Marília de Dirceu, by Tomás Antônio Gonzaga: summary and complete analysis

Essential work of Brazilian arcadism, or extensive autobiographical poem Marília de Dirceu was composed by the Portuguese-Brazilian poet Tomás Antônio Gonzaga.

The poem, divided into three parts, was written and disseminated at different times in the writer's life. A publication published in 1792 (first part), in 1799 (second part) and in 1812 (third part).

In terms of literary style, the writing mixes characteristics of arcadism with a pre-romantic emotion.

Summary and analysis of Marília de Dirceu

As a forte cunho autobiographical, the verses of Marília by Dirceu show a reference to the forbidden love of Maria Joaquina Dorotéia Seixas and the poet, which is seen as verses as Pastor Dirceu.

Dirceu é, therefore, little lyrical subject of Gonzaga, and sings her love for the shepherd Marília, little lyrical subject of Maria Joaquina. It was a tall convention to cultivate the muses as shepherds.

A youthful and idealized peel her beauty from her, as well as the cenário where you two are. A bucolic landscape of the countryside and also louvada:

É bom, minha Marília, é bom be dono
Of a slice, that covers mountain and meadow;
Porém, gentle shepherdess, or I like you
It is worth more than a slice and more than a throne.

OR pastoralism It was quite frequent in literary breeding of the time. Poets created pseudonyms and identified themselves as pastors in order to establish a noble simplicity, leaving aside the social differences and hypocrisy that accredit us residing in cities.

The idealization of love was not an exclusive creation of Tomás, who brought his pastor Marília. In accordance with the illustrative times, she is always loved as being branca (Marília tinha as faces cor da neve), as a perfect face, or frequently loiro hair (os cabelos são uns fios d'ouro). Beautiful on the inside and on the outside, Marília is not just an example of beauty as well as gentleness.

I notice, gentle Marília, you have your hair.
And I notice the faces of jasmins and roses;
I notice you are beautiful,
Os brancos dentes, e as feições mimosas;
That face a work so perfect and cute,
Minha bela Marília, I can also
Fazer os céus e mais, se ha mais ainda.

Second the present verses not a poem, for or eu-lyrical reaching a full happiness would be necessary just um aceno da amada.

It is a kind of love song, by Marília, with the greatest feeling that reigns in her heart:

For a happy life, Marília, enough
That you olhos move, and give me um riso.

Leaving a little side or poem, in real life a huge difference from idade entre o casal (ele tinha forty years and she barely passed away) it was two fathers that led the young family to prohibit relationship.

However, despite all the misadventures, you do both chegaram a noivar, embora never had actually been married.

Not a poem, or love environment, is marked by a typical bucolicism of two poets of the time: nature is in a highly idealized, springtime, happy and saddle.

Aspire-se a quiet, balanced and happy life, not a country setting, simple and simple, in tune with how you are now.

You shepherds who inhabit this mountain
Respeitam or power of meu boxed.
With such skill I play sanfoninha

O amor é tão forte that o eu-lrico imagines life within or beside the beloved and planeja attached to death itself, as a joint burial of two bodies, side by side.

Dirceu aspires that his love be an example for pastors who ficam:

Depois que ferir a mão da morte,
Ou seja neste monte, ou noutra serra,
Our corpos terão, terão a sorte
To consume you dois a mesma terra.
Na campa, surrounded by cypresses,
Read these words to the shepherds:
"I want to be happy with your loves,
Follow the examples that you give us. "

It is interesting to note that, at a certain point in time, he writes, or has his own poem, traces instructions for the geographical location to go to Marília's house. In reality, it was treated by Maria Dorotéia, in Ouro Preto.

Or spatial detail is found in the second part of the poem, more precisely during lyre XXXVII:

Enter nesta grande terra,
Passa uma formosa, get on,
Go to second, to third
Tem um palácio front.
The theme ao pe da porta
Uma torn janela,
He gives the room, where he attends
To minha Marília bela.

Contrary to the conventions of the time, despite Marília being an extremely idealized woman, she offers traces of sensuality, subverting the chaste and imaculate posture of the woman of height.

Personagens do poem

Pastor Marília

O nome de batismo by shepherdess Marília do poema é Maria Dorotéia Joaquina de Seixas. She chegou to be noiva of the poet Tomás António Gonzaga. A young woman, born in 1767 as the fruit of a full-fledged family, she lived in Ouro Preto and apaixonou-se when she was barely fifteen years old.

Maria Dorotéia was born for over seven years, when she became raised by the family. Traditionally or her surname was associated with the Portuguese choir, this would have been two fathers that will hinder her relationship with Tomás António Gonzaga (who participates actively in the Inconfidência Mineira).

Shepherdess Marília represents a typical shepherdess of the arcade movement, a young beauty, highly idealized and gifted, who lives in the countryside and is courted by a talented shepherd.

Pastor Dirceu

Pastor Dirceu is a poetic personage who represents Tomás António Gonzaga. The forty-year-old writer fell into the charms of Maria Dorotéia Joaquina de Seixas, who was barely a teenager at the time.

Due to the enormous difference between political and ideological differences, the family was against a relationship. The poet participated in the Inconfidência Mineira and ended up being imprisoned in 1792 and condemned. Or marriage announced, therefore, never will happen.

Or shepherd of ovelhas Dirceu is a quite characteristic representative of the arcade movement. O eu-lrico is an enthusiast in the field and gives life in the city and divides or seu tempo louvando a nature and a beloved, pastor Marília.

Main characteristics of Arcadismo not free Marília de Dirceu

The verses of Marília de Dirceu are characteristically arcades, we see below some of the central characteristics that northiam or poem and or characterize as belonging to the literary movement:

• cult of nature (ao pastoralism, a life in harmony with the environment), traço associated with Greco-Latin tradition;
• repudiation of city life;
• cult à simplicidade;
• exaltation of bucolicism;
• forte formal concern as a poem;
• simple and colloquial linguagem;
• deep louvação do amor e da beloved;
• Presença de um forte grau de rationalismo.

Structure of the poem

In the first part of the poem he celebrates Pastor Marília as muse and gathers texts written before the prison.

Já the second part, which continues to louvar Pastor Marília, condenses the poems written during the imprisonment.

A third part I counted poems that Marília had as muse alongside other shepherds who were also equally louvate. This meeting includes poems that Gonzaga wrote before meeting his paixão, when it was just beginning to be an arcade following the conventions of the written movement.

At the origin of Arcadismo

The movement emerged in Europe, during the 18th century.

The arcades poets faziam use of pseudonyms and escreviam on perfect metric, his verses exalt nature and inspiring muses were pastoral figures. O original Arcadismo mentioned numerous deuses and Greek and Latin figures of classical literature.

About a publicação

An extensive poem was written in three different moments in the life of the author.

In the first part, which includes 33 lire, it was published in 1792, in Lisbon. In the second part, with 38 lire, it was published in 1799. The third and last part, with 9 lire and 13 sonnets, was released in 1812.

Check below the layers of the first editions of the publication of Thomaz Antonio Gonzaga:

Discover Tomás Antônio Gonzaga

Born in August 1744, born in the city of Porto, or author living in Brazil (raised for Pernambuco with Brazilian hair) and degraded in Africa between 1807 and 1809.

He was a jurist, arcade poet, and political activist. As a poet, Gonzaga was strongly influenced by Cláudio Manuel da Costa.

He worked as a General Owner born in the city of Ouro Preto, where he knew his great love. To eleita, Maria Doroteia Joaquina de Seixas, born on November 8, 1767, in Vila Rica, and was twenty and three years younger than a poet.

Tomás specified that he was dying because he was sentenced during the Inconfidência Mineira, and was imprisoned in 1789. The writer is imprisoned on the Island of Cobras, not Rio de Janeiro, where he waits for his death since 1789, I finally joined the sentence on April 20, 1792, when he was sentenced to death.

Degraded by rainha Maria I, he was sent to Moçambique. 1792 was a year simultaneously twelve and bitter for the poet: it was a personal life or destiny from bad to old, it was this same year that, in Lisbon, his ganhavam verses formed by Nunesian Typography.

In this prison, in Fortaleza, there is a significant part of Marília de Dirceu.

A paixão por Marília is famous in the region that, in the inner city of São Paulo, where the newborn girl was made as a tribute to the work of the poet Tomás Antônio Gonzaga.

O own Brazilian literary critic Antônio Cândido acknowledges:

"Gonzaga is two rare Brazilian poets, and certainly or unique among the arcades, whose love life has some interest for understanding the work. Marília de Dirceu is a love lyric poem covered in a concrete experience - a paixão, or noivado e a separation from Dirceu (Gonzaga) and Marília (Maria Dorotéia Joaquina de Seixas). "

Leia na whole

You verses of Marília de Dirceu You are available for free download in PDF format.

Conheça also

• A surpreendente literature by Tomás Antônio Gonzaga
• The best love poems from Brazilian literature
• I-Juca Pirama, by Gonçalves Dias
• Os melhores livros infantis da Brazilian literature