15 melhores poems by Manoel de Barros: commented and analyzed

Manoel de Barros (1916-2014) is one of two great Brazilian poets who I see achieving deserved fame.

As a poetics of miudeza and singeleza, narrated from the universe of the interior, the lyric of the Mato Grossense breeder was also constructed.

Discover agora fifteen days suas spectacular criações.

1. Bocó

When the boy was going to taste the caracóis e pedrinhas
na beira do rio I ate two hours a day late, Ali
também Nhá Velina Cuê was here. To velha paraguaia
From seeing that boy to tasting Caracóis na beira do
I river tied two hours late, balançou a cabeça
from one side to another to the gesture of burning estivesse
com pena do moço, and disse a word mouth. Or boy
she ouviu a palavra bocó e foi for home running
Let's see us, your thirty and two dicionários that coisa
It was to be a mouthful. She achou near nove expressões that
sugeriam similes to fool. And she laughed at gostar. AND
she separated for the novel similes. Tais: Bocó é
always some acreage of criança. Bocó é
uma exceção de arvore. Bocó é um que gosta de

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converse deep bobagens with waters. Bocó
he is the one who always fails like you give suas
origins. He is always some dark fly. É
someone who built his house with little cisco.
He um who discovered that in the afternoon he was part of
Haver beauty pass us by. Bocó é that which
olhando para o chão enxerga um verme sendo-o.
Bocó é a kind of sânie com alvoradas. Foi
o that o moço colheu em seus trinta e dosis
dictionaries. It was estimated

The verses are quite characteristic of Manoel de Barros's lyrics. Here we find um olhar child about the world (repair I do not use a thermo moço, for example, and not Tom of ingenuity do eu-lrico), composed from uma linguagem singela.

It is also frequent to the importance given to the natural elements in writing (to pedrinha, or snail, to tree, or river, you pass).

Em Bocó or poetic subject demonstrates, with simplicity, go I discovered a few years as words e a linguagem.

O eu-lrico does not give more hints of burning or homem or burning velha that appears not a poem, it just narrates or an uncovered event of the word "mouth" as a certain degree of distancing.

We also conclude how the case is resolved with a touch of humor (at the end or subject to the correct definitions of Bocó, we have thirty and two dictionaries before we admire).

2. Matéria of poetry

All these things whose values ​​can be
disputed do not cuspe at a distance
servem for poetry

O homem that possui um pente
e uma tree serve for poetry

10 x 20 field, sujo de mato - os que
nele gorjeiam: moving debris, cans
servem for poetry

Um chevrolé gosmento
Collection of kisses abstêmios
O bule de Braque sem boca
são bons for poetry

So the things that I do not rise to anything
têm great importance

Every ordinary thing is an element of esteem
Every money is loaned, has its place
na poetry ou na geral

The verses above constitute just a brief stretch of the poem Matéria de poetry. Esse metapoem Manoel de Barros talks about the composition of his own poem, he debruça about the escolha das words and about the process of literary creation.

Here or poetic subject tries to elencar which serious or material worthy of poetry. Ao explain to the reader or that it should be written material, or eu-lyrical I will discover that a poetry is a daquilo art that has no proper value (In summary, second or proper poem, which can be disputed not at a distance).

Either the eu-lyrical sublinha that or that is left over serves to breed poetry, or that the contemporary world does not give value reveals itself, in the end, matter-prima da melhor qualidade for a poetic composition. São highlighted hair subject to the more diverse interesting elements for poetry (um car, um bule, um besouro).

3. I live on nothing

It is easier to make tolice a gift that gives good sense.
•
I do not invent and false.
•
There are many ways serious of not saying anything, but only to poetry and truth.
•
Tem mais presença em mim or that I am missing.
•
Melhor jeito que achei to conhecer me foi fazendo or contrarário.

Os five verses acima compõem um trecho do Livro about nothing. São wisdom pills do interior poet, which provides a concentrated and fragmented knowledge.

So small sentences, very succinct and disconnected, restless or read and invite you to think.

Thus deep philosophical reflections (at times alternated with light observations) appeared from a véu of apparent simplicity. When reading ends as phrases ficam echoing and reverberating, intriguing or reading.

4. To erase

I prefer the obscure words that dwell in us
uma cozinha fundos - type borra, cans, cisco
Do that as words that dwell in us sodalícios -
type excelência, conspicuous, majesty.
Also meus alter egos são all erase,
ciscos, poor devils
May I dwell, we founded by uma cozinha
- type Bola Sete, Mário Pega Sapo, Maria Pelego
Preto etc.
All drink or drink.
And all condizentes with rags.
One day someone suggested that I adore um
alter ego respeitável - type um prince, um
Admiral, a senator.
Eu perguntei:
But it will burn as my abysses will
poor-diabos não ficarem?

The title of the poem já gives clues about what we will read to follow: to erase the excess, or deposit that the base of a container for the preparation of the discarded liquid (or coffee or wine, for example).

It is from that type of raw material that the poet creates his verses - as it passes unseen, or that seems dispensable, material such as which no matter is imported.

To erase é um self-centered poem, as a writing dedicated to debating on the writing itself. Or everyday vocabulary, accessible - as well as the examples that are listed throughout the text - allows an immediate identification relationship on the part of the reader.

5. Olhos standing

Olhar, repair everything in a volta, sem a lesser intention of poetry.
Rotate your arms, breathe or breathe fresh, create two relatives.
Planting a house gives people, days irmãs, two irmãos and two countries da people.
Lembrar que estão longe e ter saudades deles ...
Lembrar da city where it was born, as innocence, and laugh sozinho.
Laugh at past coisas. Ter saudade gives purity.
Lembrar of music, of dances, of lovers that you have never seen before.
Lembrar of places that to people já andou and of coisas that to people já viu.
Lembrar de trips that to people já fez and of friends that ficaram longe.
Raise two friends who are close to you and have conversations with them.
Knowing that people feared great friends!
Throw a folha de arvore, go chewing, feel the wind of rosy hair ...
Feel or sun. Gostar to see such things all.
Gostar to be ali walking. Gostar to be assim skecido.
Gostar desse moment. Gostar dessa emoção tão cheia of intimate riches.

Os verses acima foram withdrawn após a first passagem do extensive poem Olhos stopped.

We observe here a moment of pause and reflection on life. O poetic subject, he proposed to olhar in order to reflect on the experiences that he lived.

Or eu-lyrical shows feel deep gratitude Pelas vivências boas e pelos I find you happy that he sees you. It recognizes the beauty of being alive, full, and gives value to that completeness.

Em Olhosunemployed is It establishes a relationship of fulfillment as a reader, or eu-lyrical deixa that assists this intimate moment of balanço gives his lifepessoal.

Watch below a reading of this precious poem:

6. Os caramujos-flowers

Os caramujos-flores são a bouquet of caramujos that
just saem de noite for a walk
Preferably, try hard walls where you
ask me to eat
We don't know for sure, alias, they eat them
these walls or I são by the grazed
Provavelmente is compensated
Walls and caramujos are understood by devaneios
Hard to imagine a mutual devotion
Before I would say that we use a transubstantiation:
company walls seu moss years caramujos-flowers
e os caramujos-flowers on the walls sua gosma
Assim unbutton like you kiss

Or poem that feared as protagonists os caramujos-flores fala da nature It jumps with the composition of the language, two characteristic lines of the lyrics of Manoel de Barros.

Or eu-lyrical plays with a questão do ponto de vista (are you the caramujos that graze on the wall or the wall that is grazed with caramujo hair?).

Or I find between these two elements, aliás, compõe or central nucleus of the poem. It seems that a wall of caramujo são elements em perfect harmony, complementary and indissociáveis.

7. Orvalho biography

A greater wealth do homeme to his incompleteness.
Nesse ponto sou abastado.
Words that oil me like sou - eu não
oily.
Não aguento be just a little guy that opens
portas, that puxa valves, that olha or relogio, that
buy for 6 hours a day late, that vai la fora,
that aponta pencils, that sees grapes etc. etc.
Perdoai.
But it must be Outros.
Eu thought to renew or homem using bubbles.

O proper title of the poem já summons an intrigued olhar: how would it be possible to trace the biography of um orvalho? Um orvalho teria uma biography?

Or thermo biography refers to the history of the life of a person, a definition that does not seem to fit as an orvalho, that is a natural physical phenomenon.

Not decorating the poem, we are getting to know this little poetic subject different from the common place, who does not settle for being just a conventional figure, who buys money, opens doors and olha or relógio. He needs more, needs to feel na pele as he is to be another, it needs to be a multiple e experience novos olhares on or everyday.

This restless olhar can be verified even in his own need invent uma nova linguagem. In the case of the last verse "I thought I would renew or start using borboletas.", A finding that it cannot be understood by the rational way being possible only from the point of view of two conditions.

8. A didactic of invention

O river that fazia uma volta
behind our house
It was an image of um vidro mole ...
Passou um homem e disse:
Essa volta que o laughed face ...
she is taught ...
It was not more to the image of a cobra de vidro
that fazia uma turned back to the house.
It was a taught.
Acho que o not impoverished the image.

Not beautiful A didactic of invention We see how a poetic word can change to an interpretation that we build from a landscape.

A majority of us provavelmente olharia or contour of the river and chamaria or teaching space, thermo capable of condensing in few letters to configuration of the landscape. Or eu-lyrical, however, it does not conform to the escort of a vulgar person, but I suppose that it does not feel capable of capturing beauty from that panorama.

O homem do poem contrapõe to the poetic subject, who refuses to name or disregard of teaching. Então, com um olhar polluted with poetry, or eu-lyrical resolve to name such a natural landscape of "cobra de vidro", a phrase that carries a lot more beauty do that or technical thermo taught.

Check out the video of the poet Manoel de Barros reading or the poem above:

9. Poem

Poetry is saved with the words - é tudo que eu sei.
Meu fado é o de não know quase tudo.
Above or nothing, I have depths.
I have no connection to reality.
Powerful for those who discover ouro.
For my mighty one who discovers like this
insignificances (do mundo e as nossas).
For that little sentence they will praise me as an idiot.
Fiquei excited and chorei.
Sou fraco for praise.

Or the pretext of failing about poetry ends up triggering a reflection on the poetic subject himself. Em Poem, A long year of barely ten verses let us receive as little chave to understand the lyrics of Manoel de Barros.

O first verse - on the origin of poetry - logo leads to a more extensive question on the limitations of eu-lyrical. Vão sendo tecidas constatações apparently disconnected, rather than, na true, ajudam a compor or complicated puzzle do olhar do poeta about the world.

We discover, for example, that the poet gives value to what is small and insignificant, to the contrary, he gives more of the people. Due to this peculiar characteristic, he ended up being called an idiot by someone who did not or understand. Ao so do that was to be expected, on the offense ganhou um outro sense e o eu-lrico was moved as an adjective.

10. Na taught of Botafogo

How are you?: Afago houses cakes,
Falo com o mar na rua suja ...
I am freed up or down
No ombro de losangos amarelos.

Being less than thirty years old, what a disgrace
Nesta borda de mar de Botafogo!
What a lot of begging hairs!
That vontade to turn to a farm!

Because deixam um menino que é do mato
Love or sea with so much violence?

Com uma autobiographical writingManoel de Barros crystallized in many verses of his personal experiences. This seems to be the case of the poem Na taught of Botafogo, Wave or eu-lyrical, a little subject in the interior, it seems enchanted with the landscape of the Rio de Janeiro coastline.

Or poet, born in Cuiabá (not Mato Grosso), moved to Rio de Janeiro to attend graduation. Manoel de Barros was formed directly and later returned to the interior.

You verses acima, not entanto, portray the anguish of somebody divided: What a mantém or affection pela his native land at the same time that he is delighted with the Rio de Janeiro country. Enter the estate of the farm and the beggars, lost, or eu-lyrical hairs, wondering how he is capable of loving with so much force or ocean.

11. Deus disse

Deus disse: Vou ajeitar a você um dom:
You belong to a tree.
And you belong to me.
Escuto or perfume two rivers.
I know that you give out loud blue sotaque.
Sei botar clio us silences.
To find or blue eu use pass them.
I did not wish to fall in common sense.
I do not want a good reason for coisas.
Quero or feitiço das palavras.

Here, Manoel de Barros exhibits a spirituality interlinked years aspects of nature.

Or poet suggest that Deus lhe deu or "dom" to be an integral part of organic life, observing the trees, the rivers and the passers-by not only with admiration as com belonging.

O eu-lrico jumps even with words and vague concepts - like or silence - transforming them into matter and creating images mentais not reading that or raising feel more than rationalize on the proposed topics.

12. Apprenticeships

O philosopher Kierkegaard taught me what culture
é o caminho que o homem percorre to conhecer.
Socrates fez o seu caminho de cultura e ao fim
Falou who only knew that he did not know about anything.
He has no scientific certainties. More than he will learn things
di-minor com a nature. He learned that you folhas
you give trees servem to teach us to fall sem
boasting. Disse that the vegetated snail fosse
on stones, he would go to gostar. I would certainly
learn or language that as rãs falam com as águas
and ia converse com as rãs.
E gostasse mais de ensinar that exuberância maior is insets us
do you nas paisagens. Seu face of him tinha um side of
bird. For isso he could know all of you
the world hair heart of seus songs. Will study
we free ourselves. Porém he learned me not to see,
do not ouvir, do not hit, do not try and do not cheirar.
He chegou for times of reaching or sotaque of origins.
He admired how a grilo sozinho, a só small
grilo, he could disassemble the silence of a noite!
Eu formerly lived with Socrates, Platão, Aristotle -
esse pessoal.
Eles falavam nas aulas: Quem approaches das origigens is renewed.
Pindar Falava for me who used all the linguistic fossils that
he achava to renew his poetry. The pregavam mestres
that or poetic fascínio vem das roots da fala.
Socrates falava that as expressões mais eroticas
são maidens. And that Beleza is explained melhor
for no reason, nenhuma nela. Or that mais eu sei
on Socrates is that he viveu uma ascese of fly.

Em Apprenticeships, what face part gives work Invented Memories, Manoel offers us a poetic text that explains his gratitude conhecimento hairs acquired through philosophical reflections of thinkers like Socrates, Kierkegaard and Aristotle.

O poet reinterprets, with his words from him, the thoughts of philosophers, in order to approximate such difficult or abstract concepts to the type of language present in his poetry.

We find this poem - as well as in all the other lyrics by Manoel - a linguagem that fails as you animais, as vazios and as silence.

13. Or photographer

Difficult to photograph or silence.
Meanwhile I tentei. Eu counted:
Dawn to minha aldeia was dead.
There was no noise, no passing between the houses.
Eu estava saindo de uma festa.
Eram quase quatro da manhã.
Ia or Silêncio pela rua carregando um bêbado.
Preparei minha machine.
Or was silêncio a carregador?
He was carrying or drinking.
Fotografei esse carregador.
Tive other visões naquela dawn.
Preparei minha machine de novo.
Tinha um perfume of jasmim not beiral of a leftover.
Photograph or perfume.
I saw a theme attached to existence more than anything
stone.
Photograph to the existence of the.
I saw ainda um azul-perdão no olho de um beggar.
Fotografei o perdão.
Olhei a paisagem velha to desbar on a house.
Photograph or envelope.
It was difficult to photograph or about.
By fim eu enxerguei a ‘Nuvem de calça’.
He represented to me that she was walking in the village of
braços com Maiakowski - seu breeder.
Photograph of ‘Nuvem de calça’ and the poet.
No other poet no world faria uma roupa
more fair to charge your noiva.
A photo saiu legal.

Na work Photographic essays We find the poem acima, which carries a succinct title that summarizes the activity of the eu-lyrical: Or photographer. But, for us to be surprised, our logo for the first few verses, we observe that the concept that we are a photographer does not properly apply to what the poetic subject intends to register.

Manoel de Barros remeans here or our usual concept of the photographer's activity. In spite of the eu-lyrical desire to eternalize an image, to the experience that the circumstance transcends all and any record and the devaneia.

The end of the poem, unexpected, seems to naturalize the whole imaginary and conceitual journey that was passed on to the previous verses.

14. Um songo

Aquele homem falava com as arvores e com as águas
ao jeito that namorasse.
Every day
He would pack the afternoon for you to sleep.
He used a watering velho to wash them all like that.
manhãs os rios e as arvores da beira.
They say it was abençoado pelas rãs e pelos
come over.
People were credited by high.
A vegetarian snail will attend once
na pedra.
but I didn’t get scared.
Because I will study before about the linguistic phosseis
in my studies I found many times you are
vegetated in stones.
It was very much to find isso naquele tempo.
Ate pedra rabo tail!
By nature he was innocent.

Um songo face part gives work To Manoel de Barros's library and fala about a specific subject, não nomado, that tinha uma maneira de enxergar the world - and interact with it - in a different way.

Its relationship with nature and language reinvented with the typical characteristics of Manoel de Barros's lyric that are quite present in our verses.

15. Or fazedor de amanhecer

Sou leso em treats with a machine.
I have an appetite for inventing beautiful things.
In all my life only engenhei
3 machines
As sejam:
A small crank to hit did not sound.
A fazedor de amanhecer
for poets' use
Plated cassava for o
fordeco de meu irmão.
Cheguei de ganhar um prêmio das indústrias
Automobile Platinum Cassava hair.
I was hailed as an idiot pela maioria
Authorities at the delivery of the prize.
Hair that fiquei um so much superb.
E to glory enthroned forever
in my existence.

Em Or fazedor de amanhecer We read the art of inventing machines that do not exist, for non-objective purposes, challenging or logical world.

Our verses acima - and, generally, a complete lyric by Manoel de Barros - we are challenged to experience the world of another way, starting from the order of meaning.

O eu-lyrical here, an inventor of many cheias, breeds machines that I do not understand the utility point of view, as we are used to conceiving in society. Thus, its machines invented in another sense, try to meet abstract needs.

Read to Complete Poetry by Manoel de Barros

To edição Complete Poetry The poet from Goiano is available for free download in pdf format.

Film Só Dez for Cento é Lie

A literary production of Manoel de Barros ganhou a telona. O documentary, launched in 2010, was directed by Pedro Cezar and is entirely dedicated to the poetics of the Mato Grosso writer.

Assista o longa-metragem na integral:

Quem foi Manoel de Barros

Born in Cuiabá, not Mato Grosso, not on December 19, 1916, Manoel Wenceslau Leite de Barros became a great public hair, barely first and last name.

His work is considered pertinent to third generation of modernism (to known Geração de 45).

As a childhood of the poet, he was all passed on to a farm in the Pantanal, a place where his country, João Venceslau Barros, has a property. During his adolescence, Manoel moved to Campo Grande where he studied at an Internal College.

Its first book was published in 1937 (Conceived Poems Sem Sins).

The poet moved to Rio de Janeiro to study Direito and was formed in 1941. At the same time, he joined the Communist party.

As fome de novas vivências, Manoel viveu Nos United States, na Bolívia e no Peru.

Not at the beginning of two sixties he decided to return to a farm that had no Pantanal to raise gado.

In parallel with rural activities, he never stopped writing and began to be consecrated to criticism from two years of age. O writer recebeu duas vezes o Prêmio Jabuti: em 1989 com o livro O keeper of waters e em 2002 com Or fazedor de amanhecer.

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