7 important works of Monteiro Lobato commented

1. Or Picapau Amarelo is the most famous work of Monteiro Lobato

Published in 1939, or Most famous book by Monteiro Lobato Começa with a letter written by Pequeno Polegar for Dona Benta. No text, the fallacy about the definitive change of two characters that inhabit Mundo da Fábula for or such Sítio do Picapau Amarelo.

Prezadíssima Senhora Dona Benta Encerrabodes de Oliveira: Saudações. Tem esta por fim communicate v. Ex.ª that we, the inhabitants of Mundo da Fabula, we do not expect more saudades of Sítio do Picapau Amarelo, and we are willing to move there permanently. Or the rest of the world is going a little bit more sem graça. Aí é que é bom. "In view of this, let's all move to your house - it is a senhora der licença, it is clear ..."

You must agree with the move, Dona Benta, to agree that it is the house authority, ball a series of rules for two worlds coexist. Quem helps you to put yourself between these two universes - a real and a magical - is a bonnet of cloth Emília that was sewn for her neat Narizinho and ganhou life.

It is worth mentioning that Monteiro Lobato was First writer of children's literature to use characters from our culture (Folkloric personagens, from traditional stories especially told in Brazil). É or case of Cuca e do Saci Pererê, for example.

This patriotic literary project, aimed at children, was closely linked to the ideology of the writer, who was an enthusiast of national culture and had two main slogans. help disseminate Brazilian culture.

I do not free Or Picapau Amarelo, Cub Mixing people from the real universe with fictional beings (national and international). Or that Dona Benta came back to suggest not to cause confusion in the coexistence between two different worlds and that, as a move, each group moved to their side of a near post. And so the famous characters Pequeno Polegar, Chapeuzinho Vermelho, Peter Pan, Branca de Neve and the princesses Rosa Branca and Rosa Vermelha moved among other creatures from the fantastic universe.

These beings are both personagens of our culture and of Greek mythology (the case of Pégasus and Chimera) and two classics of European literature (such as Dom Quixote).

In order to connect with the children, Monteiro Lobato além de trazer esses personagens já conhecidos de imaginário infantil, face also questão de escrever com uma simple and clear linguagem, acessível e cativante for all.

Few people know, but this mythical place invented by Monteiro Lobato, or famous Sítio do Picapau Amarelo existiu, of fato. The property was located in Taubaté, in São Paulo, and entered for the imagery of a large number of two Brazilians who read classical sessions during their childhood.

To work Or Picapau Amarelo It is already in the public domain and is available in pdf format.

2. Reinações de Narizinho Tells first past stories no site

It was not the first chapter of what would become Reinações de Narizinho, published in 1920, that Monteiro Lobato gathered as early histories of the famous site of Picapau Amarelo.

Já no princípio do livro ficamos conhecendo the celebrated people of Monteiro Lobato:

Numa casinha branca, the site of Picapau Amarelo, mora uma velha over sixty years of age. Chama-se dona Benta. Quem passa pela estrada e a vê na varanda, from a cestinha de seam to a colo e oculos de ouro na ponta do nose, he followed his path thinking:

- What sadness I live assim tão sozinha neste deserto ...

More deceived. Dona Benta is more happy for you, because she lives in the company of the most charming days of the net - Lúcia, a menina do noseinho rapt, or Narizinho as we all say.

É em Reinações de Narizinho that we find at the origin of the most familiar universe of Lobato. It is here, for example, that Emília finally deixa to be just a boneca de pano feita pela aunt Nastácia for Narizinho and ganha voice. Or pó de pirlimpimpim, given by Peninha, also used for the first time.

This magical universe that Lobato created will serve as a shelter for the people who will venture through countless other works. É em Reinações de Narizinho that we find gênese da magic do writer ao merge with so much mastery two worlds so different. On one side are the people from the real world (from where Dona Benta, Pedrinho, Aunt Nastácia, Narizinho), from another one gives you imagination (where we live in Cuca, or Saci, Cinderela, etc).

Leia Reinações de Narizinho in full in pdf format.

3. Stories of Tia Nastácia gathers a lot of Brazilian popular wisdom

Published in 1937, or free that is told by Tia Nastácia, traced as narrator a senhora negra e mais velha que cozinha como ninguém. It is the story that tells the story and the conductor of two 43 reports gathered in the work.

A personagem, who is known by ter uma huge popular wisdomIt will be a great responsibility for showing for the crianças do Sítio do Picapau Amarelo a little of the rich Brazilian folklore.

Tia Nastácia is the spokesperson for the collective conhecimento Partilhado, he is symbolically a representative of the poor, of a black class that he saw from a more underprivileged context compared to other inhabitants of the site.

“Tia Nastácia é o povo. Tudo o que o povo saber e vai counting, from um to outro, she must know. ”, Summarizes Pedrinho.

É Tia Nastácia - an important teller of turma stories - who narrates a series of typical Brazilian tales of adventure cheios to entertain the flock. Later, Dona Benta also takes the opportunity to tell childhood stories from other places in the world.

Aos few, as crianças vão percebendo that both the stories of Tia Nastácia and Dona Benta afinal falam de questões universais, despite the Pontifical differences that exist in each region.

It is interesting to acknowledge that as two figures more velhas da turma - Tia Nastácia e Dona Benta - We represent completely different classes of the Brazilian population.

Dona Benta, branca, lawyer, who belongs to a higher social class and has access to other cultures, She contrasts with Tia Nastácia, who saw of a humble origin, and black and did not have much access to education formal. A literature by Monteiro Lobato, apart from entertainers as children, has also reproduced many different groups from society.

4. A menina do noseinho rapt foi o first livro infantil published by Monteiro Lobato

Foi in 1920 that Monteiro Lobato published or seu first children's book, A menina do noseinho raptured.

Or I am going to first past work not on the site of Picapau Amarelo This is the first title of a series that has been published for more than two dozen works.

Or title chosen by author face menção a uma das personagens principais da historia:

She chama-se Lucia, but no one treats like that. I was afraid. Yayá? Baby? Maricota? Nothing disso. His name and Narizinho “Rebitado”, - I don't need to say why.

A first impression - of 500 exemplaries, a framework for the time - was to stop in São Paulo schools, where they began to win or coração das crianças. A collection was crescendo I attached to 23 titles as the people that enchant various gerações: a boneca de pano Emília, or menino Pedrinho, as storytellers Tia Nastácia and Dona Benta, a menina Narizinho others.

Monteiro Lobato was a visionary for his time and, to note that There was no original children's literature of quality in Brazil, he placed more than one mass and began to publish specific works for this public that was, até então, unassisted.

Foi from the experience in the creation of two own filhos, due to the absence of other works, which the breeder perceives is the publishing house in Brazil. Idealistic, as a intuition of entertaining the little ones, but also educating, Lobato includes a series of histories of our literature in the form of a literary work for young children.

5. Or saci gathers stories of important personagem of Brazilian culture

Or whatever I feared as the main character or Saci-Pererê, um symbol of nossa national culture, was published in 1921.

A work, which has 28 chapters, has no only objective of entertaining children as well as disseminating culture the interior of our country for the capitais presenting people with important caboclos and few conhecidos até então.

O saci - começou ele - é um diabinho de uma perna só who is alone in the world, arming reigns of all sorts and trampling every creature that exists. Always trace in the mouth a little access, and in the head a carapuça vermelha. A força dele is na carapuça, like a força de Sanção we are hairy. Quem manages to take and hide a carapuça de um saci fica for all life senhor de um petite escravo.

Or wish to write on or saci for crianças not arising from a light or simply playful. Before compor or childish book, or intellectual fez um inquérito com more than thirty pages where he analyzes this personagem important for our culture. Monteiro Lobato has an extensive research gathering a series of popular stories involving or mysterious personage.

In order to present or satisfy children in a non-scary way, or a writer needs to stone and adapt a series of traditional histories of saci that I could intimidate you the newest.

As many of these original histories tinham a heavy content, possibly lido as a sealer, Lobato alters the stories so that the children are barely enchanted as a personagem e não tivessem medo give him.

The idealist Monteiro Lobato intended, with the help of children, to disseminate national culture not only through saci as well as other important people such as Cuca e or Boitatá.

Conheça a complete version of the work O Saci in pdf format.

6. A chave do tamanho Tem as background cloth to World War II

Em A chave do tamanho (1942) Monteiro Lobato again ficção e reality mix, but here in a more original way. The world attended World War II when the writer resolved to take over this difficult issue to serve as the background theme for his children's work.

- Novo bombing of London, he returned. Hundreds of planes fly over the city. Um

colossus of bombs. Quarteirões inteiros destroyed. Fire numbers. Mortos à scholarship.

Or face of Dona Benta sombreou. Always that point or thought about the ficava war so sad that Narizinho ran to sit down in his place to cheer her on.

Na history present in A chave do tamanhoEmília tries to find “casa das chaves”, a space where they will all be chaves on the planet. To his idea of ​​it was find a chave da war to untie or confront e save the lives of thousands of people.

The wish of Monteiro Lobato was to present the difficult political situation that the world was living for as children, more in a way that they managed to relate. To place Emília as an active participant, capable of "unlocking" war, Monteiro Lobato I transmit a message of hope for the little ones.

To work A chave do tamanho It is in the public domain and can be read free of charge.

7. Caçadas de Pedrinho It was adapted by other sections considered racist and that stimulated violence against you.

Launched in 1933, em Caçadas de Pedrinho We see Dona Benta as neat as a position at the same time courageous and arrogant. Pedrinho is going to procure the animal of "my exquisite", of "tamanho dum bezerro", with these that "também I was like a cat, but much older ”as he crossed by chance in the roundness of the Picapau site Love it.

As if you had seen an onça, or an adventurous man, summon your friends Narizinho, Rabicó, Emília and Visconde de Sabugosa to go behind the animal, despite the fact that it is a fera brave.

Pedrinho convinces the friends to go together to try to give such a painted onça saying that the adults of Teriam Medo's house give a great adventure:

I came back to Tia Nastácia as big people and, not so much, I ran for cheap. Or that it is worth not being great people, and being people of courage,… (...) You will organize a caçada and I swear that I have to work here for or terreiro, dragged by orelhas. It is your voice that you do not have the courage to accompany me, irei sozinho.

To work Caçadas de Pedrinho é uma das more polemics by Monteiro Lobato It has recently been published by an adaptation by Maurício de Souza and Regina Zilberman. A nova versão smoothes out more complicated stretches than ever question of racism and of aggression to animais.

The context in which Monteiro Lobato escreveu was completely different from the world in which we live through some stretches of his work that entered into conflict with us as lutas atuais.

Em Caçadas de Pedrinho, for example, we see so crianças will come together and attack fera, dinners that we days of leaf cause fright and discomfort to us readers.

Another delicate matter that the work of Monteiro Lobato awakens in relation to racism, once in some Passagens to Tia Nastácia is called in a pejorative way, other members of the site due to her skin.

In an attempt to update the work, the new edition of Caçadas de Pedrinho is in a new way with these stretches.

Um pouco da vida by Monteiro Lobato

Monteiro Lobato (1882-1948) foi o main promoter of Brazilian children's literature. Innovative, or intellectual, he intended to save for children at a time when practically there was no production aimed at that public, not Brazil, not Latin America.

Born in Taubaté, São Paulo, Monteiro Lobato was literate in his growth, surrounded by many stories that he read in the Avo Library, or Viscount of Tremembé.

Formed as a Director, or a writer, he married Maria Pureza da Natividade, with whom I had four films.

I work as a promoter, in parallel, as a hobby, for a series of journals and magazines. Apart from raising with words, Lobato also fazia caricatures, paintings and designs.

In 1918, the author lançou or his first free, called Urupês, what a huge success. A little later, he began to write for children and also work as an editor.

In addition to his ability to publish children's literature, a task that he undertook between 1920 and 1945, emerged in conjunction with the formation of two films. Monteiro Lobato quickly noticed that the children only had access to adaptations of foreign works (especially European ones) or educational material.

Pioneiro, he set out to breed works for crianças que tivessem or Brazilian DNA and exalt our culture, helping to disseminate important people for Brazilian people.

Numa das letters addressed to my friend Godofredo Rangel partilhou to ideia que o movia:

I go with various ideas. Uma: to dress nationally as the fables of Aesop and La Fontaine, all in prose and betraying moralities. Coisa for crianças. [...] Ora, a fabulous nosso, with daqui bugs instead of two exotic ones, be formed with art and talent will give precious coisa.

Monteiro Lobato was able to consistently carry out his project and was the author of a series of important children's works for our country. Know more about or seu personal and artistic course lendo o artigo An incredible literature by Monteiro Lobato.

Take the opportunity to see also:

• Fables of Monteiro Lobato with interpretation and moral
• Lenda da Cuca explained (Brazilian folklore)