HistoryThe auto de fé involved a Catholic Mass; prayer; a public procession of those found guilty; and a reading of their sentences (Peters 1988: 93-94). They took place in public squares or esplanades and lasted several hours: ecclesiastical and civil authorities attended.2 Artistic representations of the auto de fé usually depict torture and the burning at the stake. However, this type of activity never took place during an auto de fé, which was in essence a religious act. Torture was not administered after a trial concluded, and executions were always held after and separate from the auto de fe (Kamen 1997: 192-213), though in the minds and experiences of observers and those undergoing the confession and execution, the separation of the two might be experienced as merely a technicality. The first recorded auto de fé was held in Paris in 1242, under Louis IX.3 The first Spanish auto de fé took place in Seville, Spain, in 1481; six of the men and women who participated in this first religious ritual were later executed. The Inquisition enjoyed limited power in Portugal, having been established in 1536 and officially lasting until 1821, although its influence was much weakened with the government of the Marquês of Pombal, in the second half of the 18th century. Autos de fé also took place in Mexico, Brazil and Peru: contemporary historians of the Conquistadors such as Bernal Díaz del Castillo record them. They also occurred in the Portuguese colony of Goa, India, following the establishment of Inquisition there in 1562-1563. Cultural referencesAuto da fé as burning a heretic at the stake is a symbol used widely throughout the arts. The Portuguese form, auto-da-fé, is in the eponymous lines from Vladimir Nabokov’s Pale Fire: “I recall seeing [John Shade] from my porch, on a brilliant morning, burning a whole stack of [his drafts] in the pale fire of the incinerator before which he stood with bent head like an official mourner among the wind-borne black butterflies of that backyard auto-da-fé.”4 "Miss Morgan nearly screamed with relief. She walked a little unsteadily toward the stake. The free man turned and saw her. For a second he seemed surprised, but immediately recovering, he bowed. Coming from a man with torn overalls and a matted beard, the bow was ridiculous and charming. “I’m the teacher,” Miss Morgan explained breathlessly. “I was just out for a walk, and I saw this house. For a moment I thought this auto-da-fé was serious.” Junius smiled. “But it is serious. It’s more serious than you think. For a moment I thought you were the rescue. The relief is due at ten o’clock, you know.”5 In the Spanish Inquisition segment of Mel Brooks' movie History of the World, Part I, Torquemada (Brooks) has the following musical exchange with his monks: "Auto Da Fé, what's an Auto Da Fé?" "It's what you oughtn't to do but you do anyway!" In chapter six of Candide, by Voltaire, there is an auto-da-fé performed by the Portuguese Inquisition after the 1755 Lisbon earthquake. Leonard Bernstein's musical adaptation features a song called "Auto-da-Fé", which includes the chorus line "It's a lovely day for drinking and for watching people die" in reference to the spectacle of public executions. Auto-da-Fé is also mentioned in the song "Televators" by the band The Mars Volta. Auto-da-Fé is the name of a Tennessee Williams one-act play. Notes
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