João Cabral de Melo Neto: 10 poems analyzed and commented to know the author

João Cabral de Melo Neto (January 6, 1920 - October 9, 1999) was one of the two greatest poets of Brazilian literature.

His work, belonging to third phase of modernism (to Generation of 45), deixou or public reader fascinated with the capacity for experimentation and inovação com a linguagem. João Cabral explored his poetry a series of themes from a loving lyric or devious poem to written in essays.

Confire to follow the best poems commented and analyzed.

1. Qatar Feijão, 1965

1.

Catar feijão is limited to scrolling:
Jogam-se gãos na água do alguidar
E as words on a sheet of paper;
e depois, joga-se fora or que boiar.
Certainly, all words will not be paper,
frozen water, for chumbo seu verb;
pois tasting esse feijão, soprar nele,
e play fora or slight e oco, palha e echo.

2.

Pray, nesse catar feijão enters a cliff,
or that, between the heavy graphics, between
um grão imastigável, of breaking teeth.
Certainly not, when to taste words:
a pedra gives a phrase seu grão mais vivo:
I obstructed the flowing, flutual leitura,
açula a atenção, isca-a com risco.

Or very beautiful Qatar Feijão I belong to free To education pela pedra, which was published in 1965. Or poem, divided into two parts, theme as the central theme or ato breeder, or process of composition after writing.

A long time ago two verses, or a poet unveiled for the reader, as is his personal way of constructing a poem, from a list of words, I attached a combination of the text to construct the verses.

Pela delicacy of the poem we perceive that the poet's craft also has the quality of the craftsmanship. Both exercises or trade begin with patience, in search of the best combination for the creation of a unique and beautiful piece.

2. Morte e vida severina (stretch), 1954/1955

- O meu nome é Severino,
as I do not have another of pia.
As there are many Severines,
that is a saint of Romaria,
deram então de me chamar
Severino de Maria;
as there are many Severinos
with more chamadas Maria,
fiquei sendo o da Maria
late Zacarias.
More isso ainda diz pouco:
there are many in the parish,
because of a colonel
what is chamou Zacarias
what was it or more old
senhor desta sesmaria.
How did dizer burn fala
pray to Vossas Senhorias?
Let's vex: é o Severino
da Maria do Zacarias,
the Serra da Costela,
limits of Paraíba.

More isso ainda diz pouco:
I know less, more than five years ago
com nome of Severino
Filhos of so many Marias
women of so many others,
ja finados, Zacarias,
living na mesma serra
Lean and bold in that he lived.
We are many Severinos
you are still in life:
na mesma big head
that a custody that balances,
not the same ventre crescido
on the same thin legs,
and also because I bleed
that we use little ink.
And we are Severinos
you are still in life,
we will die of death the same,
mesma morte severina:
that it is to die that it dies
of velhice before two thirties,
of ambush before two twenty,
of fome um little per day
(from fraqueza and from doença
what a death Severina
attack in any way,
e ate people not born).
We are many Severinos
you even start in sina:
to mark these stones
suando-moito at the top,
to tempt to wake up
terra semper more extinct,
to want to start
algum sprinkled with cinza.

A framework of regionalism in Brazilian poetry, Morte e vida severina foi um livro modernista written by João Cabral de Melo Neto between 1954 and 1955.

Considered for criticism as his work-first, the verses focus on the life of Severino, a retreat, with all the difficulties and difficulties faced in the daily routine of the northeastern sertão. It is about a tragic poem divided into 18 parts as a forte cunho social.

I do not reach the top, initial, we are introduced to the protagonist Severino and we become acquainted with a little more of its origin common to so many other northeastern parts of the sertão. Discover more to fund or poem Morte e vida severina, by João Cabral de Melo Neto.

The complete poem was adapted for audiovisual (in the form of quadrinhos) by Cartunista Miguel Falcão. Confira or result of breeding:

3. Tecendo a manhã, 1966

1.

Um galo sozinho não tece uma manhã:
He will always need other Gauls.
From um that apanhe esse yelled that he
e or cast to outro; by um outro galo
what apanhe or cry of a galo before
e or cast to outro; e of other Gauls
that with many other Gauls they crossed
the sun fios of seus cries of Gaul,
so that manhã, from uma teia tênue,
it is going away, among all the Gauls.

2.

I was hugging in cloth, among all,
standing tall, waving between me all,
is entertaining for everyone, no awning
(to manhã) that flat livre de armação.
A manhã, awning with an aerial tão fabric
that, covered, rises by itself: balão light.

Assim like Qatar Feijão, Tecendo a manhã It can be considered as a meta-poem, isso because or the central theme of the lyric and a reflection on the construction of the own poem.

It is about a linguagem that bends on itself and emphasizes the process of composition of work. Released in 1966, two verses pasted, extremely poetic and lyrical and capable of transmitting to the reader the beauty of the child from everyday and fortuitous examples.

Conheça a animação baseada no poem cabralino Tecendo Manhã:

4. Fable of an architect, 1966

To architecture how to build doors,
opening; ou how to build or open;
build, not how to turn it on,
nem build how to date secrets;
build open ports, em portas;
houses exclusively portas e tecto.
O architect: o that opens for o homem
(everything would be sanitized from open houses)
portas por-onde, jamais portas-contra;
by where, free: ar light reason certain.

I tied that, so many livres or intimidating,
renegou give viver not clear and open.
Where are you going to open?
opaque dating; onde glass, concrete;
até date or homem: na cappella uterus,
with the comforts of the womb, another time fetus.

It is curious or title of the poem one time that João Cabral de Melo Neto was called in life as or "Arquiteto das palavras" and "o poet-engenheiro" due to the linguistic work feito com rigor e precision.

The verses are about the office of an architect and the space that surrounds it day by day. A spatiality here is fundamental for the construction of the text, it is worth sublinhar expressions such as "build gates", "build or open", "build tetos".

Also frequent to the appearance of materials from works (or glass, or concrete). Or verb to build é, for sinal, repeated to exaustão. All this linguistic effort transmits to the reader or image of a reality of fact experienced by the architect.

5. Or relógio (stretch), 1945

Ao redor da vida do homem
make some glass boxes,
inside you quais, like in a cage,
It ouve throbbing a bug.

They are not caged for certain;
mais perto estão das gaiolas
ao less, hair size
e quadradiço of form.

Umas vezes, thais gaiolas
vão penduradas nos walls;
other times, more private,
vão num bag, num two pulses.

More onde esteja: a gaiola
It will be from pássaro ou pássara:
is winged with palpitation,
to saltação that she keeps;

e de pássaro singer,
não pássaro de plumagem:
pois delas a song is issued
of such a continuity.

Or poem Or Relógio It is of a beauty and of a delicacy that face how it stands out amid the vast poetic work of João Cabral.

It is worth sublimating that the object that or the homage poem appears only without the title, the verses dealt with as a matter of course, it is necessary to appeal to or not give me something to do with it.

As an extremely poetic vision, João Cabral tries to disbelieve what he relies on from beautiful unusual comparisons. Embora chegue to announce the material of which it is (or glass), and from the date it refers to the bugs and to the universe that we identify or object.

6. To education pela pedra, 1965

Uma educação pela pedra: by lições;
To learn da pedra, frequentá-la;
Capture his inenfathic, impessoal voice
(pela de dicção ela começa as classrooms).
A lição de morale, your cold resistance
Ao that flowed to flow, to be maligned;
A of poetics, his concrete meat;
A for economy, seu densar-se compacts:
Lições da pedra (from outside to inside,
Cartilha muda), to quem soletrá-la.

Outra educação pela pedra: no Sertão
(from within for fora, and pre-didactic).
No Sertão a pedra doesn't know how to read,
And if she was taught, she did not teach anything;
Lá não you learn to stone: la to stone,
Uma pedra de nascença, enter the soul.

O poem acima da nome ao livro released by João Cabral in 1965. The attraction of the poet is underlined by concreteness that he is worth or called "or poet-engenheiro". Second or proper João Cabral, he would be a poet "incapable of vague".

The verses acima synthesize or take the lyric of the northeastern poet. It is about an exercise in order to achieve a raw, concise, objective language, intimately linked to the real. A Cabralina literature emphasizes or works with linguagem and not a mere inspiration fruit of um insight.

Or meta-poem To education pela pedra It teaches us that a relationship with language demands patience, study, knowledge and a lot of exercise.

7. Or with feathers (stretch), 1950

A cidade é passada pelo rio
like uma rua
It is passed by a puppy;
a fruit
by a sword.

O rio ora lembrava
to the meek language of um cão
Ora or ventre sad de um cão,
now or another river
by aquoso pano sujo
two olhos de um cão.

That he laughed
it was like um cão sem feathers.
Nothing wise da chuva azul,
da fonte cor-de-rosa,
da agua do flake of water,
da agua de cântaro,
two fish of water,
It gives a breeze to the water.

Sabia dos caranguejos
of mud and ferrugem.

Sabia da lama
like a mucosa.
I should know two povos.
Knew surely
It is a feverish woman who inhabits the oysters.

That he laughed
jamais opens up to peixes,
ao shine,
to inquietação de faca
what has hit us.
Jamais opens em peixes.

Or with feathers At the first moment it destabilizes the reader, that you see the logical relationships that appear to be reversed compared to the usual one. Na lyrical cabralina is a city that has passed through a river, and not a river that crosses a city, for example.

Logo a estranheza happens to be given the use of unexpected approaches (or river chega to be compared with a gentle language of a cão). A beauty of the lyric is just extracted from the experimentation with linguagem, from the unexpected that suddenly appears and throws or leitor gives her comfort zone.

To read the poem Or with feathers Find-it is available in full já below:

8. You three badly-loved ones, 1943

O love comeu meu nome, minha identidade,
meu portrait. O love comeu minha certidão de idade,
minha genealogy, meu straighten. Or love
Comeu meus visiting cards. O love I saw and comeu all
you parents onde eu escrevera meu nome.

O love comeu minhas roupas, meus lenços, minhas
shirts. O love comeu meters and meters of
gravatas. O love comeu according to meus ternos, or
number of meus sapatos, or size of meus
chapéus. O love comeu minha height, meu weight, to
cor de meus olhos e de meus cabelos.

O love comeu meus remedies, minhas receitas
medical, minhas diets. Comeu minhas aspirin,
minhas waves-curtas, meus raios-X. Comeu meus
testes mentais, meus exams of urina.

O love comeu na shelf all the meus books of
poetry. Comeu em meus books of prose as citations
em verse. Comeu will not say the words that
I will be able to join in verses.

Family, or love devour the utensils of my use:
pente, navalha, escovas, tesouras de unhas,
canivete. Faminto ainda, or love devorou ​​or use of
meus utensílios: meus banhos frios, a sung opera
no banheiro, or fiery morto water acheter
more than it seemed a powerhouse.

O love eat post fruits on the table. Baby
to water two flakes and das quartinhas. Comeu or pão de
hidden purpose. She drinks two olhos tears
that, I didn't know, we were out of water.

O love voltou to eat you parents where
Irreflectedly eu will return to escrever meu nome.

O love roeu minha infância, with fingers light with ink,
Cabelo caindo nos olhos, boots never worn.
Or roeu love or elusive boy, always sing to us,
e que riscava os livros, bite or pencils, andava na rua
kicking stones. Roeu as conversas, next to pump
of gasoline do long, like the cousins ​​that you knew
about passarinhos, about uma mulher, about brands
of automobile.

O love comeu meu Estado e minha cidade. Drenou a
Água morta two mangues, aboliu a maré. Comeu os
curly sleeves and hard folhas, brown or green
acid from the cane plants charging the hills
regular, cut pelas barreiras vermelhas, hair
trenzinho preto, pelas chaminés. Comeu or cheiro de
cana cut e o cheiro de maresia. Comeu ate essas
coisas that eu desperate for not knowing how to fail
of them in verse.

O love comeu ate the days ainda não announced nas
folhinhas. I eat minutes of adiantamento from
meu relógio, the years that you have been like minha mão
asseguravam. Comeu or future great athlete, or future
great poet. Comeu as future voyages em volta da
Terra, as future shelves in the room.

O love comeu minha paz e minha war. Meu day e
minha noite. Meu winter and meu verão. Comeu meu
Silêncio, minha dor de cabeça, meu medo da morte.

You three badly-loved ones This is an example of a cabralina love lyric. The long verses describe the precision and objectivity of the consequences that love operates in the life of the eu-lyrical couple.

Published in 1943, when the author is only 23 years old, or the poem is the most beautiful manifestations of love present in Brazilian literature.

Despite the difficulty of escaping about or love due to their incommunicability and the particularity of each relationship, João Cabral manages to concentrate on his sentiments verses that seem common to all those who apaixonaram.

Uma curiosidade: it is known that João Cabral escreveu You three badly-loved ones depois de ler e se enchant as poem Quadrilhaby Carlos Drummond de Andrade.

9. Graciliano Ramos, 1961

Phallus subject as what phallus:
as the same twenty words
turning around the sun
so clean do you not faca:
of all a viscous crust,
rest of janta abaianada,
that fica na lâmina e blinds
its taste gives a clear scar.
Phallus subject to what phallus:
do dry and of its paisagens,
Nordestes, debaixo de um sol
ali do mais quente vinegar:
that reduced everything to espinhaço,
crest or simply folhagem,
folha prolixa, folharada,
Where do you hide? There is fraud.
Phallus submit by quem phallus:
why are there climates?
conditioned sun hair,
gavião hair and other rapinas:
where are you alone inert
of so many caatinga conditions
em that it is only possible to cultivate
or that is synonymous with my tongue.
Phallus subject to burn phallus:
Quem suffers from sono de morto
I need an alarm clock
acrid, like or sun on or olho:
what is when the sun is strident,
against the grain, imperious,
It beats palpebrae like
Numa porta is beaten to socos.

Present I do not release Terça feira, published in 1961, (and later reunited in Serial e before, 1997) or a poem by João Cabral referring to another great writer of Brazilian literature: Graciliano Ramos.

Both João Cabral and Graciliano share a concern with the social condition of the country - especially not in the Northeast -, and faziam use of a dry, concise language, at times violent.

Graciliano Ramos was the author of Dry lives, a classic that denounces the harsh realities of the sertão and both writers partilham in literature or wish to transmit to another or daily daque them attacked dry skin and abandonment.

No poem acima appears to the northeastern landscape, or the strident sun, the birds of the sertão, to the reality of the caatinga. A final comparison is especially heavy: when the rays of the sun bathe us olhos do sertanejo and how an individual batesse to socos numa porta.

10. Composition Psychology (stretch), 1946-1947

Saio de meu poem
as it burns mine as well.
Some shells become,
what sun gives attention
crystallizou; some word
That unbutton, like a um pássaro.
Maybe some shell
dessas (ou pássaro) lembre,
concave, or body gesture
extinct que o ar já preencheu;
maybe, like a shirt
emptiness, that despi.
This white folha
I proscribe or dream,
prompts me to or verse
sharp and accurate.
Eu me shelter
nesta praia pura
where nothing exists
em que a noite pouse.

O poem above face part of a trilogy composta também pelos poems Fable of Amphion and Antioid. Us verses of Composition Psychology Clear physics with concern of the eu-lyrical as its own literary fazer.

This poem was specifically dedicated to the poet Ledo Ivo, two mentors of the Geração de 45, a group where João Cabral de Melo Neto used to be framed.

The verses seek to decorate the process of construction of the literary text, drawing attention to the pillars that sustain the lyrical writing. Or metalinguistic tom gives written demonstration to reflection as the universe of words and as commitment to poetry.

Or vocabulary used is intended to sneak into reality and we see verses of everyday objects that we trace or poem for mais perto da nossa realidade. João Cabral makes comparisons, for example, with a shirt and a shell, approaching the reading public and making it clear that he does not identify himself as sterile sentimentality and as an elaborate language.

Biography summary of João Cabral de Melo Neto

Born in Recife, not on January 6, 1920, João Cabral de Melo Neto saw the world filho of the home Luís Antônio Cabral de Melo and Carmen Carneiro Leão Cabral de Melo.

As a child, he was lived in the interior of Pernambuco, we were brought up by the family, some ten years ago João Cabral moved as a country to the capital, Recife.

In 1942, João Cabral went from time to time to the northeast of Rio de Janeiro. Not the same year he launched or his first book of poems (Pedra do sono).

The poet in his diplomatic career has been consul-general of Porto (Portugal) from 1984 to 1987. Last year of this non-foreign period, he returned to Rio de Janeiro.

As a writer, João Cabral de Melo Neto was deeply awarded, having been regarded with the following distinctions:

• Prize José de Anchieta, of poetry, do IV Centenário de São Paulo;
• Olavo Bilac Prize, from the Brazilian Academy of Letters;
• Prize of Poetry of the Instituto Nacional do Livro;
• Prêmio Jabuti, from the Câmara Brasileira do Livro;
• Nestlé Biennial Prize, joint hair of the Work;
• Prêmio da União Brasileira de Escritores, light hair "Crime na Calle Relator".

Consecrated public hair and criticism, on May 6, 1968, João Cabral de Melo Neto became a member of the Brazilian Academy of Letters, where he passed to occupy cadeira number 37.

Complete work of João Cabral de Melo Neto

Poetry books

• Pedra do sono, 1942;
• You three badly-loved ones, 1943;
• Or engenheiro, 1945;
• Composition Psychology with Anfion and Antiode's Fable, 1947;
• Or with feathers, 1950;
• Poems collected, 1954;
• Or Rio ou Relação da viagem that face o Capibaribe from its nascent to Cidade do Recife, 1954;
• Tourist question, 1955;
• Duas águas, 1956;
• Aniki Bobó, 1958;
• Quaderna, 1960;
• Two parliaments, 1961;
• Terceira feira, 1961;
• Escolhidos poems, 1963;
• Poetic anthology, 1965;
• Morte e vida Severina, 1965;
• Morte e vida Severina and other poems aloud, 1966;
• To education pela pedra, 1966;
• Funeral of a lavrador, 1967;
• Complete poems 1940-1965, 1968;
• Museum of tudo, 1975;
• A school of facas, 1980;
• Critical poetry (anthology), 1982;
• Auto do frade, 1983;
• Wild, 1985;
• Complete poetry, 1986;
• Crime na Calle Relator, 1987;
• Museum of tudo and depois, 1988;
• Seville walking, 1989;
• First poems, 1990;
• J.C.M.N.; the melhores poems, (org. Antonio Carlos Secchin), 1994;
• Between o sertão e Sevilha, 1997;
• Serial e before, 1997;
• To education pela pedra e depois, 1997.

Books of prose

• Considerations on the sleeping poet, 1941;
• Juan Miro, 1952;
• A Geração de 45 (depoimento), 1952;
• Poesia e composition / A inspiração e o work de arte, 1956;
• Da modern function gives poetry, 1957;
• Complete work (org. by Marly de Oliveira), 1995;
• Prose, 1998.

Conheça also:

• Fundamental Brazilian poets
• The imperdíveis poems of Fernanda Young
• The melhores poems of Leminski
• Os melhores poems by Vinicius de Moraes
• Os melhores poems by Hilda Hilst
• 25 poems by Carlos Drummond de Andrade
• Os melhores poems by Olavo Bilac
• Cordel literature: origin, characteristics, poets and poems
• Northeast Cordel: Important Poems