Analysis of the poem Vou-me embora pra Pasárgada by Manuel Bandeira
Or poem Vou-me embora pra Pasárgada, by Manuel Bandeira, was published unlivro Libertinagem (1930) is considered a modernist work.
The verses revolve around a little subject who tries to find a refuge in Pasárgada, a kind of lost paradise, to escape his reality.
A city of Pasárgada de fato existed, it was the capital of Primeiro Império Persa. When he was 16 years old, Bandeira told him for the first time a story about a city and imagined that she could be a representation of a wonderful place. The poet kept an image for years in his memory of him or her famous poem on the face of it.
Poem Vou-me embora pra Pasárgada na whole
Vou-me embora pra Pasárgada
La sou amigo do rei
I have a mulher that I want
Na bed that escolherei
Vou-me embora pra PasárgadaVou-me embora pra Pasárgada
Here I am not happy
The existence is an adventure
In such an inconsequential way
Than Joana to Louca de Espanha
Rainha and fake insane
See to be counterparent
Da nora i never livedE as a gymnastic farei
Andarei by bicycle
Montarei em brabo donkey
Subirei no pau-de-sebo
Tomarei banhos de mar!
And when i'm tired
Deito na beira do rio
I command chamar a mãe - d’água.
Pra tell me the stories
That no tempo de eu menino
Rosa Vinha tell meVou-me embora pra Pasárgada
I am passionate about it
É outra civilização
Safe process item
To prevent conception
Automatic telephone tem
Tem alkaloid à vontade
Tem pretty prostitutes
For people to fall in loveAnd when I am more sad
Saddest of não ter jeito
Quando de noite me der
Vontade to kill me
- La sou amigo do rei -
Terei a mulher que eu quero
Na bed that escolherei
Vou-embora me pra Pasárgada.
Detailed analysis of the poem Vou-me embora pra Pasárgada
The main theme of the poem by Manuel Bandeira is a person who escapes for another reality.
No poem Vou-me embora pra Pasárgadaon the run, no sense gives adventure, it gives independence, it goes for fun with limits and consequences.
Pasargada became um symbol of freedom, where you can do everything that you want in real life.
This impulse to go embora was not an idea recorded only by Bandeira, but other writers have explored this topic. The writers of romanticism, for example, when sofriam with unrequited love, costumavam escape to distant places or take refuge in ideia da morte so that you avoid sofrer das dores do heart.
The writers of arcadismo, for their time, fugiam for fields, desert landscapes and rural areas - nesses spaces and they feel that there is purity and seek ways of inspiration.
The 1st verse announces that he is moving
Já did not begin two verses with a definitive statement: he communicates that he is going to leave where he is to be established in Pasárgada.
Nesse place, that exists in his imagination of him, here that he will find power because he is "a friend of the king." Being a friend of someone powerful is or his strongest argument to get what he wanted.
In passing there is a hope of ending something that is not normally feared, for example:
I have a mulher that I want
Na bed that escolherei
Or place that Manuel Bandeira praises is not his famous poem by fate existiu. Long gone was a Persian city known as the capital of the Primeiro Império. Burning ordered the construction of a povoação foi or Emperor Cyrus II.
Na strophe 2 we know why he wanted to leave
Após to apresentação do poem, there is a challenge as a reader and a subject makes it clear that you are not satisfied where you are:
Here I am not happy
The existence is an adventure
So inconsequential ...
We clearly notice a sadness opposite to life that the little subject hopes to find in another place (in the case of Pasárgada).
Or that or attracts the land onde or friend and laughs justly or unknown component, or potential for adventure and unexpected that you can find. This marvelous place is the opposite of that of the early real life, by isso ha uma vontade so great to move.
We find out in verse 3 what he intends to do in Pasárgada
You must announce the move and explain to your escort, a third part of the poem or subject resolves to disbelieve how it will be or what it will be day by day in a distant land.
Here the poet fala da harmony with the nature that he will find in the past and the memories of the past that or comfort.
And when i'm tired
Deito na beira do rio
I command chamar a mãe - d’água.
Pra tell me the stories
That no tempo de eu menino
Rosa Vinha tell me
Or return to childhood and very present in that stretch of magic. O little subject promises to mergulhar not past with ajuda da mãe d’água, that is a fantastic creature, and gives Rosa, we do not know what, more than the context we perceive that it is important to the life of men.
During childhood, he was in the presence of two feminine entities, or little subject felt protected in that state of security that he intends to overturn.
Na stanza 4 we know the deepest desires
He opened up in relation to his intimidation, in a fourth part of the poem we know that it attracted those who wanted to move to Pasárgada:
I am passionate about it
É outra civilização
Safe process item
To prevent conception
Automatic telephone tem
Tem alkaloid à vontade
All argumentation is based on a comparison between what is here and what is being done (in Pasargada).
Or little guy, little years, I'm convincing or reading how Pasárgada é bom, as a perfect place, How do you need to worry about contraception methods and how would you really feel free? living the.
Na stanza 5 lets me escape that there can also be sadness in Pasargada
In spite of all the boas he finds in a bummer, he still admits that, the more I give up or the later, he may feel sad. But when melancholy bater, he knows that he will not be an ideal place and, therefore, or sentimento ruim will pass a depressa.
And when I am more sad
Saddest of não ter jeito
Quando de noite me der
Vontade to kill me
- La sou amigo do rei -
Terei a mulher que eu quero
Na bed that escolherei
Vou-embora me pra Pasárgada.
He concluded the poem by saying that, like him and a friend of King, he feared a woman to wish and, only because of this, it is worth going to Pasárgada to live his great adventure.
As criações de Bandeira were biographical
Long year of all a carreira, Manuel Bandeira inseriu experiences of his own life nas suas works of him. Libertinagem, a publication where or poem is inserted, is after examples of creation inspired by the life of the author.
We read em Vou-me embora pra Pasárgada Many two means of his own poet, who has a very limited life due to health problems that result from a poorly cured tuberculosis.
Numa análise feita pelo teórico da Brazilian literature Alfredo Bosi read:
Or adolescent poorly cured of tuberculosis persists not solitary adult that olha de longe or carnival gives life and of all face material for the free rhythms of seu obrigado distancing
In an interview about two of his most illustrious poems, Bandeira confessed that the image of the city of Pasárgada has seen his thoughts of him since he was a teenager.
Many years later, the poet managed to find inspiration to create a composition that would eternalize his Pasargadae as a wonderful place:
Foi or poem of mais longa gestação em toda a minha obra. I saw the first time esse nome de Pasárgada when I had my ten six years and was a Greek author (...) Esse nome de Pasárgada, which means "field two Persians", aroused minha imaginação uma fabulous landscape, a country of delights (...) more than twenty years ago, when in morava só na minha casa da Rua do Curvelo, no moment of deep desânimo, gives more acute sensation of tudo or that I do not have a feito na minha life for the reason of the doença, I jumped suddenly from the subconscious that was cry this pafurdio: “Vou-me embora pra Passionate!
Vou-me embora pra Pasárgada was mused by Gilberto Gil
A classic from national literature, or Bandeira's poem was played by Gilberto Gil, who recorded alongside the singer Olivia Hime. A creation ficou eternalized no album Estrela gives life inteira (1987).
Despite Gilberto Gil's version, it was more widely known, more than ten years before, another composer, Paulo Diniz, had yet to have a musical adaptation of the poem.
A brief biography of Manuel Bandeira
Born in Recife, on April 19, 1886, Manuel Carneiro de Sousa Bandeira Filho was filho de um Engenheiro (Manuel Carneiro de Souza Bandeira) who married as a woman from a well-stocked family (Francelina Ribeiro). A family of the poet has political influences, landowners and landowners.
Or young person studied in Recife and moved with family to Rio de Janeiro when he was 16 years old. At the time of the college, Manuel decided to enter the Architecture course having been admitted to the Escola Politécnica de São Paulo in 1903.
How doente - develop a tuberculose - Bandeira needed to stop or course. A family then decided to send a young man, very dejected to doença, to Suíça, for the sake of dealing.
A literary career by Manuel Bandeira
A first work of Bandeira foi To cinza days hours, published in 1917, still influenced by symbolist and Parnassian styles. To his second work of him, Carnival (1919), there are still more compatible elements as the style that Bandeira would develop throughout the career.
O conheceu poet Mário de Andrade in 1921 and quickly began to collaborate with the modernist magazine Klaxon. Active not group, mandou or poem You toads to be lido during the Modern Art Week of 1922.
Throughout his life, Bandeira wrote poems, but he also had been the author of prose, film criticism and music. In 1940 he was elected immortal from the Brazilian Academy of Letters, having been or third to occupy Cadeira 24.
Or poet died 82 years old, not October 13, 1968, not Rio de Janeiro, leaving an important literary legacy.
Manuel Bandeira was one of two main names for Brazilian modernism
Manuel Bandeira was one of two great authors of Brazilian modernism, and he even participated in the Modern Art Week of 1922.
Libertinagem (1930), the work where it is inserted or poem Vou-me embora pra Pasárgada, was a framework in the career of the poet because he represented when or an author in addition to modernism.
This entry, not a new literary movement, was important because it interrupted the Parnassian style, which was so frequent at the time. With a more conservative view of literature, Parnassians rely on rigorous verses, fixed rhymes worked with a very elaborate language.
Take the opportunity to see also:
- You will remember the poems of Manuel Bandeira
- Poem Os sapos, by Manuel Bandeira
- Poem O Bicho, by Manuel Bandeira
