny. Uh, what were the 5Cs? I know that TF was a photo, but I don't know about the 5C. So let's go to the 5Cs and uh I'll uh remind you what the mnemonic was because she invented it, because unfortunately the mnemonic I know for this I can't say here. So, 5 CS, adverbial clauses, uh, violet, function as modifiers of sentences, right? Imagine, when I arrived, you left. It's the modifier of the sentence, you left the main clause. So we have five adverbial clauses.

[00:14:56]We have conditionals, right? We have causal conjunctions, consecutive conjunctions, concessive conjunctions, and comparative conjunctions.

[00:15:16]Look, it's the five Cs, right? Then we have the F, an F that's from the photo, right?

[00:15:25]That is the final prayer. And then we have the T, which stands for temporal. Temporal clauses are the first clauses you learn.

[00:15:36]Violeta, I think your question regarding the 5 C's in the sentences is more related to consecutive and concessive clauses. Therefore, the distinction between one and the other. If this is true, please tell me, so I can focus more on them. So, my dears, what do I have here?

[00:15:55]Conditional sentences are those that indicate a condition. Look, if you study, you'll get good grades. The condition for getting a good grade, the condition for the subordinate clause to occur, which is getting a good grade, is studying. So, you're going to introduce that condition to me. I'll write it down here to help. Notice, I can have an "if," I can have a "case," I can have a "except," I can have several conjunctions that introduce conditionals, but normally it's "if" or " case." Hey, my loves, if you can and want to, of course, share the link to this live stream with your colleagues so they can also benefit from it and ask questions so you can help. Ariana, are you there? It's five cameras and one photo.

[00:16:48]How could I have forgotten there were five cameras? That's it. So let's go.

[00:16:51]Five cameras. That's it. Five cameras and one photo. Because that's how we do it, and it makes perfect sense. Therefore, five CS and one FT.

[00:17:07]Each one and which conjunctions. Okay.

[00:17:09]Okay, Violet. Let's go. Point by point.

[00:17:11]Thank you, Ariana. You're a sweetheart. So, my loves, share the live stream with your colleagues. You can copy the link and share it on your Instagram accounts. You can send the invitation via WhatsApp to wherever you want. Everyone is welcome. I 'm here for this, and I'm very proud that you're listening to me. So here we go. In conditional sentences, we have a condition for something to happen.

[00:17:32]If it's hot, I'll go to the beach.

[00:17:36]Therefore, you see, I don't go to the beach if it's not hot. That's my situation. And what happens? I can have the prayers switched. I can have the main clause first and then the subordinate clause. Pay attention, pay attention. If it 's hot, I'll go to the beach. I'm going to the beach. If it's hot, there's absolutely no problem. The sentence remains conditional.

[00:17:57]Causal. Causal equations indicate the cause, they indicate the reason. They are introduced by " because," "since," "given that," and when we have only one word, we have a conjunction, as you know.

[00:18:13]When we have two or more words, we have a phrase, right? Here, Violeta, it's not very important that you know all the conjunctions and all the phrases by heart.

[00:18:24]You need to be able to identify the word, which is the conjunction or phrase in this case, and you need to understand what relationship it establishes in the sentence.

[00:18:33]Listen, if I tell you this: "I had barely arrived when you left. Do you understand that ' barely' means 'when'?" You just need to know that this evil means "when," so you can immediately see that prayer is temporal, right? consecutive. Consecutive clauses indicate consequence, that is, they will demonstrate the result of the subordinate clause. Imagine, he ate so much that he felt unwell. Feeling unwell is a consequence, a result of eating too much. What happens with consecutive sentences? They always appear in conjunction with an adverb, with a word that indicates intensity, such as "so," "so much," or "very." Therefore, I'm going to put it here, which, correctly, is always a consequence.

[00:19:28]You often confuse them with causal factors, and that's where the complication lies.

[00:19:33]Concessive clauses indicate an opposition, a contrast between two opposing ideas.

[00:19:39]Notice, even though I'm hungry, I'm not going to have lunch; it doesn't make sense because I 'm hungry. So, let's put " although" here, okay? Even though I'm hungry, I'm not going to have dinner. It's a concession as well. The comparisons, my loves, are establishing a comparison.

[00:20:01]Well, here's the thing: the comparative sentence is very simple because it really compares two elements.

[00:20:09]However, sometimes it appears to me as a causal conjunction, right? Since it was cold, I didn't go to the beach. I didn't go to the beach because it was cold. Therefore, you're not comparing two elements, are you? This shows me why I didn't go to the beach. If you're showing me the reason why I did n't go to the beach, it's a causal sentence.

[00:20:33]Correct? What does this mean? This means I have to see exactly what the reason is, what relationship is being established in the sentence, to understand what kind of sentence I have there. The most important thing is to understand this relationship. From the moment I have to identify, or am able to identify, the relationship, I no longer need to know the sentences or conjunctions by heart. Notice something about me. The ultimate goal of understanding sentences is for you to grasp the meaning of the phrase. Therefore, if they eliminate all this confusion surrounding conjunctions, all this chaos, oh, I have to know the whole conjunction chart by heart, oh my God, I have to know that gigantic chart that has 500 conjunctions, plus 100 phrases. I need to know that. It does not have. You have to look at the sentence and understand the connection.

[00:21:30]If I go swimming, I'll learn how to swim.

[00:21:36]So, learning to swim depends on the ability to go to swimming lessons. It's a conditional. You have to understand the connection. From the moment you understand the relationship, you understand the sentence, and automatically, if the question is asked to classify a word according to its word class, you already know how to say that it is a conditional conjunction, that it is a comparative conjunction, that it is a causal conjunction.

[00:22:04]Correct? Let's go to the finals. Just let me see a little bit of water, please.

[00:22:12]finals. The purposes, the final purposes, the purposes, the purposes indicate the purpose.

[00:22:20]When we talk about purpose, oh my friends, excuse me, we're talking about the objective, right? Study to get good grades, study so you can have a good profession. That's my goal. Therefore, final clauses are usually introduced by a "para" or "para que é" which gives the objective, the purpose, the intention of my main clause. Correct? As for the storms, my dears, everyone already knows about them, right? When are they inserted? because it's bad, so that it's correct.

[00:22:59]Therefore, we have here this idea that there is a temporal indication.

[00:23:07]As soon as I started studying, I got good grades. When I started studying, I got good grades. It is a temporal prayer.

[00:23:15]Right? Ah, let me just look at the verbal ones.

[00:23:19]And now Ariane wants to know the relative noun. Well, uh, OK, I'll take a look. So, the relative noun clause, my dears, tell me just one thing, uh, and I'll ask here too, uh, are you seeing our horizontal chart correctly, right? So that I can continue writing.

[00:23:42]Note that a relative noun clause is always introduced by a relative word, such as "who," "where," or "that," but which does not have a referent in the sentence. Notice that someone who is afraid, for example, buys a dog. Imagine the person who said " go leave the room," for example, if it's a classroom. Note that normally when I have these dogs or these things here, I will have a relative adjective clause. In this case, I won't have it.

[00:24:28]Why? Because I don't have the referent for that dog, or that where, or that which in the sentence—note, the sentence begins with this word. If it starts with this word, and note here, the one who's afraid is my subject, the one who spoke is my subject. The subject is usually a noun phrase, therefore it is a noun. It essentially has the value of a noun, which is what names used to be called, right? Right now we're saying names. The clause is relative, it's a relative noun clause, because it begins with a relative word, but it doesn't have an antecedent, unlike relative adjective clauses. I hope this explanation was sufficient. Eh, restrictive modifier and positive.

[00:25:19]So, let's erase our little box here and talk about restrictive and positive modifiers.

[00:25:28]Hey, what does the modifier do, Johnny? The modifier modifies, right?

[00:25:34]Oh, it's Isabel Carvalho. I'm sorry, Isabel, kisses. H eh eh the modifier modifies. So, take a look at this example. The black notebook is damaged, right? The word "black" here is modifying, modifying the word "notebook," correct? She is modifying it. If it were a white notebook, it would be different. If it were the yellow notebook, it would be different. Imagine I have 10 notebooks on the table and I say, throw the notebook away. And someone asks which one? I say: "The black notebook is damaged. It's the black one I want you to throw away. Not the yellow one, not the blue one. This black one is the noun modifier. And it's restrictive. Why? Because it's not between commas. Right? If I had this modifier between commas, or if I had, for example, the notebook comma, black comma, is damaged, notice, I have two commas, I would have a positive modifier. How do I try to teach my students the trick to memorize it? Positive. The P has a little leg here. Let's pretend it's a comma and we'll memorize that it's positive. If I have an adjective or a phrase that is modifying a noun and that appears between commas, it will be a modifier and appositive of the noun, right? Because in the 9th grade we don't ask about anything else, except for object and restrictive modifiers.

[00:27:14]Later you will learn about noun complements, etc." But at this moment, that's all that's being asked.

[00:27:21]At the ninth-grade level, we have sentences.

[00:27:24]Notice, the notebook that is black is damaged; it has exactly the same effect. Note that it's black; it's a restrictive relative adjective clause, correct? It 's not between commas, so it's again a restrictive relative adjective clause whose syntactic function is a restrictive modifier of the noun, correct? Therefore, it has the same syntactic function, note, but it's a complete sentence. And I can have the notebook, comma, which is black, is damaged. Right? Here I already have the two commas. I have it in the same relative adjective clause, but it's explanatory. And how do I memorize it? It's explanatory.

[00:28:17]Note, we're lucky, I have a P here, which is my comma. And the syntactic function is a positive modifier of the noun. And look here at the little leg, which is the comma. So, we're talking about this here. Okay, modifiers are elements within a sentence that always modify the noun, right?

[00:28:46]Ariane, "casa casinha" is vowel reduction.

[00:28:52]Exactly, Johnny. Very good. Yes, ma'am. How lovely. Wonderful. Vowel reduction. Notice. "Casa," " casinha.

[00:29:09]" That's why there's a reduction here, in the vowel, in the way you pronounce the "a." Right, Isabel? Did I help? I hope so. If not, specify your doubt more, ask for more examples, give examples of sentences that have caused you some doubt, Johnny. In aspectual, perfective, and imperfective values, to memorize them you just have to see what tense they are in. Oh my angel, you don't have to memorize, you have to understand. Look, perfective is an action that is perfectly finished.

[00:29:33]Imperfective is an action that is not yet finished, it is imperfect. Memorize it like that. So, of course, you have to look at the words, not just the verb tenses, right? And understand if that action in that sentence has a value that is finished, right? That it won't occur. Again, at least in that context, or if it has a value that is still ongoing. Imagine, I 'm reading the book, right? I was reading the book on vacation, it has an imperfective value. I was reading the book or I read the book, it already has a perfective value, right? Phonological processes.

[00:30:13]Ah, it's the little house, we've already seen it, haven't we?

[00:30:16]It could come up in the exam in phonological processes, it's already been mentioned, it's that one about Isabel not being Isabela, please, if you want the explanation of all the phonological processes that you have to know in the 9th grade. Meanwhile, I'm going to answer Maria over there and while I wait for Isabel to answer if she's not present, because if I have to explain all the phonological processes, we'll be here for an hour, won't we, guys?

[00:30:53]And that's not convenient. Well, AB, I think Camões will come up again. H, I think the literary culture of the students is much more important for h. I believe that the question of moral values ​​could come up again.

[00:31:17]Hi, sorry my tablet keeps wanting to update.

[00:31:23]However, I can't say for sure, but I think it will be here, but that's what I'd bet on. Now, my loves, I think we 're trying to guess what's going to come out. It's pointless.

[00:31:37]We're prepared, we know the material.

[00:31:40]If you watch the summaries, which are even available here for Alto da Barca and Os Luzíadas on YouTube, which are free on Patreon ( there are tons of free videos, you don't need to subscribe), you can, of course, see what's necessary and effectively understand the material. All the specific literary education content from Alto da Barca will be there; it will ask you to identify something through an image or text, to retrieve information you've learned throughout the year, but with a lot of attention, intelligence, and interpretation skills, you'll be able to perfectly understand what's being asked of you.

[00:32:31]Let me just ask a quick question here.

[00:32:39]I know.

[00:33:07]Sorry, let me see.

[00:33:13]Hmm. Wait a minute, wait a minute.

[00:33:17]Ah, I know processes. Oh, just wait a second. I know phonological processes, methesis, dissimilation, and assimilation. OK. You're missing vowel reduction to have the alteration processes, aren't you?

[00:33:31]So, my dears, let's go back to the tablet, or maybe the little board, and let's memorize the mnemonic device.

[00:33:39]The mnemonic device is the Isabel mnemonic device I created for us to memorize these segment alteration processes. What are you talking about? You seem to master the insertion and elimination processes, and you're having doubts about the segment alteration processes.

[00:34:04]Metate. That's why the mnemonic device works for us to memorize the names. We have the metates.

[00:34:12]Notice that it occurs when I alter a sound. Imagine " e féria," " passado a feira." What does this mean? It means that this "iu," it just changed places. Okay? For example, uh, another case, we have Frumoso, which we later know became Forumoso and so on, and, uh, it became Formoso. The sound didn't disappear, it simply changed places within the word. That's half of it.

[00:34:50]Assimilation.

[00:34:53]Assimilation. Oh, wait a minute. Imulation occurs when I have a sound that becomes close to another. For example, I have the word nostro, right? Uh, of course there will be an elimination of the R, and this O wasn't an O. And that S, what will it say? It will look at the T, right? And uh, on the contrary, in this case, the T will look at the S and will say that it wants to be very round and neat like it, and they will become the same. That's why it becomes nosso. There is an assimilation of that sound. In dissimilation we have the opposite, we have envy, which is what I was saying a moment ago. So we have here two sounds that are the same and become different. The example you can memorize more easily is lílio, which became lírio. Why? There you go, look, this L said: "Ah, I don't want to be like my neighbor" and it transformed into an R. It's a dissimilation. The word "dis" means two, right?

[00:36:05]Then there's vowel reduction, which was the case mentioned earlier, it's when I have one of the vowels here that weakens, for example, "festa" (party). Ah, wait, let me write it down. Vowel reduction.

[00:36:23]Note, for example, " festa" becomes "festejo" (celebration).

[00:36:30]Festa, festejo.

[00:36:33]Note that the stressed syllable changes position. Eh, and what happens? There's a vowel reduction and the vowel loses strength. What's the issue? It's that you'll always end up with a word that becomes quite a bit longer. So, visually and graphically you can detect it.

[00:36:54]So, this is the "madre," right? Which is the alteration of segments. Then we have the AZP and we have the prep, right? OAP is when I remove a sound and the I'm referring to the way we memorize these names, right? So, we have ferze, syncope, and pocope, and prose is pendesis and paragoje. We have to memorize these hifis, but I believe no one will ask you this directly. They might ask you in another way, through a multiple-choice question by filling in the blanks, but I doubt that will be on an exam, very honestly.

[00:37:44]And now, there you go.

[00:37:48]Summary.

[00:37:51]OK. But the wise woman had a question earlier, I think. OK. Essential summary of the storm episode. Well, uh, Ariana, the storm episode represents the last obstacle the Portuguese faced before reaching India, right? We're talking about a storm that was orchestrated. There was this betrayal by Bacchus, Neptune, and Aeolus against the Portuguese. It's a storm that has... hh... I was just trying to remember the homework I assigned.

[00:38:34]Gigantic dimensions, correct? It has terrible effects. In men. Men despair, men scream.

[00:38:43]Right? There's a verse that says screams wound the sky, men wound, hurt the heavens by screaming, and it has terrible effects of panic, fear, pure terror on men. It has terrible effects on animals. Seabirds flee to land in such fear, and dolphins hide in caves, taking refuge from that whole storm that is on the surface of the sea, and it also has devastating effects on the nature that is in and around the sea. The trees never thought they would see their roots turned upside down. The mountains are knocked down by the terrible waves, and the sands of the seabed are churned up. This violence, I apologize, all this violence aims to demonstrate the grandeur, to exalt, to highlight, to praise the value of the Portuguese.

[00:39:41]Why? Because the Portuguese were able to face such a storm, right? Vasco da Gama panics, begs God for help. We already know that it is not God who will help him, So, who's going to help him? Does anyone know?

[00:40:01]Vasco da Gama implores divine help, hence the divine intervention, but the one who actually helps him is Venus. Venus sees our protector, the goddess of love, and sees the state of the beloved Portuguese armada.

[00:40:20]We're talking about four ships: São Rafael, São Gabriel, Berrio, and Nalde Mantimentos. And she's absolutely annoyed, of course, because it's always annoying to be caught off guard by a situation we weren't expecting. Secondly, she's clearly annoyed with Bacchus, because he's always that little boy, isn't he? "Poor me, look at me, I'm so tiny and so unhappy, and the Portuguese can't reach India because nobody will like me. I need all the attention on me. I don't do anything right, do I? Just a god sitting here quietly having fun." And Bacchus is so silly, so silly, so... That fool, who has to continually create these obstacles for the Portuguese. He's really the kind of person I want everyone to look at. I can almost picture him today if he existed and how he would be dressed, but that's another story. And then what happens? Venus tells the nymphs: "Girls, you're going to have to go to the winds, who are your lovers, and you're going to seduce them, manipulate them, so that they leave the Portuguese in peace, easily conveying the message that if the winds continue with all this aggression, you're going to start being afraid of them." Right here are Galatea and Orithyia, the two nymphs who speak to the winds. Then, uh, Camões [clearing his throat] tells us that the others did the same, but he only gives us the example of uh Orithyia and Galatea, who then say to their beloveds: "Look, you muster up, calm down, you're being very aggressive, I don't know why you're acting like this, but from now on, if I look at you this way, I can no longer see you as a loving, affectionate, dear, tender lover, but rather as someone I will be afraid of." Of course, when the winds hear all this, they see their beloveds retreating, fleeing, uh losing confidence in them and not wanting or desiring their touch and presence, the winds no longer care about the Portuguese. They don't care about Vacus, Neptune, uh Aeolus, the Portuguese, they are absolutely not interested.

[00:42:47]They then invest all their energy and all their attention in their beloveds, in their maidens, which means that their heads are in Right place, correct? And then Vasco da Gama and the Portuguese Fleet, the ships arrive in India early in the morning, right? They start to see India. The pilot says: "Hmm, I think I have a feeling we're arriving in Calcutta." And Vasco da Gama kneels, thanking God, when we know it was Venus who saved him through the use of this loving emotional manipulation of the nymphs. And let's not forget that Cupid was also involved because he styled the nymphs' hair to make them look beautiful for the winds. Everything else, my loves, what we have, the beautiful descriptions, for example, of how the lightning darkened the nymphs' hair, the descriptions of the impact of the storm on the hearts of men and on nature, is simply, once again, the literary richness of Os Lusíadas and Camões enriching the descriptions. But in short, that's it.

[00:43:56]It's true, Violeta. It's true. Dionysus, who is Bacchus, is a little bit like that.

[00:44:01]Excluded, mainly by his father.

[00:44:03]However, my dear, I believe, and I try to be guided a little by this, that our traumas are ours to resolve, aren't they? And the problems we have from the past shouldn't be carried over into the future or the present. Which means that if Vaco has a problem, he has to resolve it with himself and his father, and he does n't have to go around ruining the lives of the Portuguese. It's true that the Portuguese, poor things, only wanted to get to India, they didn't want to do anything wrong, did they? Therefore, Bac is not to blame at all. Bac is not to blame at all, the Portuguese are not to blame at all.

[00:44:39]Okay, okay, okay.

[00:44:42]Oh, yes, it was Sabi Lover. Doubts about the last cantos of the Lusiads. I see, you're still around, my dear.

[00:44:50]You can answer, specify your doubt, or if you want me to talk about two cantos, specifically the last two cantos, what you, I think you're talking about in the epilogue, and I won't return to Portugal, right? Eh, but let's confirm, wait a little bit. Direct speech, indirect speech, Johnny. Direct and indirect speech. So, Professor Marta asked Johnny during Saturday's live stream : "Oh Johnny, direct and indirect speech, my dear, direct speech is when someone speaks directly." Normally in texts we use dashes, right? I 'm here today, aren't I? I'm right beside you, Johnny. I am here today giving a live speech. How does this look? Marta told Johnny that she was there that day. So notice, "here" became "there," " today" became "that day," because that sentence will be read at any time, so we're not interested in saying it's "today," because it's "someday."

[00:46:03]And the verb tense also changed; it went to the past tense. In other words, we have little words that we already know change, in this case, "aqui" (here) becomes "lá" (there), and then the verb tenses change to the past. There's not much difficulty here, because notice, and there's also something interesting which is that there are many different ways to use indirect speech, so first, I doubt they'll put this up as an open-ended question; it'll be multiple choice if they do. Secondly, you can use direct and indirect speech through compound tenses or simple tenses. Imagine, uh, Professor Marta had said or Professor Marta said, it's the same thing, right? Therefore, they would have to accept. Basically, it's repeating what someone else said, in essence. Therefore, here we have to change the words, we have to change the verb tenses.

[00:46:59]Hmm, I haven't learned Ata India. Could it be on the exam, Isabel? It's possible, but it's already happened, it was a long time ago. The Indian auto exam, if it appears on the exam, has to appear; imagine it's question 12, question 12A and question 12B have to appear. Imagine, 12A will be the top of the boat to hell, and 12B will be the top of India. And you only have to answer one of them. It's always like this. When did this happen? I don't believe it, it won't happen again, but hh eh Sabi Lover already answered the question in general terms. OK, I want to speak in general terms. So, what do we have, my loves? Let me just open the manual here... I think that when Sabi Lover talks to me about the last two corners, she's not really talking about the last two corners, my dear, because the last two corners are a gigantic thing. You're talking about the last stanzas of Os Lusíadas, so the epilogue is "No more muse, no more," right? Probably, I think. I've never heard of Alto da Índia. Well, because most schools offer a truly epic journey to hell, don't they? The altar is yet another work by Gil Vicente, but it's not going to be released. There are many similarities, but the alabarc is much more widely used, isn't it? That's perhaps why it's been easier for them in recent years to put up the lights.

[00:48:33]So go ahead, Sab Lover, let's get to the epilogue, shall we? Arriving in Portugal isn't that important. What's really important is the epilogue. And the epilogue begins... yes, beautiful. Well, because the corners are the ninth or tenth, right? We're talking about Love Island, it's a gigantic thing. It begins in stanza 145 where Camões tells us: "No more, no muse, no more, for my lyre is out of tune and my voice is hoarse." Camões is discouraged, he is sad, angry, disillusioned. Why? Because he needs to be fed, he needs his worth to be recognized. To continue writing, he needs recognition for his work. He is disillusioned, he is sad, he thinks that the men of his time have no moral values, they don't deserve what he brings to the table.

[00:49:37]Do you understand? Oh, do you understand? Do you understand? In a matter of him being an absolutely superior man, who wrote a work that is still masterful today, so notice, in the 10th century, the most serious thing would be... and he says he is not tired of singing, he is not tired of what he is singing, but rather of singing to deaf and hardened people. He feels that it's not worth it, that people They don't want to learn, they don't want to evolve, they don't want to be more, right? And then he says that the homeland is mired in greed, in covetousness, right? That the homeland only wants to think about material goods, to get rich, to live for pleasures, in the end, the most frivolous things, that it doesn't want to prioritize, or even improve in intellectual and spiritual terms. That offends him immensely, right? And he continues that he doesn't understand why the homeland is so sad that it doesn't accomplish great things. And he continues saying that he doesn't understand why the people, the king, have no pride, right? In the deeds of the past. Because you understand that Camões took The Lusiads to Dom Sebastião and he ridiculed them, right? And then he says: "Therefore you, O king, who by divine counsel are on the opposite royal soil," he says: "O king, damn it, you are here on the throne, remember, we were in absolutism, weren't we? You are here on the throne by the will of..." God.

[00:51:36]Look at your people, look down, don't just look up, and see that you are king of excellent vassals.

[00:51:48]There's something very important, my loves. Camões speaks to us about this in the 10th century, and we still know it's true today. We don't value what is ours. And there's something very sad, a very interesting psychological phenomenon that happens to all of us. We all have to share some of the blame here, especially in relation to our parents, which is that what is too present, constant, and reliable becomes so habitual that we stop seeing it.

[00:52:24]That which we can trust, that which we can believe in, and that which we know is there, love, for example, and dedication and loyalty, which we cease to have. And this is what Camões is saying. You are not seeing the value of your people. Your people are incredible. Value them, because while we are distracted and don't see what is important, what is always there, and we don't pursue it, why? Because it's there. Always, right?

[00:52:53]When the presence, the love, the loyalty, the concern are always there, I don't notice their absence. Because I don't notice their absence, I don't value them.

[00:53:03]But when they're gone, I do value them.

[00:53:05]And what he's saying is: "Value your people in time." Value your people while you can. Value your people, encourage them, be proud of them, lead them to achieve great things, like the great things of the past, things that he just sang about in Os Lusíadas, right?

[00:53:22]And then he says he's a Renaissance man. Notice, in stanza 154, he says: "But I, who speak humbly, lowly and rudely, unknown to you nor dreamed of from the mouths of the little ones. I know, however, that praise sometimes comes out perfectly." He says: "It is not a fault in life or in this study, nor, I apologize, with long experience mixed in, nor ingenuity, that here I see things that are rarely found together." What does he say?

[00:53:52]Notice, he says that he studied immensely. He is a very cultured man, who is experienced, has lived immensely and has talent, which are three things that are not found together. Right? And these three things that are not found together, as they are right there at hand, are not being valued. Ah, because they are always there. He took the brilliant books to them. Take the brilliant books so you can read them. Oh, how cool.

[00:54:17]That's great, it's done. So, he didn't value them.

[00:54:20]He only asks. I only lack being accepted by you. I only lack being valued. And you say: "Ah, they, he shouldn't need the "Appreciation of the men of his time." He was disillusioned; he was embarking on a grand work and reached a point where, although he didn't need their appreciation because they were mediocre compared to him, well, enough already, isn't it? Just a little bit, look at me just a little bit, I just need a little bit of attention. That's what he says [snoring] and then he says: "Why?" Because I am here ready to serve you in every way.

[00:54:57]Give me a little bit of attention, I am always here for you. Look. To serve you. Arms ready. I am here to fight for you, king. He addresses the king, folks. Voice, to the king to sing to you. My mind was given to the muses to write of your deeds.

[00:55:15]My mind was given to literature. I was born to write, man. What could be better? The combination.

[00:55:22]Look, in this era when everyone was illiterate, what could we have? Is this better? We have a man who is a soldier who wrote a colossal work in which he combines the history of a people with mythology and at the same time recounts all the feats that were accomplished in the conquest of the seas. He puts all this together, shows it to the reigning king at the time, dedicates this work to him and says: "I am here to continue doing exactly the same as I have done until now, but for you." And I am here to serve you as a soldier, because I am a patriot. And I am here to serve you as your author, your biographer, if you accomplish great deeds."

[00:56:07]And Dom Sebastião didn't want to know. It's all right. Like, he was dumb. We already know, but please, not that dumb.

[00:56:14]And then he goes on to say that Dom Sebastião has to accomplish great deeds, right? So that he can sing about them, because it means that Amões wouldn't write: "Oh yes, Dom Sebastião spent the whole day lying on a sofa watching people play the air to go and eat grapes, right?" It doesn't make sense. Dom Sebastião had to lead the people to accomplish great things. He didn't take responsibility, he didn't do it, he didn't promote it, he didn't encourage it; he wasn't a leader as he should have been, and he was listening to people who only had financial interests. Therefore, what Camões does here is reveal himself as a humble man, but one who possesses knowledge and awareness of his own worth. He says: "I am humble, but I know that I have value, and I do." Basically, it's that kind of joke we see a lot, and I'm humble enough to know that there might be someone better than me, but I know I'll never be replaced. In other words, he knew he had to be humble and he was humble, but he also knew he was one of the best there was and the king didn't take advantage of him. Basically, that was it. I hope I've helped Isabel. It was Isabel, wasn't it? I already explained to Violeta that Alto da Índia has some similarities, but you guys are giving it the top of the boat to hell, my dears. Therefore, even if the heights of India appear, the heights of the boat to hell must also appear. Notice one thing, this question comes up every year, my loves. The teachers have a list of books to give, right? And then in the case of the high barge of hell, it's the same thing as in the case of the story of the maid, for example, it appears we have to give one of the acts, either the high barge of hell or the high India. And we chose.

[00:58:06]However, if the person taking the exam chooses to put the top of the boat to hell, they will have to put the top of India for the people who didn't give the top boat to hell. So don't worry about it.

[00:58:21]Ah, Dom Sebastião is the one who disappeared.

[00:58:24]Who disappeared in Seuta. Yes, ma'am. Very good. Which other Violet?

[00:58:32]So, Violeta, you have doubts at the top of the boat to Hell? What are your specific questions? Well, if you have more, you can go to the wonderful Portuguese Patreon and also here on YouTube, but it's more complete on Patreon. There are several free videos there that you can watch that might help you, right?

[00:59:18]My loves, I'm trying to answer everything. I see some questions that have already been answered at the beginning of the live stream, but I 'll try to respond to everything. So, please make sure everything is in order, and we 'll be monitoring it.

[00:59:32]Ah, the modal value. Sara, you need to be a little more specific in your question, right? We have here the Diontic epistemic modality; we have several modalities. I'll even open this up to see what was being discussed earlier regarding the perfective and imperfective aspects, but let me just confirm something here, and so, Sara, I ask you to be a little more specific, and Maria, that was the summary of the episode about the farewells at Belém. Okay, let me just check something here for a second, my loves.

[01:00:13]Oh my God, where are we?

[01:00:16]Exactly. So, the farewells in Belém. The farewells in Belém are the saddest episode, besides Daniel de Castro de Castro, obviously. Why?

[01:00:27]Because we have the HS 170, guys. There were a lot of people, 170 men who are setting off for the sea. And you have to imagine that this match was [snoring] a match where nobody knew, we didn't know when they were coming back, nobody knew if they were going to die, nobody knew. The women, the wives, the mothers, the children didn't know if they would stay and live with other people, if they would return, if they would die at sea, if they would die of disease; absolutely nothing was known. So, what do we have? We have a group of men who go out, initially, but now let me open this up to see if I miss anything, although we know all this by heart so we don't forget any aspect.

[01:01:23]I'm here passing by the mast.

[01:01:24]Exactly. So, initially we have the ships. The ships function, they appear here personified and they function as the engine, the agent that has all that creative energy there. The ships are ready to set sail. The ships are ready and promise to become immortal. Notice the comparison. Being from Olympus, Stars in stanza 85.

[01:01:52]The ships are ready. "Men come from everywhere," Camões tells us. And the seafaring people and the people from Mars are going to follow me everywhere. What does this mean? Seafaring people. The sailors and soldiers are ready to follow Camões everywhere, without hesitation. What does this show us?

[01:02:12]It shows us that they are apprehensive, but at the same time extremely excited about the trip, which is beautiful, right? Because what they want to achieve here is a new world. That's exactly it. So what does Camões tell us then? They prepared their souls for—I'm sorry, they prepared their bodies and the boats for the journey—so they had to prepare their souls for death.

[01:02:36]How does one prepare the soul for death at this moment, my angels?

[01:02:39]Praying, praying, talking, going to mass. Therefore, they went to mass at the Bethlehem chapel in Restel, on the beach of Bethlehem, and they implored God for help so that their start would be good and that the trip would go very well. And each one, certainly, at the moment they were listening to the sacraments of the church, was wishing for something for themselves, to protect their family, to become rich, for the journey to go well, that they would not die, etc. Then we know that Vasco da Gama is recounting all this in a very heartfelt way, saying that he is remembering and, in remembering, he is getting emotional, that he has to hold back his tears. She's the one hurting him when she's just remembering what happened. And remember also that he didn't allow the sailors and soldiers to say goodbye to their families. Why, my loves? Fearing that at the last moment they might back out of their decision to leave. In other words, everything is very nice, we're preparing for the trip, oh darling, I'm going to miss you so much, etc. But right there at the limit, when there was no turning back, when the wives and mothers and children were already watching their husbands leave, right? It would be their last hug, their last kiss, and they would never see each other again. Vasco da Gama said: "It's better not to have last hugs and last kisses, because otherwise they'll retreat, they might give up.

[01:04:17]So what happens? Well, he doesn't let them, they don't say goodbye, right? Since they don't say goodbye, Vasco da Gama continues his journey, doesn't he? Or they go to the boats that will take them to the ships. And then what will happen? What will happen is that our dear Camões will put into direct speech the elements that suffer most from this situation, which are the mothers, right?

[01:04:44]We have the mother saying to her son: "Why do you abandon me now that I 'm old and need you so much?"

[01:04:50]We have the wife saying: "How dare you?" To risk your life, which doesn't belong to you, but also belongs to me, because I love you and I can't live without you, right? And then Camões also tells us that the old people and children accompanied the women in these words, and that then the number of tears was equal to the number of grains of sand. Here we have an exaggerated metaphor, showing that the suffering was immense. What is the purpose of this episode? It is to show the extreme suffering, the human sacrifices that the Portuguese people had to endure in order to achieve their goal of reaching India. Well, the hyperbole here clearly shows that, as we see in the proposition, the Portuguese people, in addition to showing superiority at sea, in addition to showing superiority at the military level, also showed superiority in terms of their psychological and mental strength, and their intention, because they had a mission. They had a goal, an objective, they were true to themselves and they persevered no matter the cost. They were going to overcome everything and everyone to achieve their goal. That's what they did, right?

[01:06:15]And he concludes by saying that when you love so much, it hurts both the one who leaves and the one who stays. The feelings of those who leave are then a mix of enthusiasm and apprehension, so apprehensive and so sad, yet so enthusiastic. The feelings of those who remain are nonexistent; there is no enthusiasm here whatsoever.

[01:06:31]There is despair, fear, apprehension, dread for those they love, and intense suffering.

[01:06:36]Right? Hah.

[01:06:40]Okay.

[01:06:43]Okay. Modal value, guys. You guys are making me jump from the Lusiads to the modal value and it's 6:10, right? Let me just check a little bit of water here. So, modal value is the intention of a speaker when they say something. In other words, when I say " when I formulate a statement," my objective is always one, right?

[01:07:12]And then let's look at the modal values. We have the option.

[01:07:17]I'll write here again on the tablet, if you don't mind.

[01:07:22]Let's start with the epistemic modality, shall we?

[01:07:27]The epistemic modality [snoring] expresses the attitude he adopts in relation to what he says. For example, notice that it can have a value of certainty or probability.

[01:07:45]Probability.

[01:07:48]Imagine when I say Camões wrote Ologías, it's an epistemic modality with the value of certainty. Right?

[01:07:56]Here are some funny little tricks I'll teach you later. The probability value could be "it's likely that Camões will appear on the exam, right?" I'm not sure, but it's likely. Well, regarding the Dionic modality, we also have two levels of Dionic modality, permission or obligation. Sometimes the manuals modify how they present it, but let's talk about obligation.

[01:08:38]The most advisable order would be to talk about obligation. So notice, you can, for example, leave the room, that 's permission. I am giving permission.

[01:08:52]Get out of the room, I'm giving orders, it's an obligation, they are different instructions, but they are both Diontic modalities. And then I have the appreciative mode, which is when I give my opinion. This is the easiest one, right?

[01:09:11]Uh, for example, uh, thankfully it 's warm, right? I love The Lusiads.

[01:09:20]It's hot. Let me put it here. Certainty.

[01:09:23]Probability. Could Camões be on the exam?

[01:09:29]In the test. In the proof or certainty. Camões wrote The Lusiads.

[01:09:38]Correct. There. Very well, my loves. Hey guys, what complicated names!

[01:09:45]Epistemic. of appreciation.

[01:09:49]Well, this will never appear to you like this in the first place. Imagine a sentence that might appear, like, "Let me think, for example, hh, you need to study more math, right?" And then it says: "In the sentence presented we have a value of obligation, permission, and you evidently arrive at the point where it is a value of obligation." But let's see how we can decorate this.

[01:10:21]Epistemic modality. It's a funny trick, not my own invention, but I think it's great. Epistemic, remember?

[01:10:29]Epidemic, right? So, if I get sick, if we're in an epidemic, I have a certainty or a probability of dying, right? Therefore, there is either a certainty or a probability.

[01:10:42]Dióntica reminds me of a dictator. The word dictator implies that I have permission or an obligation, because a dictator either compels or permits me to do something. Appreciation is easy because it gives my assessment. I don't need to come up with any tricks to decorate here.

[01:11:02]Therefore, epistemic, certainty or probability, when I say something, dionic, permission, obligation and appreciative. Ultimately, it's my opinion when I formulate, speak, or express an idea or statement. We can decorate epistemics with the idea of ​​an epidemic; it's the certainty or obligation that I will, excuse me, the certainty or probability that I will die. And so it goes, the dictator either allows it or forces it. It's a rather strange trick, but it works.

[01:11:42]I am not a machine.

[01:11:45]It is fine. I hope this has helped.

[01:11:48]Oh, oh, oh, oh. Okay, let me clean here. I have a lot of difficulty interpreting texts. What can I do besides training by taking exams? It's Sofia. Sofia, my dear, yesterday I posted a video talking about exactly this here on YouTube. At the end of this live stream, if you can, go watch it, and if you manage to, well, I know it might seem like a waste of time, but it's not, I guarantee you. Go watch all the free videos that are on Patreon, whether they're seventh, eighth, or ninth grade.

[01:12:29]Look, this exam is an exam that, basically, assesses competencies 7 and 9, which are text analysis, right?

[01:12:40]Text interpretation, because all the reasoning I do is based on what is said directly and indirectly, through expressive resources, through metaphors, uh, so notice now it says this here, what could this mean? Where does this lead us? All of this is being built gradually, so you watch these videos, then give them a little heart to let me know you've been there, they're free, watch them and I think they'll help you. And also watch the video I posted here yesterday about how you should look at the texts in the national exam. I hope this helps.

[01:13:15]Ah, substantive and developmental questions from the exams.

[01:13:21]Hmm. Well, we've been here before.

[01:13:28]What was the example?

[01:13:32]Ah, thankfully it's warm. Thanks.

[01:13:36]Thank you, Johnny.

[01:13:37]Yeah, yeah, sure, sure. That's right, we have many videos, we have many free videos, and we also have many videos, some of which are paid, as is obvious. You can watch all the free videos that are in the 9th grade, 7th grade, and 8th grade collections. You can also go to the folder that says " free" and watch all the videos that we've made available for you to see and that will help you. Well, on the other hand, if you think the exam on Wednesday is useful, it also doesn't hurt to subscribe and see everything clearly, as it might cause you some doubt. I 'm sure it will help you, especially those people who have many doubts about the Lusiads. Look, I 'm sure you won't regret it.

[01:14:51]So, Sab, Lover, and Salvador, I hope I've answered your questions. Give it a try. I think you won't regret it. And don't forget that for next year in 10th grade, all the materials are there too.

[01:15:01]Ah!

[01:15:03]Ah! Was it you? Very well, I saw it.

[01:15:07]Can you do it, Salvador? Do you know how you manage it? I'll tell you how you can do it. You'll see what you need. Forget about grammar.

[01:15:17]Forget about grammar. You'll see them bright.

[01:15:20]Trust me. You'll see the lights, you'll see the stories, and you'll see the poetry. Right? And notice, there aren't that many of them. You'll manage to do it while you're having dinner, while you're doing something else; you don't need to be constantly, constantly, constantly watching, do you? Just listening can also help. I hope you like it. Leave little hearts to show that you've been to the right places. Kisses.

[01:15:42]Questions regarding subordinate clauses, both noun and adjective clauses, and developmental issues. OK, Georgeia, I need you to tell me specifically what questions you have, because I've already spent a lot of time here talking about noun clauses. Huge, very.

[01:15:56]Oh, immense, very. Oh my God. My God. So you see, my dears? This is a huge redundancy, a very big one. And Jorge, I had to explain, so this live stream will be recorded, you can see later that we have five cameras and a photo, so we have five sentences with ' ss' and 'sess', in this case, causal, conditional, comparative, consecutive, and concessive. And then we have endings and temporal events, right?

[01:16:22]Houses, why do you want to know the summary of the first stanza of "The Portuguese Sea," woman?

[01:16:29]To the salty sea, how much of your salt is made up of the tears of Portugal. Because we crossed paths with you, how many mothers wept, how many children prayed in vain, how many brides were left unwed so that you could be our sea.

[01:16:42]So, in this first stanza, in this first verse of the Portuguese sea, we have the human sacrifices that were necessary to reach India, for the discoveries to occur, not only the sea route to India, because when Fernando Pessoa speaks to us about the Portuguese sea, he speaks to us of the whole era of discoveries, of the whole great enterprise of discoveries, and he speaks to us of the salty sea as much as of your salon, tears of Portugal.

[01:17:16]Wait a minute, I just did something here. Oh, and what happens then? H, the sea here is interesting because it's metaphorical and hyperbolic as well. Tears have salt in them, right? So what does Fernando Pessoa tell us? Fernando Pessoa tells us in "The Portuguese Sea" that the salt contained in the tears of the Portuguese people, their suffering, was the salt that seasoned the sea. Therefore, the suffering was so great that it brought salt to the waves and to the sea, to the seawater.

[01:17:56]Correct?

[01:17:59]Hmm.

[01:18:01]Johnny, I watched some videos and even did some exercises applying A and referring to the old man of Restel. But I don't remember mentioning that on the show. Well then, my love, the old man from Restelo is all about general knowledge, right? Therefore, it cannot be addressed in an exam. The Old Man of Restelo is an episode that occurs right after the farewells, and he is a man who appears and says exactly what Camões thinks, which is, at the end of the work and what many people at the time thought, that there was no point in risking the lives of those men just to go and discover a new path. In other words, it's the opposition, the person who comes to represent those who oppose the discoveries and who believe that Portugal is being driven here largely by greed and the pursuit of profit, right? That's the character.

[01:19:01]OK. George Lelis says: "OK, thank you very much. I've been looking at it and I understand the coordinates, but I do n't understand the noun and adjective clauses." OK.

[01:19:14]Adjective clauses, let's go, my loves. Let's go. HH Jorgia, this is just TS there and you're also asking me about three pre-existing resources. OK, let's go then.

[01:19:26]Adjective clauses. Hmm. Bring me the blue bottle.

[01:19:39]So let's go. Pump. The bottle that's blue is brought to me. [snoring] This one, Georgeia, is replacing the word bottle with, right, my angel? It's a relative pronoun, right? Well, the phrase would be: "The bottle is brought to me, the bottle is blue." I would have two simple sentences to put together: " A bottle arrives that is blue." This is a relative pronoun that is replacing the word, the noun "garrafa" (bottle).

[01:20:09]We are restricting the prayer that is blue.

[01:20:15]It's specifying which bottle it is. It doesn't use commas; it's a restrictive relative clause.

[01:20:22]Well, if I'm here, for example, the comma bottle I found yesterday, comma, it's blue, I already have exactly the same thing, only it's between commas. Note what is replacing "bottle," therefore it is a relative pronoun. The clause will be a relative adjective clause, but since it's between commas, it will be explanatory.

[01:20:51]Always remember that since the letter P has a little leg, it's a comma. Therefore, anything that is explanatory or positive and has a P has commas. My loves, let's go here. Hey, Jorgia, I hope I helped. You can also find videos on Patreon explaining all of this.

[01:21:09]Let's make this plan perfect, okay? When it comes to putting together the scheme, it's wonderful, isn't it?

[01:21:18]OK, so let's get down to business, my loves. We're in the middle of a wonderful situation. Wait a minute. What a wonderful scheme.

[01:21:26]The marvelous scheme. So, what do you mean when you tell me, "Oh, we have doubts about relative active clauses, we have doubts"? What you're really unsure about, my dears, is Yes.

[01:21:43]OK. Yeah, I can write more here if needed. And that. Yes, write more to the left. Oh, what we have, my dears, is doubt in the questions. So, let's get to the questions. That's why I have one here that's all very clever. And you say: "Oh my God, the things they do are ruining my life." They do, but let's simplify, shall we? It's getting very hot. Let's simplify what I have in my queues. I have one that usually happens because teachers are very strange people who think about how they're going to ruin the students' lives. Typically, this is what will introduce a complete sentence.

[01:22:24]Therefore, when I have a verb plus one that, it is complete, right? For example, he said he was leaving. " O que ia embora" is a complative clause.

[01:22:42]Notice that "disse" is a verb, right?

[01:22:45]Perfect. Then, when I have one more than one, I will have a consecutive prayer.

[01:22:58]Oh, he's so sad that he left.

[01:23:04]Right? Again with "although," isn't it? It's so intense it's like a consecutive prayer.

[01:23:10]What am I going to get from this side? I will have the relative adjectives. So, notice, when I have one name plus another that, I'm going to have a restrictive relative. For example, the pencil that is blue. I don't have any commas, I have a name which is the pencil plus the "what," which is the pronoun. Uh, I'm going to have a restrictive relative clause. If I have a name plus a comma, wait a minute, plus one that plus a comma, then I have a relative explanatory conjunction.

[01:23:53]For example, the comma pencil, which is blue, is beautiful. That pencil is amazing. I have never seen such a beautiful pencil in my life.

[01:24:04]This sentence, excuse me, I have to underline the sentence correctly up here. And here too, this phrase, which is blue, is relative and explanatory.

[01:24:13]So, my angels, here we have a diagram that's a little simple, even too simplistic, but it helps immensely.

[01:24:24]Why? Because I think of nouns as more than relative, restrictive, nouns as more than commas, explanatory, verbs as more than complete, and so as more than consecutive. And here are the four most common prayers that I have arranged.

[01:24:39]Oh, euphemism, pleasurable expression, and antithesis. Yes yes. Well then, my loves, I'm loving your conversations here. I'd love to read all of this, but I have to reply.

[01:25:13]So, let's go. Georgia Lilis, the euphemism. Euphemism is softening an idea. Imagine, for example, when my students tell me: "Oh teacher, you speak a little loudly," they mean exactly that I sometimes shout. They are softening the idea. The most famous euphemism, or one of the most famous, in Portuguese literature is Camões's. "To take Inês from the world," which is to kill Inês, is a euphemism. We are removing Inês from the world, right? We are saying that King Afonso IV murdered her. It's a euphemism, correct? Pleonasm is the repetition of the same idea, correct? A link. If it's a link, it's already a connection. Imagine the weak and without strength. I am weak and without strength. Correct? It's the same thing. It's a pleonasm. I'm repeating the same idea. Antide is the coexistence of opposing ideas, right?

[01:26:20]Fierce love. Furious love, for example, a cruel grandfather is another antide. We have ideas that are opposite. Love cannot be furious. A grandfather cannot be cruel.

[01:26:35]Indirect object: harvest days and oblique. Well, the indirect object answers the questions "to whom," right? Uh, in this case, "uh," which is addressed to the verb " uh," or "who" can also be "who." The teacher addressed the class, right? That's the indirect object. The girl bought flowers " uh" from the florist. From whom? Ah, "florist" is the direct object. She bought flowers for her.

[01:27:13]You can always replace the indirect object with "her."

[01:27:18]You can't replace the oblique object with any noun. That's the trick. You ask, "uh, I trust you." I trust whom? You. I trust her, I trust you, I trust her.

[01:27:33]No, you can't replace "in you" with any pronoun. That's why it's a part you need in the sentence. You need it, and I trust it. The sentence remains incomplete. I need the rest. In it, in her, in you. But you can't replace it with a noun, right?

[01:27:51]Sny says: "There are only a few days left until the exams. "I'm desperate." Oh, Sunny, I'm sorry, because I don't know where to start. Should you start with some method? Oh my dear, this is going to sound a little presumptuous, but I'll tell you, look, start by watching the videos that are here on YouTube, okay? They 're summary videos, and go to Patreon because it's wonderful to watch all the free videos there. Eh, that would be ideal. You still have 1 2 3 4 5, you still have five days, you can still do it. Eh, I think so. And do, look, do this, pretend, subscribe to Patreon, okay? Great. And pretend you're watching a series on Netflix, you watch all the videos nine years in a row, like watching Euphoria, for example. What do you say? It's fun. [laughs] HH. Very good. Ah, Lari, can you explain the preparation for the Island of Love in Lusias? The preparation as the moment when Venus goes to meet Cupid.

[01:28:47]Larri, is that what you want to know?

[01:28:50]Hmm. Hmm.

[01:28:52]Oh my loves, I see you talking a lot about grammar. You're obsessed. I don't understand. There has to be a name for this. Grammar is an obsession for you.

[01:29:02]Think about literature, look at short stories, look at poetry, go read, go be inspired by words. That's what's important.

[01:29:12]Yes. OK. So, what happens?

[01:29:15]Venus, just as we have divisions in the house for clothes, Venus has islands, doesn't she? And so Venus prepares an island for the Portuguese and she chooses the most beautiful island she has, right? A very green, very fresh island, very attractive to the eyes, to the senses, with good food, good drink, refreshing, where they can rest, right? She prepares this island to offer to the Portuguese and has a kind of, we can call it, uh, therapy with the nymphs in which she, with the help of Cupid, It makes the nymphs fall in love with the Portuguese men so they will give themselves to them. Why? Because the nymphs will have romantic relationships with the Portuguese men, and the goal is for them to be in love so they are more enthusiastic in the romantic relationship.

[01:30:11]And for this purpose, she will ask her son Cupid for help, as is evident, isn't it? And she goes to his dwelling, her chariot drawn by swans, doves, and everything around her falls in love. She spreads love wherever she goes. When she arrives at Cupid's dwelling, Cupid is preparing a war against the world, but it is a war of love. Cupid believes that men continue not to value love, feelings, and to give importance to people's lives. And so, he says he will punish them, he will punish them, showing them in the harshest way possible that they should not use people but objects, and that they should not love objects but love and not use them. That is exactly what... It is said in the work.

[01:31:06]We are talking about something that was written in the 10th century, let's not forget. And that is the preparation. The preparation, in essence, is preparing to receive the Portuguese. Because, look, the notion that in the 10th century we are having this idea. Camões understood that love is not easy, that is, it is not something that happens naturally. Passion, yes, and that beginning is all very easy, but then love itself needs to be worked on, right? This is like that idea of ​​compatibility, incompatibility, they are soulmates, that doesn't exist. Love has to be worked on, just like any other skill, just like friendship, just like my effectiveness as a professional. And there has to be a predisposition. And so what does Venus do? Venus places this predisposition in the Nymphs, makes them predisposed to receive the Portuguese. That is the preparation of the Island of Love. Why? Because the Island of Love is the prize that the The Portuguese will receive it. Love is the reward the Portuguese will receive for having achieved their goal. Right?

[01:32:25]Georgia, I recommend that you focus on reading, reading, reading, reading, reading, reading, watching videos, if you want, that involve reading, the various texts, the chronicles, the poetry, the author's short stories, the Lusiads and the Alta Barca. Forget about grammar. Grammar will be residual, my dears. You saw that in the model exam. How many grammar questions did we have, guys? One direct grammar question and one disguised one, which wasn't really 100% grammar. Uh, in the model exam, I apologize, in the model exam, right? So, you should focus on interpretation and uh on literary knowledge, right? On what you interpret from the works. Of course, it helps immensely if you review the short stories, aia, hh, ah, for example, the hen, right?

[01:33:16]Because all of that is what is taught in schools, it's the What's in the plan is what 's in the curriculum goals; they can't deviate much, right? For example, we also have the animal collection on Patreon, that is, many works.

[01:33:30]Look, darlings, think with me.

[01:33:32]A poem from the seventh grade, "The Vagabond of the Sea," came up in the sample test. That's why you have to focus, right, on the interpretation of any type of text, be it an interview, a news article, an opinion piece. Many times even Ricardo Pereira's chronicles appear, which were hilarious, to get away a little from those tiring texts they always show us, very heavy ones, it would be fun. That's what I would do if I were taking this test. HH, exactly, Sofia, you noticed that grammar wasn't included then. Lari, I hope this helped you. Georgia too.

[01:34:10]Sofia, thank you very much. Violeta, likewise. Sny too. Ari, a thousand kisses. Johnny, from the beginning. Lá Casas, thank you very much. Bia, you too.

[01:34:22]Violeta. I ask you to prepare better. Okay, so to be more specific with your questions, I'll do another live stream, right? On Tuesday, the day before the exam. Uh, uh, I want you to be prepared, I think it's on Tuesday. It's on Tuesday, I think so. I think it's on Tuesday, guys, if it's not I'll let you know, don't worry. But I wanted you to be, it's not on Tuesday, it's on Monday, actually.

[01:34:51]Okay, the live stream is on Monday. I want you to be more specific with your questions.

[01:34:58]Imagine, I read that verse and I don't understand what it means, because I already know I'm talking to people who know what they're talking about. In other words, I'm not like Camões, I'm talking to people who want to know, who care, who are intelligent and cultured.

[01:35:13]That's wonderful, my loves.

[01:35:15]Thank you very much. I hope I helped as much as I could. Don't forget to go see the... Videos that are on Patreon, leave your little hearts and follow along here on YouTube, which also has some summaries that I think will help you.

[01:35:29]Big kisses. How are you?

[01:35:33]What time? Well, we don't know. Maybe probably at the same time, but I'm going to do another survey to find out what time is most convenient for you.

[01:35:40]Okay, dear Sy Lover. Check Instagram, follow on Instagram, everything's there, okay, Lari? That's fine. And you can answer the time that's most convenient for you, which is what happened today. I asked people what time I create this live stream. Big kisses, thank you very much. I'm with you.