Analysis and Interpretation of the Song of Exílio by Gonçalves Dias

TO Canção do Exílio It is a romantic poem (from the first phase of romanticism) by the Brazilian writer Gonçalves Dias (1823-1864).

A composition was created in July 1843, when the author was in Coimbra, and stands out either patriotism and or happiness in relation to the native land.

Canção do Exílio na whole

Minha terra tem palmeiras,
Where he sings or knew;
So birds, that here gurgle,
Não gorjeiam como lá.

Nosso céu tem mais estrelas,
Our várzeas have more flowers,
Our forests have more life,
Nossa vida mais loves.

Em cismar, sozinho, à noite,
Mais prazer found eu la;
Minha terra tem palmeiras,
Onde sings or knew.

Minha terra tem beauties,
That I have not found here;
Em cismar - sozinho, à noite -
Mais prazer found eu la;
Minha terra tem palmeiras,
Onde sings or Sabiá.

Deus do not allow him to die,
Sem que eu turned para la;
I know I enjoy the beauty
That I did not find here;
Sem qu'inda sees the palmeiras,
Onde sings or Sabiá.

Analyze

Canção do Exílio é or poem that inaugurates a work First Songs (1846).

Under the epigraph of Gonçalves Dias poem is a stretch of a work by Goethe (1749-1832), a German writer of romanticism also as a strong nationalist view. Convém observe with attention to the epigraph of the text:

Kennst du das Land, wo die Citronen blühen,
Im dunkeln die Gold-Orangen glühen,
Kennst du es wohl? - Dahin, dahin!
Möcht ich... ziehn.

With feces or country where florescem as laranjeiras?
Ardem na escura fronde os fruits of ouro ...
Conhecê-lo?
For the,
for the,
I would like to go! (Manuel Bandeira translation)

In the verses of the German poet we see that there is also an impulse to louvar to pátria These are its peculiarities. Gonçalves Dias follows the same movement as his transatlantic romantic antecessor and composes his verses in such a way as to praise the beauties of his land.

Both composições praise the trees of their terras natais (in Goethe são as laranjeiras and in Gonçalves Dias as palmeiras) and we have two cases and it is possible to observe one forte musicality. Not a Brazilian poet, this characteristic appears from work with perfect rhymes in even verses and with alliteration of consontes in some verses.

A praise to Brazil

Em Canção do Exílio clear physics or fanism e a idealization of country and nature. Either Gonçalves Dias's intuito was to enhance or that it was us painting as cores locais.

Or contact with nature and exaltation of the beauty of the country that is not a novelty of the first romantic geração, já no First record of Brazilian terras we read or enchantment due to the paradisiac retreat that I found no new world.

Na letter from Pero Vaz de Caminha We also find a narrator perplexed with the natural beauties of the tropical land and enchanted with the harmony that he finds in no new continent.

I am curious how em Canção do Exílio or eu-lyrical começa falando só de si ("Minha terra tem palmeiras") and depois muda or possessive pronoun for or plural ("Nosso céu tem mais estrelas"). This small alteration face or poem will open from an individual perspective to a collective olhar.

Escorted by two elements chosen by Gonçalves Dias não é fortuita. A palm tree is the highest tree on the coast and represents a majestic land, with sumptuous trees, also praising the country and serving as metonymy for our flora. Or you also knew that it is not a poem in a praiseworthy way and as a metonymy for Brazilian fauna.

Written circumstance

Gonçalves Dias wrote the verses when he was in Portugal, studying Direito na Universidade de Coimbra. It was relatively frequent for Brazilian educated intellectuals to cross over the ocean to train in Portuguese faculties.

A saudade da terra natal was the engine that moved to the writing of Gonçalves Dias. Therefore, it is a question of a voluntary exile, to or contrary to what may seem like a reading of the title of the poem.

The verses are structured as a clear opposition between or here and the - or that is not Brazil and or that is not outside it.

Canção do Exílio It was redistributed in July 1843 as evidence of this tom of the characteristic salutations of which it is some time distant from its country of origin.

Convém sublinhar that Brazil had recently declared Independência (in 1822) após um longo process of attempts to disassociate itself from the colonizer (since 1800 this impulse to freedom).

After finally we have achieved the longed-for independence, the romantics will feel the need for work for the construction of a national identity.

The authors and intellectuals of the era perceived that it was of the utmost importance to have a Identification as our country recém free and commeçaram to produce a literature with tons more nationalists.

Literary movement

TO Canção do Exílio He is the representative of the first generation of modernism (1836-1852). She is included I do not free First Songs, launched in 1846.

To work First Songs It is in the public domain and is available for download in pdf format.

O Brazilian romanticism was inaugurated with the launch of Poetic Sighs and Saudades, work by Gonçalves de Magalhães, plus Gonçalves Dias or main personagem during the movement phase.

At first geração do romantismo (also called geração indianista) I was marked by fanism and hair desire to build a national identity.

Re-music da Canção do Exílio

Or classic poem by Gonçalves Dias ganhou is important that chegou to be parodied and commented on by other important later authors.

We cite here some examples of works that I dialogue with Canção do Exílio Seja mentioning directly or I tied the same parodying the composition.

Canção do Exílioby Murilo Mendes

Or a poem by Murilo Mendes (1901-1975) that appeared as a reference to the classical of Gonçalves Dias was published in no book Poems (1930) is an integral part of the Diabolô series O Jogador.

In the re-writing of the poet from Minas Gerais we find touches of the contemporary context of the author and a strong presence of irony.

Minha terra tem macieiras da Califórnia
where we sing from Veneza.
You poets da minha terra
são pretos who live in the amethyst towers,
Army sergeants are monists, cubists,
são poles philosophers selling to benefits.
People can't sleep
as speakers and pernilongos.
Os sururus em família têm by testemunha to Gioconda.
Eu nose suffocated
em terra estrangeira.
Our flowers are more beautiful
nossas more gostosas fruits
more custam cem a thousand laughs a duzia.

Ai quem dera me suck a carambola de verdade
e ouvir um sabiá with certidão de idade!

Nova Canção do Exílioby Carlos Drummond de Andrade

Written in 1945, a parody of the modernist Drummond (1902–1987), it draws a series of criticisms of what country has become, in contrast to the absolute idealization promoted by the poet of the original version of the poem.

Um you know
palmeira, longe.

These birds sing
um another song.
Or céu scintilla
on blooming flowers.
Vozes na mata,
e o maior love.
Só, na noite,
would be happy:
um you know,
na palmeira, longe.
Where do you do it?
and fantastic,
só, na noite,
would be happy.
(Um sabiá na palmeira, longe.)
Ainda um cry of life and
flip
Where are you doing?
e fantastic:
to palmeira, or did you know,
or longe.

Canção do Exílioby Casimiro de Abreu

The verses below compõem as soon as the initial sections of one of the verses da Canção do Exílio, by Casimiro de Abreu (1839-1860). Enquanto Gonçalves Dias appears as one of the two great names of the first phase of romanticism, or author dessa nova version of the poem is customary to be considered two main representatives of the second phase of movement.

I had to die in flower for two years
Meu Deus! não seja ha;
I want to ouvir na laranjeira, in the afternoon,
Sing or you knew!
Meu Deus, eu sinto e tu bem vês que eu morro
Breathing this ar;
Face me alive, Senhor! give me de novo
I enjoy doing meu lar!
O foreign country plus beauties
Do que a pátria não tem;
In this world it is not worth only two beijos
Tão doces duma mãe!

Ouça or poem Canção do Exílioby Gonçalves Dias

Quem foi Gonçalves Dias

Born on August 10, 1823, Maranhão, Gonçalves Dias turned out to be the main name for the first phase of Brazilian romanticism.

Or rapacious was the filho of a Portuguese merchant as a mestiça. Your first education was given by a private teacher.

In 1838 he embarked on his way to Coimbra, where he studied or in the middle and later he saw him enter the University of Direito.

Foi la que or writer conheceu great names of European romanticism such as Alexandre Herculano and Almeida Garrett.

From formed, Gonçalves Dias returned to Brazil and, after a brief passage of Maranhão was established in Rio de Janeiro.

The city that the writer is consecrated as professor of Latin and History of Brazil not Colégio Pedro II and goes on to publish in a more systematic way.

Gonçalves Dias was also an official of the Foreign Business Secretary.

O poet faleceu no maranhão no day 3 of November of 1864 years just 41 years.

See also:

• I-Juca Pirama, by Gonçalves Dias
• Poem O Navio Negreiro, by Castro Alves
• Fundamental Brazilian poets

Formed in Literature at the Pontifical Catholic University of Rio de Janeiro (2010), Master of Literature at the Federal University of Rio de Janeiro (2013) and doutora in Studies of Culture of the Pontifical Catholic University of Rio de Janeiro and of the Portuguese Catholic University of Lisbon (2018).