12 precious poems by Mario Quintana analyzed and commented

Mario Quintana (1906-1994) was one of the two greatest poets of Brazilian literature and his verses reverberated throughout the years. Author of simple poems, acessíveis, that estabelecem like leitor uma espécie de convers, Quintana foi o Breeder of eclectic verses that narrate his own origin, love falam or treatment of his own creation literary.

1. Deixa-follow me to or sea

Tenta skecer-me... Be lembrado é how
evoke-se um ghost... Let me be
or that I am, or that I always was, a river that has flowed ...

Em vão, em minhas margens sing for hours,
I would dress with stars like a royal mantle,
I will embroider myself with nuvens and handles,
at the same time virão em mim as crianças banhar-se ...

Um espelho does not keep these refletted things!
My destiny is to continue... é continue to o Mar, as images losing no way ...
Deixa-me flow, pass, sing ...

all with sadness two rivers and we cannot stop!

We first three verses or poet may wish that or desire of him be fully respected, isto é, that he possa be here what is e that possa go embora when wanting.

Logo to follow, na second passagem, or poetic subject identifies-com um rio and he paints or cenário ao seu redor (as nuvens on si, as margens, as crianças que se divertrtem na agua).

Desiring to identify himself more like an image of the river, or the poet uses a metaphor to say that it cannot be saved or that it is in motion. O espelho does not keep the image that reflects (let us embed that the river itself contains a specie of espelho, or espelho d'agua), as well as impõe or movement of passagem. Or laughed, like or poet, flowed. We also see, through the comparison of the poetic subject, to consciência da passagem do tempo.

2. Morning

O tigre da manhã espreita pelas venezianas.
O Vento fareja tudo.
You fall us, you domesticated dinosaurs cherries - erguem to the load of the day.

Deeply imaginary Morning It is a powerful poem that counted just three verses. Not first of them or sun is compared to a tiger, who supposedly observed from the outside, tempting to enter our houses through the olhar.

No verse to follow, we see another figure of linguagem once a year is attributed or gesture of farejar, a characteristic feature of two animais. Also here a comparison is aligned with the tiger, presented in the first line of the breeding.

Finally, we are transported to each other, where the cherries - due to magnitude - are compared to dinosaurs, a poetic vision of carrying as loads are handled.

In just three verses we are invited to observe o world from um olhar mais criativo e cool.

3. Six hundred and sixty e six

A vida é uns deveres that we trouxe to do at home.

When you see, já são 6 hours: there is time ...
When you see, já é 6th-fair ...
When he sees himself, he will spend 60 years!
Agora, it's too late to be reproached ...
E se me dessem - um dia - uma outra oportunidade,
eu nem olhava or relógio
I was always in front ...

And I would go playing hair I walk to a golden and useless casca for hours.

Six hundred and sixty e six, also known as Or tempo, é two more famous poems by Mario Quintana. Long year two verses or poet explains questions related to temporary tempo.

Or spend two hours, two days and two years mobilizing or poetic subject that reflects, olhando back, on or that fez gives life.

Em tom of dialogue - with free verses and an informal structure - he addresses himself to the reader and tries to partilhar um conselho from the experience of lived.

How do I know, you can't turn back, but you can partilhar as you mais jovens, starting from your wisdom, here is what really interests you.

Find out a deep analysis of Poem O Tempo by Mario Quintana.

4. Presence

It is necessary that a saudade unravel your perfect lines,
your exato profile and that, barely, slightly, or vento
you give hours ponha um frêmito em teus cabelos ...
It is precise that in your absence threecale
subtly, not ar, to trevo bruised,
As alecrim pages saved from now
It is not known by what old mobile nalgum ...
But it is precise, too, that it be like opening a janela
e breathe-te, blue and luminous, not ar.
I need a saudade to feel
as sinto - em mim - a mysterious presence gives life ...
But when you arise this other and multiple and unforeseen
that you never look like your portrait ...
I had to date my olhos to see you

É starting from two dichotomies that was constructed or poem Presence: on one side we see the opposing pairs past / present, on the other hand we observe the second opposing pair that serves as a written basis (absence / presence).

Little or nothing we will know knowing the mysterious woman that causes nostalgia every time his lembrança is evoked. Aliás, everything or what we will know will be in charge of two sentiments originated not subject.

Between esses two tempos - or past marked pela plenitude e o present pela lack - ergue-se a saudade, nickname that face like or poet sing his verses of him.

5. Frightful

In this world of so many frights,
cheio magical days of Deus,
Or that exists in a supernatural way
São os ateus ...

In some four verses, Mario Quintana raises a questão da religiosity e da Importance of believing in something higher.

O poet here admires how he has uncredited events and how he has not proved himself in some kind of divinity during these events.

Or title of poem (Frightful) is repeated not the first verse and translated into incredulity of the poetic subject, that I cannot perceive as somebody did not attribute to Deus fascinating events that happen every day.

We have two last verses ha um word game, os ateus - which does not prove not supernatural - we ended up being here that exists as supernatural.

6. Or poor poem

Eu escrevi um horrível poem!
Of course, he wanted to tell you something ...
More or what?
Would it be set?
Nas suas meias-palavras of him had not been as much tenderness as meek as we look at us olhos de uma criança doente, a precocious, incomprehensible gravida
de quem, sem ler os jornais,
soubesse two sequesters
two that die, sem blame
two that deviated because all the roads are taken ...
Poem, condemned menininho,

bem it is seen that it was not from this world nem for this world ...
Taken, then, from a foolish hate,
that hate that makes homens mad against insufferable
True, dilacerei-o em a thousand pieces.

And breathe ...
Also! Quem mandou ter born, no wrong world?

Or poor poem é um metapoem, isto é, a fable poem about his own construction. How do you think you are a poet or you see that you collect or process of breeding and invite you or read to express or that you go to the written office.

The poem here seems to earn a life of its own and the poet, sem jeito, no one knows what to do with it.

Comparing the poem with a criança doente, or a poetic subject seems to be lost, I know how to lead to a situation and how to deal with that creature (or poem) that comes from within him.

In spite of a crise of despair, I know or fate that I believe knowing-or incompatible with the reality of the world, or poet resolves to tear or poem in many pieces.

7. To Rua dos Cataventos

It gives the first time to assassinate me,
I lost um jeito de surir que eu tinha.
Depois, every time they kill me,
Foram raising qualquer coisa minha.

Hoje, two meus corpses eu sou
Or more naked, or do not fear anything else.
A touch of yellow candle burns,
As the only bem that you signed me.

Vinde! Corvos, chacais, highway robbers!
Pois dessa mão greedily to never
I will not have to start the sacred light!

Birds da noite! Asas do horror! Voejai!
That the tremulous light and sad as um ai,
The light of um morto never goes out!

To Rua dos Cataventos It is a sonnet, constructed from a simple and informal language. We see us verses or past of the poetic subject and an explanation of How did he transform?.

It treats, therefore, of a lyrical on a transitory of the tempo and on as inerent changes to our course hair world.

Or poem is also a celebration of life, let it be known that or little subject was transformed from ter sofrido tudo or que sofreu.

8. Song of the Semper Day

Tão bom viver day by day ...
To life assim, jamais tires ...
Viver tão only of moments
How are you nuvens no ceu ...
E só ganhar, all of life,
Inexperience... hope ...
E a rosa louca dos ventos
Presa à copa do chapéu.
Never give um nome a um rio:
Semper é another river to pass.
Nothing ever continues,
You will recommend it!
E sem nenhuma lembrança
Days other times you are lost,
Atiro a rosa do sonho
You were more distracted ...

How do you invite or read to sit next to you Reflect on life, and so Mario Quintana led his Song of the semper day.

Já no first verse we are oriented to I lived one day at a time, extracting beauty from each moment and living-or as a unique fosse. Managing to find non-everyday charm in life easier physical, or that guarantor or poet.

Outra imagem very face to the lyrical of Quintana that also appears not poem and is present I laugh like something permanently moving I am never able to be captured. Or I laughed and considered, therefore, a metaphor of life, a constant mutation.

9. Poeminha do Contra

All those who are there
Traversing my path,
Eles passarão…
Eu passarinho!

Quem é que never ouviu falar nesses versinhos de Quintana? Or Poeminha do Contra, which brings together just four verses, is the most celebrated criações do poeta gaúcho.

All of us someday we relate to a situation where nothing seems to go ahead. I am telling you that the poet communicates as a reader, guaranteeing that you you will be overcome.

The last two verses appear um word game: passarão, or future verb passar, and placed logo before passarinho, a type of bird that evokes delicacy, freedom.

Conheça also complete analysis of Poeminho do Contra, by Mario Quintana.

10. Relogio

Or more fierce two domestic animais
é or relogio de parede:
I conheço um that já devourou
three gerações da minha família.

O relógio é um object that transmits to noção da passagem do tempo. Especially the wall clock is a utensil intimately linked to or past, to the old gerações that or we use within the space of the house.

Ao long two verses, or poet, to refer to or relogio de parede, or compares to an aggressive domestic animal.

Ao inverse of placing in hard and cold words or fate two relatives will be deceased, or preferential poetic subject, through um creative and playful olhar, saying that or such a ferocious animal (or relógio) já engoliu três gerações da família.

11. Bilhete

I know you love me, love me low
Don't scream from the top two telhados
Deixa em paz os passarinhos
Give me peace!
You love me
enfim,
tem to be bem devagarinho, beloved,
That life is brief, and or love is brief ainda ...

Or famous poem Bilhete Fala of a romantic love, which is to be lived with discrimination and semid, na intimidade do casal, sem fazer great alvoroço in public.

O fala poet of love from a delicate and singela perspective. O own title of the poem face a reference to a bilhete, a bartered paper, that we are in love with access, raising a compliance between you two.

Além wanting to take advantage of this apaixado moment with a loved one, respecting the privacy of the home, or little subject, who demonstrates deep maturity, sublinha that also respects the tempo of the relationship, giving space for each feeling or love to give its shape and not seu tempo.

Find out a deep analysis of Poem Bilhete, by Mario Quintana.

12. II

Asleep, ruazinha... It's dark ...
E os meus pasos, what can I burn?
Asleep or teu sound quiet and pure,
Com teus lampiões, com teus tranquil gardens ...

Sleep... No thieves, I assure you ...
Nem you keep for chasing them ...
Na noite high, as on a wall,
So stars sing like crickets ...

Or wind is asleep na calçada,
O vento enovelou-se como um cão ...
Asleep, ruazinha... There is nothing ...

Só os meus passos... More so light são
That I tied it up, peel early morning,
It gives you a future assombração ...

Nessa criação o poeta Mario Quintana uses the classical form of the sonnet to compor a poem cheio de musicalidade.

Lembrando uma song de ninar, the verses are originais because, to or inverse of the packaging of a child, the packaging of a rua.

Or subject you have an unexpected relationship with a rua, transshipping affection, promising to protect her and showing affection (note how you use it or diminutive “ruazinha”).

In general, it is customary to scare the little ones, here the poet demonstrates that he or she nourishes the public space and the feeling of affection.

Conheça also:

• Fundamental Brazilian poets
• Books of poetry that you need to know
• Poems about life written by famous authors
• Poems by Carlos Drummond de Andrade
• The imperdíveis poems of Cecília Meireles
• The most famous poems of Brazilian literature