Poem Os sapos, by Manuel Bandeira: complete analysis of the work

Or poem You toads It is a classic of the Brazilian writer Manuel Bandeira, raised in 1918 and published in 1919. Carnival.

Os verses fazem uma satire ao movimento Parnasiano, that precedeu or Modernismo, and foi declaimed by Ronald de Carvalho during the Modern Art Week of 1922.

Poem Os sapos

Enfunando the papos,
Saem gives gloom,
Aos pulos, you toads.
The light dazzles you.

I'm hoarse that terrifies,
Berra or sapo-boi:
- "Meu pai foi à guerra!"
- "Não foi!" - "Foi!" - "Não foi!".

O sapo-tanoeiro,
Parnassian watered down,
Say: - "Meu cancioneiro
É bem martelado.

Sell like cousin
Em eat you hiatuses!
What art! I never rhyme
Thermos cognates.

O meu verse é bom
Frumento sem joio.
Faço rhymes com
Supporters of support.

I have gone for fifty years
What is the norm:
Reduzi sem damages
To forms to form.

Cry out to saparia
In critical criticism:
There is no more poetry,
More poetic arts... "

Urra or toad-boi:
- "Meu pai foi rei!" - "Foi!"
- "Não foi!" - "Foi!" - "Não foi!".

Brada em um assomo
Or sapo-tanoeiro:
- A great art is like
Lavor by joalheiro.

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Ou bem de statuary.
Tudo quanto é belo,
All quanto is various,
Sing don't beat it. "

Outros, toads-pipes
(Um bad em if possible),
Falam peels guts,
- "Yeah!" - "I don't know!" - "Knows!".

Longe dessa yells,
It is more dense
Infinite noite
Dress in immense shade;

La, fugitive to the world,
Sem glória, sem fé,
Not perau deep
E solitary, é

What do you solve?
Cold,
Toad-cururu
Da beira do rio ...

Analysis of the poem

Bandeira achieves in the toads to reproduce the characteristics of essences defended by Parnassian hairs. It is, therefore, about a poem that carries regular metrics and concerns with sound, imitations that in this case are serving the rejection of Parnassian poetry.

O poem follows an ABAB rhyme scheme, being just off or last triplet. In terms of structure, Os sapos is built from smaller roundels.

Os verses trabalham com a irony e com a parody In order to awaken the reading public for the need for rupture and transformation of poetry.

The verses of Manuel Bandeira are metalinguistic because falam gives poetry itself, ou melhor, daquilo that poetry should not be. The toads reflect on what supposedly is art and or poem. Or that the imaginary dialogue between the toads produced an exercise of reflection on the rules of composition two verses.

The aforementioned toads (or boi, or tanoeiro, or pipa) são metaphors two different kinds of poets. O sapo-tanoeiro is a typical exemplar of the Parnassian poet, who distills the regras of composition:

O sapo-tanoeiro,
Parnassian watered down,
Say: - "Meu cancioneiro
É bem martelado.
Sell like cousin
Em eat you hiatuses!

For him, a great poetry and as a profession of a joalheiro, it has to be stoned with precision and patience:

Brada em um assomo
Or sapo-tanoeiro:
- A great art is like
Lavor by joalheiro.

O sapo-cururu, for your time, é uma representation of the modernist poet that aspires for freedom and claims simplicity and use of a daily language. When he enters dinner, he appears as a divergent opinion compared to all the other toads.

You cannot stop lembém also a semelhança do not escolhido for the modernist toad with the song of Roda Sapo-cururu. The last two verses of Bandeira's poem recovered the first two verses of the popular composition:

Toad-cururu
Da beira do rio
When the toad sings, Ó maninha,
It felt cold.
A mulher do sapo
I must be inside
Fazendo rendinha, Ó maninha,
For or marriage

Bandeira, through the parody, criticizes two Parnassians for excessive concern as a formal aspect of language. Second or poet and his modernist companions, this style of poetry should be passed over.

Another important feature of the poem is presence of fortes traços of humor. A proper circumstance established - toads reflecting on the styles of poetry - já é in case it is hilarious. Not by chance You toads face part of a set of creatures that the modernists batizaram de piada-poem.

The creation of Bandeira was essential for the modernists that Sérgio Buarque de Holanda wanted to define You toads as or national hino do Modernismo.

Nas stanzas of Bandeira, contudo, we see here that the poem should not be, embora os novos rumos ainda no estejam properly suggested to us verses.

A history of the breeding of the frogs

Three different years are of crucial importance for the breeding of Manuel Bandeira. Foi no ano de 1918 que o poeta deu a luz ao poem You toads, the work has only been published, no year to follow (in 1919) no release Carnival.

Capa da first edição do livro Carnaval (1919) that brings together the verses of Os sapos. — Capa da first edição do livro Carnaval (1919) that brings together the verses of *You toads*.

Carnival é o second book published by the poet. Electido pela maior part two critics such as a book of the first phase of the author, embracing specialized critics or considering a kind of transitional work.

You toads It is an example of rupture, a creation considered as the first two movements of the poet in the direction of what would become his future production.

Mário de Andrade, who corresponded as poet Manuel Bandeira, received in 1919 an exemplar of Carnival. In the present he affirmed that the anthology was about “um clarim de era nova” and that the poem “Os sapos” was um “dos maiores de nossa poesia”.

Uma curiosidade: how até Manuel Bandeira was little understood, at edição de Carnival He was custed with his own hair for the poet.

Years later, in 1922, the poem entered from time to time or found fame in Brazilian literature to or was chosen by Ronald de Carvalho to be declared not Municipal Theater. Or huge inflamed public flooded or box of several during the second night of Modern Art Week, which brought together intellectuals and artists from all over the country.

Historical context of Brazilian Modernism

The first sinais of modernism in Brazil took place between 1912 and 1917, the same movement was consecrated in 1922, with the Modern Art Week, in São Paulo.

Not an international scene, it is convenient to celebrate some important events that will mark an era. It is worth sublimating the First World War (1914-1918), the Russa Revolution (1917), the rise of Fascism in Italy (1921) and the Belle Époque (1871-1914).

As a reflection of the international boiling caused by the First World War, there is a growth of the national industry. Internally, we lived a policy of café com leite (1889-1930). At the beginning of the 1920s, tenentist movements will emerge, resulting in dissatisfaction at the bottom of the army with the Velha Republic.

Either period of time or modernism was also marked by the growth of a huge flow of international immigrants (1880 to 1940). They were Italian, Portuguese, Spanish, Japanese, strengthening not only the workmanship as tracing new cultural elements for the country.

Modern Art Week

In 1922, we completed the Centenário da Independência, symbolically an important year for Brazil.

Between the 15th, 17th and 19th of February, in São Paulo, but not precisely the Municipal Theater of São Paulo capital, A series of artists and intellectuals will meet to discuss the past, or present the rumors of art Brazilian.

At the initiative of the writer Graça Aranha, from the Brazilian Academy of Letters, who joined a group of artists from Rio de Janeiro and São Paulo.

Among writers, musicians, painters and sculptors, we are not important and established as Mario de Andrade, Oswald de Andrade, Manuel Bandeira, Anitta Malfatti and Di Cavalcanti.

During the Modern Art Week of 1922, Ronald de Carvalho, on the second night of the event, declaimed or famous poem by Manuel Bandeira delivered enormous numbers. O episode consecrates from time to time the verses of "You toads".