12 poems infantis by Vinicius de Moraes

A children's production by the poet and composer Vinicius de Moraes is quite well known by the Brazilian public.

In the 1950s I wrote some poems for children, based on a biblical history of Noah's ark. These foram texts published in 1970 do not release To Noah's ark, dedicated to the authors, Pedro e Suzana.

In 1980, or free it was transformed into a musical project. Together with Toquinho, Vinicius criou or album To Noah's ark, launched a little before his death.

We gather here some poems of this project. Trust!

1. Or Relógio

Pass, tempo, tick-tock
Tic-tac, pass, time
Chega logo, tic-tac
Tic-tac, e vai-te embora
Pass, tempo
Bem depressa
Not late
Don't delay
That i am
Very tired
I lost
All joy
By fazer
Meu tic-tac
Day and night
Noite e day
TIC Tac
TIC Tac
TIC Tac…

Nesse poem, Vinicius de Moraes built a structure of linguagem com rhythm, playful character and simplicity. Using or stylistic device gives onomatopoeia, compõe um sonorous and imaginative text.

Here, é quase possível "ouvir" or relogio working. Além disso, or poet looks for words related to notion of tempo to falar about or object that measures to

temporality.

There is still a certain sadness not a poem, even for children. We can notice essa melancholia Through two verses "Que já estou muito tired" and "Já lost all joy".

Watch or video with music sung by Walter Franco:

2. To home

It was a house
Very funny
No tinha teto
No tinha nothing
No one could
Enter nela não
Because at home
No tinha chão
No one could
Sleep na rede
Because home
No tinha parede
No one could
Fazer pee
Because penico
No tinha ali
But it was ugly
With great care
Na Rua dos Bobos
Zero number.

Um two poems infantis mais conhecidos no Brasil é To home. There are some fanciful analyzes of the meaning of that poem.

A better known is that home is a metaphor for failing on the uterus of a pregnant woman, or seja, the first "home" of a human being. However, this version does not condition with the intentions of Vinicius.

Na realidade, second or musician Toquinho, this poem was inspired by the house of the Uruguayan artist and architect Carlos Vilaró, who inaugurated us in the 60s. A construção, girl from Casapueblo, is located in Punta Ballena, not Uruguai and tem uma quite unusual structure.

De qualquer maneira, esse poem traça uma descripição criativa about uma cheia de contradições house and impossible to dwell. Dessa form, as we read or listen to or text, we create our imaginations fun ways to get to live in construction, while also gaining shape just mentally.

Abaixo, veja or Grupo Boca Livre singing a musical version:

3. Or Leão

Read! Read! Read!
I roar like or trovão
Deu um pulo, it was a time
Um cabritinho montês.
Read! Read! Read!
This is the rei da criação
Tua goela é uma fornalha
Teu jump, uma labareda
Tua claw, uma navalha
Cutting to prey nothing remains.
Leão longe, leão perto
Nas areias do deserto.
Leão alto, sobranceiro
Together do despenhadeiro.
Leão na caça diurnal
Going out for a run da furna.
Read! Read! Read!
Foi Deus que te fez ou não?
Or jump do tiger is fast
As or raio; no more has
Tiger no world that escapes
Do jump that or Leão gives.
I do not know what I am facing
Or fierce rhinoceros.
Pois bem, se ele vê o Leão
Foge like um furacão.
Leão sticks out, wait
Da passagem de outra fera ...
Vem or tiger; like a dart
Cai-lhe em top o leopard
E enquanto brigam, calm down
O leão fica olhando aquilo.
When I get tired, or I read
Kill um with every hand.
Read! Read! Read!
És o rei da criação!

Or poem Or read traça um panorama do jungle world. Here, the author exhibits a majestic figure and forte do leão, considered or "rei da floresta".

Vinicius compares o leão with other animals, like o tiger, o rhinoceros and o leopard. E nessa comparação, second or poet, or leão é or mais forte e quem would defeat "briga". Through the narrative, or the reader is raised to imagine you are animated in the jungle.

It is interesting to observe how, even if it is a children's poem, or a text about dinners of hunt e morte, present us verses "Deu um pulo, e era uma vez um cabritinho montês" or "When I get tired, or read kills a com every mão".

Check out the video of music sung by Caetano Veloso:

4. Or Duck

La vem or duck
Leg here, leg acolá
La vem or duck
To see or what to do.
Or duck pateta
Pintou or caneco
Surrou to Galinha
Bateu no marreco
Pulou do poleiro
I don't want to dig it
Levou um coice
Criou um galo
Comeu um pedaço
By jenipapo
Ficou set
Com dor no papo
Caiu no poço
Quebrou a tigela
So many fez or moço
That was for panela.

No poem Or duck, or author works incredibly like words, raising orality and rhythm. Vinicius uses rhymes to compose a text that is easy to memorize, but nem for superficial isso.

Nele, or the author, tells the story of a very long duck, which depois from several journeys, ends "indo pra panela". Facts appear in a sequence of two events that form a conduit that connects to or children's picture.

Além disso, the dinner portrayed introduces us fanciful elements and nonsenses, or that makes ainda more interesting or poem.

See the musicalized version not the video below:

5. Or cat

Com a nice jump
Lesto e sure
Or cat passes
Do chão ao wall
Moving logo
Of opinion
Passa de novo
Do wall ao chão
And hit runs
Bem de mansinho
Behind um poor
By um passarinho
Sudden, to
As amazed
Depois shoots
Side polish
And when you do
He is fatigued
Take or seu banho
Going to language
Peel belly.

Or poem Or cat It presents with docility to the personalities of the pet that is present in our lives. Here, the author portrays Elegance and skill Feline desses, exhibiting jumping dinners, hunting and resting.

It is also possible to say that, through the description of such peripécias, or text encourages children the observation of two events a year, mainly of the behavior of two animals, not case, or cat.

Veja o video of Mart'Nália singing a musical version of Or cat:

6. As Borboletas

Brancas
Azuis
Amarelas
E pretas
Brincam
Na light
As belas
Borboletas.
White borboletas
São cheerful and frank.
Borboletas azuis
Gostam a lot of light.
As amarelinhas
São tão bonitinhas!
E as pretas, so ...
Oh, what a drain!

Nesse poem, Vinicius begins by listing some cores and generating a certain suspense not read, which only depois and apresentado às borboletas.

Ele portrays esses insects singelos Attributing characteristics to every um of the second as cores that it has. It is interesting to observe also that these qualities are exposed as human attributes, as it is possible to perceive us adjectives "frank" and "happy".

The author also uses rhyme and repetition, giving a musical character and facilitating fixation in memory. This is also a descriptive text, more than it does not show any dinner or history.

Watch or video with singer Gal Costa interpreting feita music with this poem:

To find out more, read: Poem As Borboletas, by Vinicius de Moraes.

7. As Abelhas

To abelha-mestra
E so abelhinhas
They are all soon
To go to the party
Num zune que zune
Lá vão pro jardim
Jump com a cravina
Waltz as jasmim
Da rosa pro cravo
Do cravo pra rosa
Da rosa pro favor
E de volta pra rosa
Venham see how dao mel
As abelhas do céu
Venham see how dao mel
As abelhas do céu
To abelha-rainha
She is always tired
Fatten up pancinha
In no face but nothing
Num zune que zune
Lá vão pro jardim
Jump com a cravina
Waltz as jasmim
Da rosa pro cravo
Do cravo pra rosa
Da rosa pro favor
E de volta pra rosa
Venham see how dao mel
As abelhas do céu
Venham see how dao mel
As abelhas do céu.

This poem inserts us no universe da abelhas, recounting how they organized themselves to do their work, that they colher mel.

O poet details a hierarchical structure desses insetos ao insert to "abelha-mestra", as "abelhinhas" and to "abelha-rainha" in um festive atmosphereIn the meantime, it is reported that abelha-rainha is fed with great efforts.

We can attempt ainda or use of diminutives as a resource used in order to approximate the crianças da cena. Another element that stands out is onomatopoeia, which imitates or som das abelhas as the verse "num zune que zune".

See a musical version as the singer Moraes Moreira:

8. Or Elefantinho

Where are you going, elephantinho
Running hair caminho
Assim so heartbroken?
You are lost, bichinho
You spit or pe no espinho
What are you, poor coitus?
- I am with a damaged medium
I found um passarinho

Nesse small dialogue between o poet and um elephantinho, Vinicius exhibits a fantasy dinner that allows the public to use their imagination and build or mental events.

No case, or elephant is sad, heartbroken, walking sem rumo. Nesse moment, or animal appears as a poet, who asks him or why of such melancholy. By means of diminutive in "elefantinho", we perceive that it is about a filhote, or that it generates an identification as a child audience.

Or elefantinho replies that he is very much like a passarinho. Esse waste and unusual Surprisingly, it is counterintuitive to think that a large animal like an elephant could be eaten by a small passarinho.

To singer Adriana Calcanhoto has a musical verse of this poem, which you can confer below:

9. Or Peru

Glu! Glu! Glu!

Abram alas pro Peru!
O Peru foi a passeio
Thinking it was pavão
Tico-tico riu-se so much
What a morreu of congestion.
O Peru dança de roda
Numa Roda de Carvão
When it ends, you fool
De quase cair no chão.
Or Peru was gone one day
Nas Águas do Ribeirão
Foi-se olhando foi saying
What a beauty of pavão!
Glu! Glu! Glu!
Abram alas pro Peru!

Or peru is another poem that he traced to onomatopoeia as a method to raise uma oralidade interesting and fun. Here, the bugs are presented as they are fossem pessoas, com sentiments and anseios.

Assim, or Peru appears imagining that it would be another animal, um pavão, which is considered more elegant and beautiful. Either I pass the Tico-Tico here very funny, even more so, or Peru continues to think it was um pavão.

Not the end of the poem, we can see a reference to the Greek myth of Daffodil, which has been refletido in the waters of a river and apaixona-se by itself. It gives the same shape, or Peru is also seen to be reflected, not ribeirão and enxerga a cute animal, even different from that of fate.

Veja o video da music sung by Elba Ramalho:

10. Or Pinguim

Bom-dia, Pinguim
Onde vai assim
How are you arrested?
I am not evil
No fique scared
I eat myself.
Eu só gostaria
To give um tapinha
I'm not chapéu de jaca
Ou bem by levinho
Puxar or rabinho
Give his coat.

Give the same way that no poem about or elephantinho, em Or pinguim, is shown a conversation between the interlocutor and a pinguim. In the meantime, in any case, there is no response to the animal, that it takes or read to imagine or that it elects.

No text, or author introduces us um imprisoned animal, apparently scared. So I did not have anything to do with it, because it is true to the intention and subject of an approach, perhaps for curiosity.

Another interesting point is how the poet descreves or passes, as he is dressed in jacket, making reference to his preta and branca coloração, what a face it seems that he is fato wearing um coat.

Chico Buarque confirms singing a musicalized version:

11. To seal

I wanted to see seal
Ficar happy?
É for a ball
I don't know his nose.

I wanted to see seal
Bater palminha?
Give her
Uma sardinha.

I wanted to see seal
Fazer uma briga?
É espetar ela
Bem na belly!

No poem To seal, Vinicius de Moraes also uses as Literary recuse to rhyme, present the words "seal" and "ball", "happy" and "nose", "palminha" and "sardinha", and not the last verse, "briga" and belly ".

Or author creates a cenário not what we imagine a seal juggling and clapping hands, like em um show with aquatic animais. After shows, the bugs will respond to stimuli from two trainers and the public that attends to impress them that they are happy.

Assim, and maid a narrative in which we produce mental images of a happy and satisfied seal or I tied the same brava, it was cut into the belly.

Toquinho sings down to a musical version of this poem, veja or clip:

12. O Ar (O Vento)

I'm alive but I don't have a body
Because of this, I don't have any form
Weight eu also not tenho
I do not have cor

When i'm fraco
I blow breeze

E se assobio
Isso é comum

When i'm forte
I'm hot

When i'm cheiro
I suck pum!

O ar (o vento) It is a poem with which the author exhibits various ways in which it can be manifested. A structure of the text is built in a way to be quase um jogo de adivinhações.

Here, Vinicius explores like this material properties ao say that or ar no tem shape, weight and cor. This is an interesting way of introducing children to these little conceits.

O final do poem is another highlight, pois or author surpreende or public ao falar sobre o pum. Something that part of the physiological needs of the human being, more than the people I avoid addressing, may cause constraint. In the meantime, for as children this is a matter treated as maior naturalidade.

Watch or video of the poem set to music and sung by Grupo Boca Livre:

Quem foi Vinícius de Moraes?

Vinicius de Moraes was a very renowned poet and composer in Brazil. It was born in Rio de Janeiro on October 19, 1913.

Because of his preference for lyrical poetry (which is very well matched with musicality), he was called by friend Tom Jobim from "poetinha".

O poet signed important music partners like Tom Jobim, Toquinho, Baden Powell, João Gilberto and Chico Buarque. His production included famous music such as Garota of Ipanema, Aquarela, Dragging, I know that you will love, between many others.

On July 9, 1980, Vinicius felt bad and died in his house banheira. Ele estava com o amigo Toquinho ending o volume 2 of the children's album To Noah's ark.

Don't stop here, read me too:

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• Melhores livros infantis da literature brazilian
• Poem Leilão de Jardim, by Cecília Meireles