12 great Brazilian modernist poems (commented and analyzed)
The modernist movement was an important point of change in art in international literature that brings about a rupture with traditions, as well as thematic and formal freedom.
Not Brazil, or modernism was created with the Modern Art Week of 1922 and represented in search of a true national identity that seemed to be lacking in Brazilian cultural productions.
A current artistic ditou great changes not fazer literary and poetic, valuing the popular language and the themes linked to the national daily life.
Divided into three quite different phases, or Brazilian modernism generated some two greatest poets of our literature.
1. Poetics (1922)
Estou farto do restrained lyricism
Do lyricism bem behaved
Do lirismo public functionary with livro de ponto espediente protocol and manifestações de appreciaço ao sr. director.
This is because of the lyricism to find out which dictionary or vernacular number of a vowel.
Abaixo os purists.
All the words above all the universal barbarisms
All the construções overtudo the syntaxes of exceção
All of you rhythms, you will immerse yourself
Estou farto do lirismo namorador
Political
Rickety
Syphilitic
Of all lyricism that capitulates to or that wants to be outside of itself.
Of rest não é lirismo
It will be counted from the table of secretaries of the lover to exemplar as models of letters and as different ways of pleasing & grieving women, etc.
I want before or two loucos lyricism
Or lyricism two bêbados
Or difficult and pungent lyricism dos bêbados
Or lyricism two clowns of Shakespeare.
- I don't want to know about lyricism that I don't want to liberate.
A composition by Manuel Bandeira, held during the Modern Art Week of 1922, is a kind of poetic art through which the artist exhibits his visions and experiences.
Claiming or end of norms, rules and ultra-passed models, or harsh poet criticism à tradição, demonstrating how she can be hated and limited to creatureliness.
Contrarying all isso, and he looks for me what is new, Bandeira defends various principles of modernist movement as to freedom and experimentation.
2. Moça Linda Bem Treated (1922)
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.
Written in 1922 by Mário de Andrade, or poem and apontado as one of the first modernist compositions of national literature.
Moça Linda Bem Treated é um satirical portrait of "alta roda" Brazilian; Through humor, the poet lists the defeits of the society in which he lived.
Behind a careful appearance, the reality was quite different: despite their wealth, costumes and varied luxuries, these individuals were faced like donkeys and superficial.
Therefore, at the last stanza of the poem vai mais longe and affirms that either "plutocrata", ou seja, or rich who explores or poor, can not be a more perigoso donkey.
3. Song of return to homeland (1925)
Minha terra tem palmares
Wave or sea wave
You passarinhos daqui
We do not sing like you
Minha terra tem more roses
E quase que mais loves
Minha terra tem mais ouro
Minha terra tem mais terra
Ouro terra love and roses
Eu quero tudo de la
Deus do not allow us to die
I know he turned to her
Deus do not allow us to die
I know I come back to São Paulo
She hates Rua 15
E o progresso de São Paulo.
Compost by Oswald de Andrade, two more famous names of national modernism, Song of return to homeland retrieve the verses da Canção do Exílio (1847) by Gonçalves Dias.
Here, or salute praise to Brazil, feito quase a secular former poet who was in Portugal, and adapted to modern reality.
Oswald's verses praise his land, specifying the final verses that refer to São Paulo. O modernist does not focus on elements of nature, more naqueles than symbolizing progress two urban centers.
4. No Meio do Caminho (1928)
No meio do caminho tinha uma pedra
tinha uma pedra no meio do caminho
tinha uma pedra
no meio do caminho tinha uma pedra.
I will never lose my mind from that event
In the life of my retinas so fatigued.
I will never think that I do not walk
tinha uma pedra
tinha uma pedra no meio do caminho
no meio do caminho tinha uma pedra.
Meio absurd and difficult to understand, No Meio do Caminho é um two most famous and remarkable poems by Carlos Drummond de Andrade.
A composition was, sem dúvida, a great modernist provocation that aims to prove that poetry could be about any subject, I tied a simple stone.
Or poem, based on repetition and free verse, is a product of experimentation from the time and I saw the breaking of bars in the way we think of poetry.
Trust to Complete analysis of the poem No Meio do Caminho.
5. Portuguese error (1927)
Quando or português chegou
Debaixo de uma bruta chuva
Dress or Indian
What a pity!
Fosse uma manhã de sol
Or indio tinha dismissed
Or Portuguese.
In search of a Brazilian collective identity, the modernists were trying to get rid of the colonial olhar, reflecting on a history of the country e a breeding gives its culture.
Not wonderful Portuguese errorOswald de Andrade sees the sowing of many indigenous peoples whose lives will end or have been drastically altered by the invasion of two Portuguese.
Com um tom bem-humorado, or modernista Rethink this Brazilian training process. It affirms that it would have been more positive if you or a colonizer learned as indigenous people, instead of forcing you to adopt your costumes and values.
6. Solidarity (1941)
Sou linked pela herança do espírito e do sangue
Ao martyr, ao assassin, ao anarchist.
Sou bound
Aos casais na terra e no ar,
Ao vendeiro da corner,
Ao father, ao beggar, a mulher gives life,
Year of mechanic, year of poet, year of soldier,
Holy year and demon year,
Built in a minha imagem and semelhança.
Part of the second phase of Brazilian modernism, or Geração de 30, Murilo Mendes was a figure of relief in the national avant-garde.
It is mainly inspired by surrealist influences, modern poetry of the Minas Gerais writer and multiple and deals with various themes, religion and humor.
Defender of poetic and political freedom, em Solidarity, Mendes reflects on a união da humanidade e o ato de straighten the people além daquilo that thus divides.
Despite two labels that we put on others, despite different terms or values, Murilo Mendes remarks that we are all equal, feitos da same matéria.
Declaring that we are all linked, or poet question as traditions and hierarchies established as a function of money and power.
7. Reason (1963)
I sing because or moment exists
e a minha life is complete.
I am not happy, but I am sad:
I'm a poet.Irmão das coisas fugidias,
I do not feel joy and torment.
Through nights and days
I do not sell.It fell apart or was built,
it remains or I lose face,
- no sei, no sei. I don't know
ou passo.I know I sing. E a canção é tudo.
She has eternal sangue with a rhythmic handle.
And one day I know I'll be mute:
- more nothing.
Cecília Meireles was a poet, painter and educator who entered the history of Brazilian Modernism, belonging to the second phase of the movement.
Em Reason, a writer reflect on da sua relationship with poetic work. It is clear that he is a lyrical subject and a poet because his face is part of his nature.
Confused about his emotions, he lives paying attention to us details of ephemeral things. The poem seems to be his way of dealing with the world and here that will not end.
8. Pronominais (1925)
Dê-me um cigar
Diz a grammar
Do professor and do aluno
E do mulatto known
More o black bom e o white bom
Da Nação Brasileira
Tell me every day
Deixa disso comrade
Give me a cigarette.
As we refer to, I do not come, some characteristics of Brazilian modernism were at the presence of a simple linguagem, next day oralidade. These compositions pay attention to falas locais, registering or vocabulary typically Brazilian.
Em PronominaisOswald de Andrade called attention to the disagreement that existed between the formulations taught in the school and the real uses of the language, not the national daily. Assim, he has challenged two models that ainda vigoravam e a valorization daquilo that is popular.
9. Mãos Given (1940)
Não serei or poet of an outdated world.
Also não cantarei or future world.
I'm imprisoned in life and olho meus companheiros
They are taciturn but have high hopes.
Among them, consider the enormous reality.
O present é tão grande, we do not worry.
We are not very busy, we are going for it.
Não serei or singer of a mulher, of a history.
I will not say sighs to the evening, to the landscape seen in janela.
I will not distribute obstructive or suicide letters.
no fugirei for ilhas nem serei abducted by seraphins.
O tempo é a minha matéria, o tempo present, os homens present,
to present life.
Modernist enquanto of the second geração, Carlos Drummond de Andrade made his hair look attentive to sociopolitical questões do seu tempo of him.
Em Mãos Given, he rejects the tradition, affirming that he does not want to be a poet who lives in prison not passed but also does not want to live in the future.
Nesta composition, he sublims to necessity and to Importance of paying attention to the present time, ao mundo e às em redor people. Or subject affirms that his companions are sad but also have hopes and need to prove their union, walking as "more given."
By all accounts, he rejeitates the common themes and the great abstractions in poetry: he wanted to talk about what he was interested in, because he is selling and living.
10. O Poeta Come Amendoim (1924)
(...)
Brazil...
Mastigated na gostosura quente do amendoim ...
Falado numa langue corumim
Melado melancholic ...
Saem slow fresh crushed hairs meus dentes bons ...
Molham meus beiços que give beijos alastrados
E depois semitoam sem malícia as you pray bem nascidos ...
Brazil loved not because it is a country,
Pátria is perhaps of migrações e do pão-nosso onde Deus der ...
Brazil that I love because it is the rhythm of my adventurous arm,
Or take two meus breaks,
O balanço das minhas cantigas amores e dances.
Brazil that eu sou because it is a minha expressão very funny,
Because I am a pachorrento sentiment,
Because it is meu jeito de ganhar dinheiro, to eat and to sleep.
Because it is extensive, we opted for presenting or exceeding the end of this poem by Mário de Andrade. Nele, or author, refers to the history of Brazil, or the process of misunderstanding that is based on the many influences of our culture.
Enquanto is eating amendoim, a banal ato, or a reflective subject on your country and a relationship that you keep eating. Analyzing this collective national identity, a "feeling of being Brazilian", he realizes that his love for homeland does not arise from a nationalist thought.
OR Brazil face part of quem ele é, two serious tastes, thoughts and everyday things, its nature and way of seeing the world are impressed.
To know more about the writer, read: Poems explained to meet Mario de Andrade.
11. To Rua (1947)
Well I know that, many times,
or only remedy
é adiar tudo. É adiar to headquarters, to fome, to viagem,
to amusement, or amusement,
or request of emprego, or to own joy.
A hope is also a way
of continuous addition.
I know that it is necessary to give prestige to Esperanza
numa waiting room.
Mas sei também que waiting means luta e não,
[barely,
hope sitting.
No abdication for life.
To hope
I was never in a bourgeois way, sitting and calm day
[waiting.
I was never a figure of mulher
do quadro antigo.
Sitting, giving milho aos pombos.
Cassiano Ricardo, a poet from São José dos Campos, was two representatives of Brazilian modernism with a nationalist look. Em To Rua, tece um social and political comment, criticizing or cenário da epoch.
Em um took dysphoric, or little subject appoints hope as an addition because on the face of it we cannot solve our problems.
I expose the ways of life of the bourgeoisie, it declares that Brazilians need to wait while struggling and, not seated, passively before life.
12. International Congress of the Medo (1962)
Provisionally we will not sing or love,
that took refuge more under two subways.
We will sing o medo, that sterilizes you embraces,
We will not sing or hate because that does not exist,
It exists barely or half, nosso pai e nosso companheiro,
or half great, two sertões, two seas, two deserts,
or half two soldiers, or half days more, or half days big,
we will sing or half two ditators, or half two democrats,
we will sing o medo da morte e o medo de depois da morte,
depois we will die from medo
and on our burial mounds, yellow and fearful flowers are born.
Em Carlos Drummond de Andrade, International Congress of the Medo é um exciting portrait two difficult times that the world lived. The aftermath of the Second World War, numerous changes and social transformations and poetry seemed insufficient to deal with as a relief.
Drummond sang or sentiment that paralyzes humanity and suspends the serious ones, isolating more and more individuals: um overwhelming medo.
Conheça also
- Or what was it or Modernism?
- Modernism not Brazil
- Melhores poems by Carlos Drummond de Andrade
- Poems memorable by Manuel Bandeira
- Imperdíveis poems by Cecília Meireles
- Tudo about a Modern Art Week
- Poem O Bicho, by Manuel Bandeira
