10 imperdíveis poems by Cecília Meireles analyzed and commented

To Carioca Cecília Meireles (1901-1964), responsible for an intense, intimate and visceral poetry and, sem dúvida, one of the greatest writers of Brazilian literature.

Her poems, extremely musical, are not affiliated with any specific literary movement, embora a majoria two critics label the writer as belonging to the second generation of modernism Brazilian. Among her most frequent themes of her are isolation, solidification, passage of time, life event, identity, or abandonment and loss.

Cecília went through daily work, chronic, or essay, poetry and children's literature. Your words from her see you enchanting gerações and will be here for us.

1. Reason

I sing because or moment exists
e a minha life is complete.
I am not happy, but I am sad:
I'm a poet.

Irmão das coisas fugidias,
I do not feel joy and torment.
Through nights and days
I do not sell.

It fell apart or was built,
it remains or I lose face,
- no sei, no sei. I don't know
ou passo.

I know I sing. E a canção é tudo.
Eternal sangue with rhythmic handle.
And one day I know I'll be mute:
- more nothing.

Reason é o first poem do livro Travel, published in 1939, Modernism era. A composition is about a metapoem, isto é, a text that turns on or its own construction process. A metalinguagem na poetry is relatively frequent in the lyric of Cecília Meireles.

Regarding the title, Reason, convém said that for Cecília escrever e viver were verbs that were mixed: viver was to be a poet and to be a poet was viver.

Escrever fazia part of her identity and it was an essential condition for the life of the writer, and it is noted especially not verse: "I am not happy, I am sad: I am a poet".

Or existentialist poem and treats of transitory life, many times it has a degree of melancholy, despite extreme delicacy. The verses are constructed from antitheses, opposing ideas (happy and sad; noites and days; I collapse and I build; remain and disfavor; Fico e passo).

One other striking characteristic is a written musicality - a lyric with rhymes, but not as a rigor of meter as not Parnassianism (it exists and sad; escapes and days; building and building; tudo e mute).

It should also be noted that practically all the verbs of the poem are not present in the indicative tempo, or that it shows that Cecília intended to evoke either here or now.

2. Ou isto ou here

Ou was cool and there was no sun,
You are sunny and you are not cool!
Ou is fitted to luva and not to be põe or anel,
ou se põe o anel e não se clça a luva!
Quem over us ares não fica no chão,
It burns no chão não SOB ares.
It is a great pity that it does not stay
be at the same time you give us places!
I keep or money and I don't buy twelve,
ou buy or twelve and spend or money.
Ou isto ou aquilo: ou isto ou aquilo ...
and I live escorting or inteiro day!
No sei jumped, no sei studied,
He came out running or calmly.
But I never managed to understand ainda
qual é melhor: se é isto ou aquilo.

Ou isto ou here It is an exemplar of poetry aimed at the children's audience (it is worth noting that Cecília was a school teacher, because of isso is quite familiar with the universe of children).

O poem acima é tão importa que chega to give nome ao livro that brings together 57 poems. Launched in 1964, to work Ou isto ou here It is a classic that you see going through gerações.

In the verses of the poem we find a questão da dúvida, da uncertainty, or eu-lrico is identified as a condição indecisa da criança. Either ensina poem or imperative da escolha: escolher é always lose, ter um something necessarily means no power over another thing.

The daily, practical and illustrative examples (such as o do anel e da luva) servem to teach a lição It is essential for the rest of life: unfortunately many times it is necessary to sacrifice a outra.

Cecília jumps around with the words of a playful and natural way and tries to get closer to the maximum of the childhood universe.

Read a complete analysis no artigo Analysis of the poem Ou isto ou aquilo by Cecília Meireles.

3. Fired

For me, and for you, and for more here
that is onde as other things are never,
deixo o mar bravo e o céu tranquil:
I want solidão.
Meu caminho é sem marcos nem paisagens.
E how or conheces? - I wonder.
- For não ter words, for não ter images.
Nenhum inimigo e nenhum irmão.
What do you try? - Tudo. What do you want? - Nothing.
I travel sozinha com o meu coração.
I am not lost, but unencountered.
Levo o meu rumo na minha mão.
A memory voou da minha fronte.
Voou meu love, minha imaginação ...
Maybe it will die before the horizon.
Memória, love and rest where will I be?
I leave here meu corpo, between o sol e a terra.
(Beijo-te, corpo meu, all disappointment!
Sad banner of a war estranha ...)
I want solidão.

Fired It is present I do not free Poems flower, published in 1972. We see our verses clearly as the speaker of the poem pela solidão. Essa seeks for solidão é um path, face part of a process.

O sentimento de solidão é uma paraphrase da vontade de morrer, which will be expressed at the end of two verses when the eu-lyrical affirms "Deixo aqui meu corpo, entre o sol e a terra."

A construction of the poem is based on no dialogue, with questions and answers and a supposed interlocutor from another side with which communication is established. A question that paira é a quem que o eu-lrico is directed exactly. No sixth verse we see, for example, the following questão "E como o conheces? - I wonder ". What face to question? A dúvid paira not ar.

Fired é uma criação marked pela individualidade, repair not exhaustive use of two verbs in primeira pessoa ("quero", "deixo", "I travel", "I walk," I levo "). This sense of individualism is reinforced by the use of the possessive pronoun "meu", which is repeated throughout the poem.

Ouça or poem Fired Declared by Diandra Ferreira:

4. Portrait

Eu não tinha this face of the leaf,
Assim calm, assim sad, assim lean,
Nem estes olhos tão vazios,
Nem or bitter lip.

Eu não tinha these mãos sem força,
Tão stops and cold and dead;
Eu não tinha this heart
That nem was shown.

Eu não dei for this move,
So simple, so certain, so easy:
- What a spell I am lost
a minha face?

Or title of poem (Portrait) evokes a frozen, crystallized image, stopped, no time and no space. The verses refer both to physical appearance (as feições do rosto e do corpo), as well as internal existential anxiety, motivated by the notion of passage of time.

We have long observed two verses or feelings of melancholy, anguish and solidão já characteristic of Cecília's poetry. We also see sadness manifested by the late consciousness of transitory life ("Eu não me dei por essa mudança").

A velhice is also noticeable from the degeneration of the body. Or eu-lyrical olha for himself, for internal and external aspects. Or movement presented to us accompanying verses or running for two days, no meaning gives life to death (to me who loses force, becomes cold and dead).

The last verse, very powerful, synthesizes a profound existential reflection: where was the essence of the eu-lyrical lost?

Portrait é two most celebrated poems by Cecília and found online:

Experience visit or artigo Analysis of the poem Portrait, by Cecília Meireles.

5. Commend

I wish a photograph
like this - or senhor vê? - how is:
em that forever i laugh
like a dress of eternal feast.
As I had a gloomy head,
spill light na minha testa.
Deixe this ruga, that you lend me
a certain ar of wisdom.
No goal forest farms
nem of arbitrary fantasy ...
No... Neste space that still remains,
ponha uma cadeira vazia.

Inserted I do not release Vague music (1942), or poem part of a deeply biographical experience. It is about a self-centered poem: que fala das dores, das angústias e dos medes do eu-lrico.

Not eu-lyrical, that fez um mergulho within itself, we read hope that a photograph possa portrays it, identifies it, helps to map it or its interior and exterior.

Or poem Commend It was dark, bitter, despite the eu-lyrical oil and to abide by passagem do tempo ("Deixe esta ruga, which lends me a certain ar of wisdom.")

In the last stanza, we observe that, no matter how hard a passagem do tempo, or eu-lrico does not intend disfarçar or sofrimento nem as mágoas, and wishes to assume their solidão assim as assume as their own wrinkles.

6. Reinvention

Life is only possible
reinvented.
Go or sun pelas campinas
and go to mão dourada
pelas Águas, pelas folhas ...
Ah! tudo bolhas
what do you see about pool covers
of illusionism... - more nothing.
More to life, to life, to life,
life is only possible
reinvented.
Go to lua, go, withdraw
as algemas dos meus braços.
Projeto-me por espaços
cheios da tua Figure.
Your lie! Lie
da lua, na noite escura.
I did not find you, I did not reach you ...
Só - not balanced season,
I detach-I do swing
that além do tempo lifts me.
Só - na treva,
Fico: received and given.
Because to life, to life, to life,
life is only possible
reinvented.

Posted not free Vague music (1942), or poem Reinvention Counts with twenty and six verses with alternate rhymes in three stanzas. O refrão does not have rhymes and is repeated three times (not beginning, not middle and not end of the poem), reinforcing the idea that you want to transmit.

The verses apontam for the necessity of learning about each other from a new perspective, experiencing life in a different way, rediscovering it in a daily way.

From a negative point of view, a solidão, a characteristic of Cecília's lyric, also appears a long time from the poem ("I did not find you, I did not reach you ..."). On the other hand, conscious of the life, or eu-lyrical of the poem or encloses with a tom of hope, betting on a possibility of solar saida.

7. Dancer

This menina
little girl
she wanted to be a dancer.
I do not know nem do nem ré
but she knows how to ficar na ponta do pé.
I don't know nem my nem fa
More inclines or body for ca e for la
I don't know nem la nem yes,
more date you olhos e sorri.
Roll, roll, roll, like bracinhos no ar
e não fica stupid nem sai do place.
She põe not hair a star and a véu
e say that she fell do céu.
This menina
little girl
she wanted to be a dancer.
More depois she sketches all the dances,
and she also wanted to sleep like other children.

O poem acima is inserted not children's book Ou isto ou here (1964). As well as the other verses inserted in the publication, Cecília adheres to the strategy of using marked rhymes and strong musicality to attract children. You first three verses of Dancer They are repeated almost the end of the poem giving a cycle idea.

A children's literary production of Cecília tries to meet the universe and the fantasies of children. A protagonist of Dancer She is a common man, não nomada (provavelmente to promote an identification as a reading public). We see nela the natural anguish of a child that has a unique dream: dance. Or poem, aliás, it seems a kind of cantiga that evokes dance due to its profound musicality.

It is worth noting that all this children's universe was very expensive for Cecília, who was a teacher of children and the fund of the first children's library in Rio de Janeiro. A year ago two essays published in life and it is possible to observe how the poet has a huge concern as the destiny of education, especially in the first years of the course.

8. Elegy

Neste mês, as cicadas sing
and you trovões walked on the top of the terra,
clinging to the sun.
Neste mês, ao it will be late, to chuva runs pelas montanhas,
e depois a noite é mais clara,
I sing two crickets with throbbing face or cheiro molhado do chão.

But you're useless
because your ouvidos are like empty shells,
e a your nostril imóvel
I do not receive more news
The world that circulates does not sell.

Os verses acima constituem um trecho do longo poem Elegy, which Cecília dedicated to the memory of the mother's love. The Portuguese Jacinta Garcia Benevides was responsible for the children's breeding after her premature orphaned condition.

The first six verses we see the world in full operation, at full steam. Tudo seems to obey the natural order of life and daily walk on high ground.

The second part of the poem, for the time being, was completely compared to the initial verses: we did not begin with life, now we are dead, we become enxergávamos plenitude, we begin to see absence.

It is worth sublining that to die here it is not just that I left, but also to the eu-lyrical, that you see a piece of whether it turns out, empty, in contrast to the world that has lived a year round.

9. As meninas

Arabian
open to janela.
Carolina
she stood up to the curtain.
E Maria
olhava e sorria:
"Bom dia!"
Arabian
she was always more beautiful.
Carolina,
a plus sábia menina.
E Maria
I would hardly laugh:
"Bom dia!"
We will think about each girl
that naquela janela lived;
uma que se chamava Arabela,
uma que se chamou Carolina.
Deeper saudade
é Maria, Maria, Maria,
What do you say with the voice of amizade:
"Bom dia!"

Or famous poem As Meninas belongs to a child free Ou isto ou here (1964). Nele we see a brief story full of musicality, it is about a way of constructing the verses that suggests a song for the reader.

Or format escolhido, aliás, not gratuitous: the rhymed verses and repetition facilitate the memorization of children and seduce to read and repeat or repeated poem.

A history of three men - Arabela, Carolina and Maria -, each one with its own particular characteristics, is based on actions and is relatively simple, especially extremely visual. To appeal to everyday images, Cecília manages to approximate the poetic universe of the reality of the little reader.

10. Interlude

So words are very nice
The world is very thoughtful.
Fico ao teu side.
Don't tell me what the future is
nem passed.
Deixa or present - clear wall
sem coisas written.
Deixa or present. No fales,
Don't explain or present to me,
I have done too much.
In the waters of eternally,
or commit two meus evils
afunda, unraveled.
Fico ao teu side.

Interlude é, before anything else, a poem that fails of a delivery of body and soul. Nele o eu-lrico sublinha to the necessity of living and feeling or moment - or here and now -, without taking refuge in the past or losing future prospects.

Or title of poem (Interlude) quer dizer literally pause, interval. Possibly it is an allusion to a gesture of the eu-lyrical to reflect on the affections and to make a balance of his sentimental life. A word interluded also wanted to say a musical stretch that interrupts two dinners (or two atos), in a dramatic piece. This meaning also should not be discarded because Cecília's poetry is full of music.

Note that the poem as or third verse is repeated in the last to conclude written, certainly symbolizing the eu-lyrical. In spite of two excesses of the world (as well as many words and hypotheses, as mentioned), or poetic subject sublinha aquilo that has complete security: or desire to be or side of the loved one.

Conheça also

• Poems by Cecília Meireles for crianças
• Poem Leilão de Jardim, by Cecília Meireles
• Poem A Bailarina, by Cecília Meireles
• Os mais beautiful poems written by Brazilian authors
• Fundamental Brazilian poets
• Children's poems for readers of all ages
• Poems about life written by famous authors
• Os melhores poems by Hilda Hilst
• The charming poems of Adélia Prado