Hilda Hilst: 10 melhores poems with analysis and comments

Uma das maiores writers of Brazilian literature, few years Hilda Hilst (1930-2004) have recently been uncovered reading hair from her country. Provocative, controversial, questioning, author of prose and poetry, a writer ficou especially known hairs her verses quickened.

Here we select two of her best love poems. We wish you all a boa leitura and partilhem esses beautiful verses as your loved ones!

1. Amavisse

How do you get lost, so I love you.
As I don't see you (favas douradas
Sob um amarelo) assim I learn you rough
Immovable, and I breathe you inside

A rainbow of water in deep waters.

How do I know or else will you allow me,
I photograph myself in ferro ports
Ocher, high, and very diluted and minimal
I am not dissolute from any farewell.

As you miss us trains, nas estações
Ou contouring a circle of waters
Removente ave, assim we are you to mim:
Of networks and of anseios flooded.

Os verses acima compõem a part II of a series of twenty poems published in 1989 under the title Amavisse. A loving lyric by Hilda Hilst, até então little conheque big public hair, was thrown hair selo Massao Ohno. Later, in 2001,

Amavisse It was reunited with other works and ended up being published in a chamada anthology Do wish.

The title of the poem adds to the attention of the reader, Amavisse is a Latin word that, translated, wants to say "I am loved." In fact, the verses portray a deep paixão, as a semifim delivery by the eu-lyrical part.

Hilda Hilst's composition is highly erotic, it is enough to repair the sensuous expressions used as "assim I learn you roughly", "I breathe you inside". There is an excess, a violence, a desire for a posse, a trazer or another to capture it.

It is interesting to note that the poem carries the three essential elements: fire, ar e água. O fogo can be lido not verse "favas douradas sob um sol amarelo"; o ar e a agua são found not far "a rainbow of ar in deep waters".

2. Tempt me de novo

And why would you want my soul
Na your bed?
Disse liquid, delicious, harsh words
Obscene, because it was also that we gostávamos.
But I did not lie, joy prazer lascívia
Nem omitted that the soul is além, searching
That Outro. And I repeat: why would you
Of wanting my soul in your bed?
Jubila-gives you memory of successful intercourse.
Ou tenta-me de novo. Obriga-me.

O poem acima also is reunited in an anthology Do wish e traced as thematic equally or carnal love. The short poem begins with a question, which will be repeated quase year at the end of the composition. Or questioning and directed to someone - directly to or loved one - and presents multiple possibilities of reading.

It is curious as a deeply sensual poem and linked to prazeres do corpo also faça an allusion to spiritual and transcendent values. It is worth highlighting, for example, the word used in eu-lyrical hair in question; ao instead of asking your beloved gostaria of ter or seu corpo na bed, to expressão used é a "soul". Another word linked to or sublime that is mixed by means of a poem so earthy and "jubila-te", generally used in religious contexts.

You verses têm a assinatura de Hilda Hilst e carregam o seu tom obscene and provocative. Or poem is enclosed quase as a challenge addressed to or loved. Note that the word "tenta-me", used in the last verse, has multiple interpretations possible. Tempting can be provoke (lead to temptation) or can be lido like experimenting (as a hypothesis, an attempt), Hilst does not enclose poetry, jump as two acceptances of the word.

3. Dez chamamentos ao amigo

It seemed to you nighttime and imperfect
Olha-me de novo. Because this night
Olhei-me a mim, as you know me olhasses.
And it was like water
Dispose

Escape from your house that he or she laughed
E sliding barely, nem touching margem.

I olhei you. It's been so long
I understand that sou terra. There has been so much time
I hope
Que o teu corpo de água mais fraterno
It stays on or meu. Pastor and Nauta

Olha-me de novo. Be less haughty.
E more attentive.

Os verses acima foram retired from livro Jubilee, memory, novitiate da paixão, published in 1974. Na lyrical apresentam-se barely two personagens: o beloved and beloved. It is from them that he was born or found the expectations directed um year or another.

Or title, addressed to or friend, face lembrar as cantigas cavaleirescas medievais where o loved also was also chamado. Once again, we see that Hilda's work is not important to the basic elements: the eu-lyrical identifies herself as a land in opposition to water, which was what she wanted to be.

Or take that vigora us verses of sensuality and desire. Here there is no pure love that is invoked, in the same carnal desire, at the possibility of having or other erotic point of view.

4. Small Arias. For Bandolim

Before the world ends, Túlio,
Deita-te e prova
Esse migre do gosto
That fez na minha boca
Enquanto or world screams
Bellicose. E ao meu side
You fazes Arab, I faço Israelite
And we charged ourselves with beijos
E for flowers

Before the world ends
Before it's over with us
We wish.

No acima or eu-lyrical poem is addressed to a loved one who has not been my own, only a few times this movement is exhibited in Hilda's work. Túlio is the object of desire presented, not the first verse that has moved all to poetry.

A construction of this specific poem is structured from opposite pairs: either love is placed in contrast as a bellicose, or an Arab or an Israelite antagonist. In the meantime, it seems that the feeling of desire appears to be different as it approaches or even.

O desejo remains being a central motto that moves Hilda Hilst's love lyrics. In our verses above we find a shameless and provocative eroticism, which aims to seduce not only the interlocutor - Túlio - as também, and mainly, or leitor.

5. That

Affliction of being eu e não ser outra.
Affliction of not being, love, that
That many filhas I owe you, casou donzela
E à noite prepares and guesses
Object of love, attentive and beautiful.

Affliction of not being a great ilha
That I challenge you and do not despair.
(A noite as fera se avizinha)

Affliction of being water in meio à terra
E ter a face disturbed and mobile.
E a um only multiple and imóvel tempo

Do not know if you are absent or expected.
Aflição de te amor, you like it.
I'm being water, love, wanting to be earth.

The poem Aquela treats of two non-eu-lyrical awakened medes when touched pela paixão. A transcribed agony we see transparent verses or despair experienced when he is cast by the implacable arrow of Cupid.

We see that the desire to merge as another, to surrender from body and soul to paixão gera, simultaneously, for além do prazer, a terrible sensation of insecurity and helplessness.

The poem Aquela deals with the duality of love: it gives a person to be or that the loved one desires and hopes and, at the same time, of being what he truly is. The verses fail to give the expectation of the beloved in opposition to the fact that there is actually a concrete reality.

6. Passeio

From a past exile between a montanha and a ilha
I am selling or will not be given a rocha and a praia extension.
Of a continuous wait of ships and quilhas
I sell to death and the birth of some vague ones.
Of assim playing such meticulous and slow coisas
E nem same na dor chegar to understand them.
To know or dig in the mountains. E recluse
Translate to air dimension of its flank.
Of loving as I die or that I am a poet
And understand tão pouco seu corpo sob a pedra.
E de ter seen um day uma criança velha
Singing a song, despairing,
É que não sei de mim. Corpo de terra.

Posted not free Exercises, or poem passeio é, de fato, a wandering both physical and sentimental.

We see a long time two verses or eu-lyrical wandering from a concrete landscape (between a montanha and a ilha, a rocha and a praia) and also from an emotional space.

It is about verses that translate my individual journey, a mergulho not proper eu and curious that após This long day or last verse is transparent as a final result to confissão "é que não sei de mim". It is also interesting to perceive as not the end of the poem in the last sentence that contains a non-individual landscape ("Corpo de terra.").

7. Wish

What month? Perguntei ao desired.

Respondeu: wash. Depois pó. You give nothing.

Inserted I do not free Do wish, or very brief poem above concentrates a huge amount of information in just two verses.

Nas duas linhas we perceive that an imaginary dialogue takes place between the eu-lyrical and the interlocutor, or the desire. Or eu-lrico asks or wishes to burn him, e ouve as a reply a message that has multiple possible interpretations.

Lava faces a reference to magma, in abundance that transports two erupting volcanoes. Depois gives enxurrada do desejo subtraction or pó, to memory two events. Or what happens after nothing or nothing, demonstrating a fleeting desire.

8. XXXII

Why did I become a poet?
Because you, die, minha irmã,
Not instant, not center
Of all or that old.

No more than perfect
I do not see, I do not enjoy
Colada between eu e o outro.
No fosso
Not of an intimate laço
I don't hausto
No fire, na minha cold hour.

I am a poet
Because à minha volta
Na human ideia de um deus that I do not conheço
To you, death, minha irmã,
I vex you.

Minimal Odes, where is inserted or poem Da morte, from where or stretch above was withdrawn, it was published in 1980.

In verses XXXII we have an attempt to understand mortality in all or seu mystery. Or eu-lrico wonders why he followed the path of a poet and for what reason he found to die in everything or what you see.

Ao longo gives the final stanza testemunhamos a response to a question feita no first verse: o eu-lrico chega a Conclusion that he was a poet because perhaps he perceived mortality and is capable of establishing a strong relationship eat her.

9. Because he wished me

Because I wish em my, I have all the belt.
Before, or everyday it was um to think heights
Looking for Aquele Outro decanted
Surdo à minha human bark.
Visgo e suor, pois never faziam.
Hoje, de carne e osso, industrious, lascivious
Tomas-me or corpo. What a rest you give me
Depois das lidas. Sonhei penhascos
When there was or garden here beside.
I thought climbs where there were no traces.
Ecstatic, i fuck with you
Year inverse of winning against Nothing.

The verses are typical of the Hilstian lyric: exaggerated, seductive, dull, erotic. We see a non-eu-lyrical being that transits desire and fall in love.

Or found loving and celebrated in its plenitude, of where or little subject retires or maximum of prazer and delight.

O leitor enxerga a desire to merge as a partner through the carnal experience, it is an obsessive search for a full union through the love relationship.

10. Poems aos homens do nosso tempo

Enquanto faço or verse, your decerto you live.
You work your wealth, and your work or sangue.
You will say that sangue é o não teres teu ouro
E o poet told you: buy or teu tempo.

Contemplate or teu viver that runs, squat
O teu ouro from within. É outro o amarelo que falo to you.
Enquanto faço or verse, you don't read me
Sorris, I know my burning verse somebody misses you.

Or being a poet tastes like ornament to you, you disconverted:
"My precious time cannot be lost like poets."
Irmão do meu moment: when I die
An infinite coisa also dies. It is difficult to say:
MORRE OR LOVE OF A POET.

E isso é so much, that o teu ouro do not buy,
It is rare, that or minimal piece, so vast
No fit, I don't sing.

Jubilee, Memória, Noviciado da Paixão, where it consists of the poem above, was courageously published by Hilda Hilst in a military publication, no year 1974.

No poem above we see a clear opposition placed between the poet's profession and two other homens. Or eu-lyrical one distinguishes two other creatures (enquanto or poet trabalha or sangue, you demais trabalham to wealth) at times fazendo believe that the life of the poet is harder.

However, at the end of the poem, we see that in conclusion it is precisely the opposite: when poetry transcends death, all others are digested by tempo.

What was Hilda Hilst?

To writer Hilda Hilst born in the interior of São Paulo (in Jaú), on April 21, 1930. She was a filha of a farmer and a day laborer (Apolônio de Almeida Prado Hilst) and of a housewife, a Portuguese immigrant Bedecilda Vaz Cardoso.

Since muito nova Hilda was fascinated by the world two verses. In 1950, at the age of 20, she published her first book (entitled Presságio). A sua produção crescente fez as that, no year to follow, publishes another book, entitled Ballad of Alzira.

Hilst formed a direct issue, but she had not been allowed to practice professional skills and, as of 1954, she began to dedicate herself exclusively to literature. Eleven years later, in 1965, she moved to Casa do Sol, in Campinas, where she mergulhou from time to time in the universe of words.

In her vast work, she contemplates not only poems as well as theater pieces, romances and pornographic literature.

Trust me too Os mais beautiful poems written by Brazilian authors.

Discover the complete work of Hilda Hilst:

• Presságios (1950);
• Ballad of Alzira (1951);
• Balada do Festival (1955);
• Roteiro do Silêncio (1959);
• Trovas de Muito Amor para um Amado Senhor (1959);
• Ode Fragmentária (1961);
• Sete Cantos do Poeta para o Anjo (1962);
• Fluxo-Phloem (1970);
• Júbilo, Memória, Noviciado da Paixão (1974);
• Ficções (1977);
• Tu Não Te Moves de Ti (1980);
• Da Morte, Odes Minimas (1980);
• Cantares de Perda e Predileções (1980);
• A Obscene Senhora D (1982);
• Poems Malditos, Jozos e Devotos (1984);
• On a Tua Grande Face (1986);
• O Caderno Rosa by Lori Lamby (1990);
• Letters of Um Sedutor (1991);
• Bufólica (1992);
• Do Desejo (1992);
• Cacos e Carícias, reunidas chronicles (1992-1995);
• Cantares do Sem Nome e de Partidas (1995);
• Being Sendo Ter Sido (1997);
• Do Love (1999).

Conheça also:

• Fundamental Brazilian poets
• Books of poetry that you need to know
• The charming poems of Adélia Prado
• The best love poems from Brazilian literature
• To the imperdível literature of Mia Couto
• The melhores poems of Leminski
• Cora Coralina: essenciais poems to understand the author
• Imperdíveis poems by Cecília Meireles