12 poems explained to discover Mário de Andrade

An essential figure of Brazilian modernism, Mário de Andrade (1893-1945) is recognized as one of the two most relevant writers in the country.

Or intellectual, apart from a poet and a romance writer, he was a student of Brazilian music and folklore, a literary critic and a cultural activist.

A poetry by Mário de Andrade was developed, as well as serious stories and romances, em duas vertentes: urban at first, and later folk.

Through his poems it is possible to understand the social context that Brazil goes through and understand a little history of the essential personality for the construction of national identity.

1. Na rua Aurora eu nasci

Na rua Aurora eu nasci
na aurora de minha vida
E numa aurora cresci.

not long do Paiçandu
Sonhei, foi luta renhida,
Fiquei poor and I saw myself nu.

nesta rua Lopes Chaves
Envelheço, and embarrassed
nem sei quem foi Lopes Chaves.

Mom! give me that lua,
To be skeptical and ignored
Como esses nomes da rua.

Nesse poem, present em Paulistana lyre (1945), Mário de Andrade take up suas origins and face a reflection on his life costume.

Or writer, batizado of Mário Raul de Moraes Andrade, born in Rua Aurora, in São Paulo, on October 9, 1893.

He had a quiet childhood in the local area and a youth moved to Rua Paissandu. Later, he resides in Lopes Chaves, where he remains at his death. Currently, nesse endereço exists at Casa Mário de Andrade, a cultural space dedicated to a writer.

Mário de Andrade never chegou to marry, living for life with his wife, which is quoted in the text with tenderness and proximity.

2. Inspiration

São paulo! comoção de minha vida ...
São flores feitas de original ...
Harlequinal... Losangos suit... Cinza e ouro ...
Light and mist... Forno and winter morno ...
Elegâncias sutis sem scandals, sem ciúmes ...
Perfume of Paris... Arys!
Lyrical slaps no Trianon... Algodoal ...

São Paulo! comoção de minha vida ...
Galicismo to berrar us deserted from America!

This is the poem that inaugurates Pauliceia Desvairada, second book of poems by Mário de Andrade, published in 1922.

A work face part of the first modernist generation, being launched not the same year Modern Art Week, a landmark event in Brazilian cultural history and that the writer will make it possible.

Em Inspiration, Mário introduces us to a São Paulo dynamic, urban and restless.

The period was marked by accelerated growth of cities, especially the capital of São Paulo. Through word games, or an innovative written author, tracing overlays of images and ideas, reflecting the agitation of their own tempo.

A comparison of the city of São Paulo with large metropolises physical evidence not verse “Perfume de Paris... Arys! ”. There is also a notion of dynamism and contrasts in the words “Cinza e ouro... Light and mist... Forno and morno winter... ”, as it is not the same local houvesse enormous variation, both in temperature, quanto of behavior and state of spirit of two inhabitants.

Another interesting point is or use of non-text reticências, indicating that the lyric does not end your thoughts of him, as he profusely gives life, enter into contact with his ideias and deixasse sem words.

3. Or troubadour

Feelings spoiled harshly
two homens from the first ages ...
Ace springs of sarcasm
intermittently I do not have a harlequin heart ...
Intermittently ...
Outras vezes é um doente, um cold
na minha alma doente like um longo som round ...
Cantabona! Cantabona!
Dlorom ...

Sou um tupi tangendo um alaúde!

Troubadour also integrates Pauliceia Desvairada. Here, or poet resgata to ideia do troubadour, medieval literary and poetic style.

Or his lyrical reveals-he is a troubadour, as an ancient poet was fostered singing songs as his string instrument.

Or text can be read as musical verses that overlap. Há or use of onomatopéias, ou seja, words that imitate sons, as observed in “Cantabona!”, Suggesting or som of indigenous drums, and “Dlorom”, evoking the sound of um alaúde.

Ao dizer “Sou um tupi tangendo alúde!”, Mário faz um connection between indigenous culture and europeia, pois or alaúde was an Arabic instrument used by medieval troubadours in Europe.

Dessa form, or author provokes the sensation that Brazil is a place where a cultural mixture occurs intensely.

Note-se or innovative character of Mário de Andrade, who sought to understand the great transformations that occurred in Brazil, leaving aside the indigenous origin of the poor.

It can be said that this poetic text we fear a premonition of its great romance Macunaíma, 1928.

4. Ode ao Burguês

Eu insult or bourgeois! Or bourgeois-nickel,
or bourgeois-bourgeois!
A bem-feita digestion of São Paulo!
Or homem-curve! or homem-nádegas!
Or homem that I'm French, Brazilian, Italian,
I am always cautious little-a-little!

You insult the cautious aristocracies!
You barões lampiões! you counts Joões! you dukes zurros!
who live within sem pulos walls;
e gemem sangues of some thousand-you will laugh
to tell you that as filhas da senhora falam or francês
and play the "Printemps" as unhas!

Eu insult or bourgeois-fatal!
O indigestible feijão com toucinho, dono das tradições!
Fora you that algarismam love you!
Olha to life two nossos setembros!
Fará Sol? Choverá? Harlequinal!
Mas à chuva dos rosais
or èxtase fará semper Sun!

Morte à gordura!
Death to cerebrais adiposities!
Morte ao bourgeois-mensal!
ao bourgeois-cinema! ao bourgeois-tílburi!
Padaria Suissa! Death alive to Adriano!
"- Ai, filha, what will give you hair your years?
- Um strain... - I count and quinhentos !!!
More we die of fome! "

Eat! Eat yourself, oh jelly astonishes!
Oh! Morais sweet potato puree!
Oh! hair on sales! oh! carecas!
I hate those regular temperaments!
Hate those muscle freaks! Morte à infâmia!
Hate to soma! Hate dry and mellow years!
I hate years without weaknesses and regrets,
everlastingly the same conventional ones!
From more shores! Marco eu or compasso! Eia!
Dois by dois! First position! March!
All for a Central do meu rancor inebriante
Hate and insult! Ódio e raiva! Hate and more hate!
Morte ao bourgeois de Giolhos,
cheirando religião e que no cre em Deus!
Ódio vermelho! Fertile hate! Cyclical hate!
Ódio fundamento, sem perdão!

Fora! Fu! Fora or bom burgês ...

Em Ode ao bourgeois, posted em Pauliceia Desvairada, or the author of a critical face in a satire based on a bourgeois class and its values.

O poem has relevance to the work of Mário, pois, além de ser a modernista icon, was recited at Modern Art Week 22, an event that was held in the Municipal Theater of São Paulo and that would greatly contribute to the cultural renewal of the country.

On occasion, when it was declared, or the public appeared indignant and felt offended, for a large part of the people who estiveram na Week We will integrate precisely the bourgeoisie, and some will even contribute financially to the realization of the event.

Meanwhile, Mário was not intimidated by the text that defends his point of view contrary to futilities e mesquinho character of the Brazilian aristocracy.

Note that the title “Ode ao” has a sound that suggests the word “ódio”. Ode, in literature, is a poetic style - generally enthusiastic - in which the stanzas are symmetrical.

Here, I explicitly state the political position of the writer. Mario approached the communist movement and chegou to declare:

Minha major hope that one day it will be achieved to realize no world or true and ignored Socialism. Só então or homem terá or direito to pronounce the word “civilização”.

5. Paisagem nº3

Chove?
Sorri uma garoa de cinza,
Very sad, as um sadly I long ...
A Casa Kosmos does not have impermeability in liquidation ...
More neste Largo do Arouche
Posso open or meu guarda-chuva paradoxal,
This lyrical banana from rendas mar ...
Ali em in front... - Mário, põe a mask!
-Tens reason, minha Loucura, tens reason.
O rei de Tule jogou a taça ao mar ...
Os homens passam flooded ...
I reflect on you two short vultures
Mancham or petit-pavé ...
As rolas gives Normal
Esvoaçam between the fingers gives garoa ...
(E si pusesse a verse of Crisfal
No De Profundis ...)
Suddenly
Um raio of surly Sun
Risca or chuvisco ao meio.

Or poem is present em Pauliceia Desvairada.

Em Landscape nº 3, Mário de Andrade discredits the city of São Paulo. A landscape that evokes the shape of a fine rose and cinza, which suggests the rising poluição of the urban center.

As contradictions in the city are exposed in "sorri uma garoa de cinza" and "um raio de sol arisco risca o chuvisco ao meio", trazendo an author's own lyricism, that manages to transmit to chaotic and contrasting harmony of capital.

Nesse Cenário, or poet, quotes places - Kosmos house, Largo do Arouche - and exhibits flooded passers-by and reflections of vultures, or that transmits an idea of ​​beauty in meio of urban chaos.

As phrases have abrupt cuts, evidencing spontaneity and a free and dissonant poetic structure.

6. Brigadeiro fashion

Or brigadeiro Jordão
Possuiu êstes latifundios
Two quais or square meter
Okay, leaf through a nove milreis.
Puxa! What a happy homem
Or brigadeiro Jordão ...
Tinha casa tinha pão,
Roupa washed and gummed
E terras... Qual terras! worlds
Of pastures and pinheirais!
What pieces in perspective ...
Nem thought about serrarias
Nem fundava sanatórios
Nem gado apascentaria!
I sold all by ear
I eat a bag no bag
Ia not long do Arouche
Buy small ones
What a moram numa pensão!

But no more than the terras of the brigadeiro Jordão ...

I do not free Clan do Jabuti (1927) was published or poem Brigadeiro fashion. Nele, Mário de Andrade places an inscription "Campos do Jordão", which leads us to suggest that the text was written in that municipality.

There is also the possibility of a brigade who is the founder of the city of Campos do Jordão.

O fato é que o homeme portrayed as a rich latifundiário, "happy" for having so many terraces, possessions and comfort.

Mário, for knowing and valuing the Brazilian territory, says verses “E terras... Qual terras! worlds ”, tracing to the notion that o Brazil has several "worlds" and cultures in each different region.

No poem, or brigadeiro ends up selling all his wealth in exchange for "paid loves" with men in brothels not long in Arouche (in São Paulo). Also, the author explains the reality of prostitution in the country, in addition to showing possible financial losses from the elite of the era.

Either author ends or poem fazendo a connection between ele e o rico homem no verse: “Mas não são minhas as terras do brigadeiro Jordão… ”Here, the implicit deixa an opinion that it is as terras fossem dele, faria melhor use.

He added to the idea that, unfortunately, the country's wealth is more than a futile elite.

7. Acalanto da Pensão Azul

Oh heticas wonders
Two tempos quentes do Romantismo,
Maças coradas olhos de abyss,
Perverse and perigious donuts,
Oh wonderful heticas!
I do not understand you, you are from other eras,
Fazei de pressa or pneumotorax
Mulheres de Anto e de Dumas Filho!
And then we will be happier,
Eu sem receio do vosso shine,
You sem bacilli nem hemoptises,
Oh wonderful heticas!

Or poem em questão integra or livro Clan do Jabuti On the face of it, I mention a house that received tuberculosis patients from various locations, not the beginning of XX century.

At home, Pensão Azul was called and located in Campos do Jordão, a place known for having a good climate to cure this illness.

Here, Mário de Andrade expresses a present aura not romanticism. He reveals young people with rare beauty, a year ago he said they were from “other eras”.

Recommend pneumothorax (procedure common to tuberculosis) and wait for them to recover to health and shine to be a happy day.

It is worth noting that Mário de Andrade's sexuality always remains unknown. There are indications that the intellectual was homosexual or bissexual.

8. Discovery

Abancado à Escrivaninha in São Paulo
Na minha casa da rua Lopes Chaves
From supetão felt um friúme inside.
Fiquei tremulo, very comovido
Com o livro palerma olhando pra mim.

I do not see that I feel that the North, meu Deus!
muito longe de mim
Na running off the night that fell
Um homem pale lean with hair running down our noses,
Depois de fazer uma pele com a drunk du dia,
Faz pouco se deitou, is asleep.

Esse homem é Brasiliro que nem eu.

Descobrimento is a poem that was also published in Clan do Jabuti. Nele, Mário de Andrade begins his narrative starting from where he is, sitting on his desk, on Lopes Chaves street, in the city of São Paulo.

Assim, affirms his position as writer and intellectual. It recognizes its place of privilege in the society of a year or it will be “hardened” that at the same moment there is a homem living a completely different reality from him.

It is this home that Mario imagines he lives in the North of the country, many kilometers away, and has a softer appearance due to the conditions to which he is exposed. We know that he is a seringueiro for counting the verse: "Depois de fazer uma pele com a drunk do dia."

Mário de Andrade unfolds nesse poetic text an empathic reflection about the different realities of the country.

He compares himself to seringueiro, tracing a connection between them, and knows that these people have needs, feelings and dreams as much as any Brazilian.

9. Poem

Neste rio tem uma iara ...
From first time to time that you have seen iara
Contava that she was ugly, muito!
Preta gorda manquitola see peixe-boi.
Happily velho já morreu face tempo.
Feita Duma, misty dawn
Um moço que sofria de paixão
For the cause of the Indian government that I did not want to give up,
He got up and disappeared into the water of the river.
Então began faking that iara sang, she was a girl,
Green slime hair do rio ...
Ontem or piá jumping
He went up to the igara do pai abicada no porto,
He botou a mãozinha na água funda.
E vai, a piranha abocanhou a mãozinha do piá.
Neste rio tem uma iara ...

Poem traces a narrative of a very well-known myth in Brazil: a historia da sereia Iara.

Or text found in a work Clan do Jabuti, 1927. Here is the author adota a atitude of history accountant, as a typically Brazilian personagem who narrates a folkloric cause.

It is worth noting that Mário de Andrade was a profound connoisseur of the mythology and costumes of the country, Being an important folklorist and have traveled to the most remote regions of the Brazilian territory.

Mário presents Iara in three different ways: “ugly, pretty fat maquitola”, “moça, river green slime hair”, in the form of “piranha”.

Ao fazer isso, and ainda include um personagem velho, um moço e um “piá” (criança), or author exibe um myth that he suffers all the alterations over the long term, acquiring diverse forms and values, as is his own popular culture that is past of geração em geração.

10. A menina e a cantiga

... trarilarára... traríla ...

A meninota esganiçada magriça with saia flying over the top two joelhos em nó vinha meia dancing singing no dark twilight. She beat compasso with a varinha na poeira da calçada.

... trarilarára... traríla ...

Suddenly he turned back to the black velha that vinha trôpega back, huge trouxa de roupas na cabeça:
- What my day, vó?
- Naão.

... trarilarára... traríla ...

A menina e a cantiga face part do livro Losango Khaki, 1926. Nesse text, we see or contrasts between the two personagens portraits: a menina e a avó.

A menina is exhibited with a joyous and bouncy aura, dancing and singing ao cair da noite. A word "trarilarára" appears as a sound of seus gracejos e cantorias.

Já a velha is shown as a senhora trôpega that wears roupas na cabeça (costume das lavadeiras). Here, it is noted that Mário Faz enters or works with the condition of the black woman, who provavelily labutou to internal life and chega à velhice tired and handicapped.

As words that the author chooses to portray senhora no verso “Suddenly he turned back to the black velha that came back, Huge trouxa of roupas na cabeça ”forms a som that also“ tropeça em nossa langue ”, with a junção de consorantes with a letter "R".

Na phrase: "What my day, vó?", As words are cut off, placed in a colloquial way, and that, além de tudo, ressoam as musical notes.

Mário de Andrade tinha to worry about portraying the Brazilian povo in suas various regional specificities, thinking about a construction of the culture of the country.

11. Moça linda bem treated

Moça linda bem treated,
Three family secles,
Donkey as a porta:
Um love.
Grã-fina do despudor,
Sport, ignorance and sex,
Donkey as a porta:
Um caught.
Mulher gordaça, filó,
Of ouro for all the pores
Donkey as a porta:
Patience...
Plutocrata sem consciência,
Nothing carries, earthquake
That to port of poor it overwhelms:
A bomb.

This poem is present in the work Paulistana lyre, published in 1945, year of death of the author. Or I have seen it as the conclusion of the poetry of Mário de Andrade, presenting a political work of an individual concerned with the representation of the identity of the world in which he or she is reflecting.

Here, Mario face uma severe criticism of the Brazilian elite, tracing a description of a family of traditional possessions.

A filha is shown as a bela moça, "bem treated", more ass and futile. Or rapacious, or outro filho, is described as a despicable and ignorant homem, who only thinks about sport and sex and he "fucked", ou seja, a ridiculous palerma.

A mãe é a fat figure that only appreciates or dinheiro, joias e é "donkey like a porta". Já o patriarca é um homem vil, sem consciência, but nothing donkey, who explores the humble people of his country.

Essa foi uma das maneiras that the writer found from question the values ​​of bourgeois society traditional, presented as superficial, arrogant, futile and exploratory.

Here is the explicit or challenging and critical character of Mário de Andrade.

12. When you die

When I die I want to ficar,
I did not contemplate my inimigos years,
Buried in my city,
Saudade.
Meus pés enterrem na rua Aurora,
No Paissandu deixem meu sex,
Na Lopes Chaves to head
Scheçam.
No Pátio do Colégio afundem
Or meu coração paulistano:
A heart alive and dead
Drink together.
Hide no Correio or ouvido
Direito, or esquerdo nos Telegrafos,
I want to know gives life to alheia,
He laughed.
O nose keep us pink,
A language not high do Ipiranga
To sing of freedom.
Saudade ...
Os olhos lá no Jaraguá
Assistirão to what will be of vir,
O joelho na Universidade,
Saudade ...
So mãos atirem over there,
That I will live as I will live,
Ace guts atirem pro Diabo,
That or spirit will be of Deus.
Adeus.

When you die I was posted in Paulistana lyre (1945), já no fim de sua vida. Here, or poet face um balance of its existence, to recommend that your body be fragmented and stretched every part in a local São Paulo that has been important in life.

Mário maybe once again face uma tribute to its city, citing strategic places of capital and revealing a little about whether they are serious.

The author traça ainda a parallel nesse text with romantic poetry, that tinha or theme gives death very present.

Or death of Mário de Andrade ocorreu on February 25, 1945. Or intellectual morreu of heart attack aged 51 years.

Main works by Mário de Andrade

Mário de Andrade was a home with multiple talents and left as a legacy an extensive literary work. Seus books of major importance são:

• There is a Drop of Sangue in Every Poem (1917)
• Pauliceia Desvairada (1922)
• Losango Khaki (1926)
• Clan do Jabuti (1927)
• Amar, Intransitive Verb (1927)
• Ensaios Sobra a Música Brasileira (1928)
• Macunaíma (1928)
• Males auction (1930)
• Os Contos de Belasarte (1934)
• Or Aleijadinho de Álvares De Azevedo (1935)
• Music from Brazil (1941)
• Poetry (1941)
• O Modernist Movement (1942)
• Or Empalhador de Passarinhos (1944)
• Paulistana lyre (1945)
• Or Carro da Miséria (1947)
• Contos Novos (1947)
• Or Banquet (1978)

To know more about the work of this great author, read:

• Livro Macunaíma, by Mário de Andrade
• Livro Amar, Intransitive Verb
• 12 great Brazilian modernist poems
• Important artists of Modern Art Week
• Poems explained to understand Pablo Neruda