Poem E agora, José? by Carlos Drummond de Andrade
Or poem Joseph by Carlos Drummond de Andrade was originally published in 1942, na coletânea Poetry. It illustrates the feeling of solidão and abandonment of the individual in a big city, in his lack of hope and the feeling that he is lost in life, without knowing what path to take.
Joseph
Now, José?
A festa acabou,
the light turned off,
or povo sumiu,
a noite Esriou,
what now, José?
e agora, você?
You know what?
that zomba two outros,
you face verses,
What do you love, protest?
what now, José?
Is sem mulher,
this sem speech,
is sem carinho,
I can't drink anymore
I can't smoke,
cuspir já no pode,
a noite Esriou,
or day I don't see,
or bonde no veio,
or riso no veio,
I never saw utopia
you finished
e all fugiu
e tudo mofou,
what now, José?
Now, José?
His twelve words,
your instant of February,
his gluttony and jejum,
your library,
sua lavra de ouro,
seu terno de vidro,
his incoerência,
seu ódio - e agora?
Com a chave na mão
I wanted to open porta,
there is no portal;
I want to die not sea,
more or sea secou;
I wanted to go to Minas,
Mines there are no more.
José, what now?
You will shout,
be you gemesse,
you will play
come waltz,
you fall asleep,
you get tired,
se você morresse ...
More você não morre,
você é tough, José!
Sozinho is not dark
what bug-do-kill,
sem theogony,
sem parede nua
to lie down,
sem digging preto
let him gallop,
you go, José!
José, where?
Analysis and interpretation of the poem
The composition, or poet, assumes modernist influences, such as free verse, absence of a metric pattern, verses and use of popular language and everyday dinners.
First stanza
Now, José?
A festa acabou,
the light turned off,
or povo sumiu,
a noite Esriou,
what now, José?
e agora, você?
You know what?
that zomba two outros,
you face verses,
What do you love, protest?
what now, José?
It begins by placing a questão that is repeated over the long term of everything or poem, becoming a kind of refrão and assuming more and more force: "E agora, José?". Agora, what good moments will end, what "a festa finished", "a light turned off", "or povo sumiu", or what remains? Or what fazer?
This inquiry is the name and the motor of the poem, in pursuit of a path, of a possible sense. José, um nome muito comum na Portuguese language, can be understood as a collective subject, metonymy of a povo. When the author repeats the question, and the logo depois substituted "José" for "você", we can assume that he is addressing the reader, as we are all also the interlocutor.
He é um homem banal, "que é sem nome", plus "face verses", "loves, protests", exists and resists in his trivial life. To mention that this homeme is also a poet, Drummond opens up the possibility of identifying José as his own author. He also places a very different question at the time: to serve poetry or a written word for the time of war, misery and destruction?
Second stanza
Is sem mulher,
this sem speech,
is sem carinho,
I can't drink anymore
I can't smoke,
cuspir já no pode,
a noite Esriou,
or day I don't see,
or bonde no veio,
or riso no veio,
I never saw utopia
you finished
e all fugiu
e tudo mofou,
what now, José?
He reinforces the ideia de vazio, of absence and carência de tudo: it is sem "mulher", "speech" and "carinho". He also refers that he cannot "drink", "smoke" and "cuspir", as he knows his instincts and behaviors. I am being watched and watched, as I have not been free to do what I fear vontade.
He repeats that "a noite esriou", a dysphoric note, and accentuates that "o dia no veio", as well as no veio "o bonde", "o riso" and "a utopia". All of you eventually escape, all of the possibilities of contouring or despair at the reality of no chegaram, nem same or dream, nem same hope for a recomeço. Tudo "acabou", "fugiu", "mofou", as if all the other things deteriorate.
Third stanza
Now, José?
His twelve words,
your instant of February,
his gluttony and jejum,
your library,
sua lavra de ouro,
seu terno de vidro,
his incoerência,
seu ódio - e agora?
List here that is imaterial, proper to the subject ("sua twelve words", "seu instant de febre", "sua gula e jejum", "sua incoerência "," seu ódio ") and, in direct opposition, here is what is material and palpável (" your library "," your lavra de ouro "," seu terno de vidro "). Nothing remains, nothing remains, about just a tireless question: "Hey, José?"
Fourth verse
Com a chave na mão
I wanted to open porta,
there is no portal;
I want to die not sea,
more or sea secou;
I wanted to go to Minas,
Mines there are no more.
José, what now?
O little lyrical subject does not know how to agir, does not find a solution to face or disenchantment with life, as it becomes visible to us verses "Com a chave na mão / I want to open a porta, / no porta exists". José has no purpose, saída, place not world.
There is no such thing as the possibility of death as a last resort - "I want to die no sea, / more or dry sea" - ideia that is reinforced more adiante. José is obrigado to viver.
As the verses "want to go to Minas, / Minas no ha mais", or author creates another indication of possible identification between José and Drummond, pois Minas and his native city. Já não é possível to return to the place of origin, Minas da su infância já não and even, there is no more. Nem o passedado é um refuge.
Fifth verse
You will shout,
be you gemesse,
you will play
come waltz,
you fall asleep,
you get tired,
se você morresse ...
More você não morre,
você é tough, José!
Place hypotheses, through verbais forms not past imperfect subjunctive, from possíveis escapatórias ou distrações ("scream", "gemesse", "play a waltz, comense", "morresse") that never materialized, são interrupted, ficam in suspense, or that marked hair I use das reluctance.
Another time, it stands out for the idea that nem same a death and a plausible resolution, we verses: "Mas você não morre / Você é duro, José!". Or recognition of the force itself, the resilience and the ability to survive seems to be part of the nature of this little subject, so that giving up life cannot be an option.
Sixth verse
Sozinho is not dark
what bug-do-kill,
sem theogony,
sem parede nua
to lie down,
sem digging preto
let him gallop,
you go, José!
José, where?
É evident or seu total isolation ("Sozinho no escuro / Qual bicho-do-mato"), "sem teogonia" (no deus, no fé nem auxílio divino), "sem parede nua / para se encostar "(sem or support of nothing nem de ninguém)," sem cavalo preto / that runs at a gallop "(sem nenhum meio de fugir da situation em que se against).
Ainda assim, "você march, José!". Or poem ends with a nova questão: "José, para onde?". The author makes explicit the notion that this individual follows in front of him, he knows how to aim or what he directs, just being able to count on himself, as his own body.
Or the verb "march", one of the last images that Drummond prints, not a poem, seems to be very significant in its own composition, with repetitive movement, almost automatic. José is a home prisoner to his rotina, to his obligations, suffocated in existential questões que or anguim. As part of the machine, you engender the system, I fear that you will continue your daily actions, like a soldier in your daily battles.
In the same way, and in the face of a pessimistic world, of existential vazio, the final verses of the poem can emerge as a vestige of light, a Restia of hope or, hair less, of força: José does not know where he is going, what or his destiny or place in the world, but "march", follow, survive, resist.
I also read analysis of the poem No Meio do Caminho by Carlos Drummond de Andrade.
Historical context: World War II and Estado Novo
To understand the poem in its plenitude, it is essential in view or historical context, not what Drummond viveu e escreveu. In 1942, in the middle of the Second World War, or Brazil also entered a regulatory regime, or the New State of Getúlio Vargas.
Or the climate was one of media, political repression, prevailing uncertainty or future. The spirit of the time is transparent, conferring political concerns to the poem and expressing the daily concerns of the Brazilian povo. Also, the precarious working conditions, the modernization of the industries and the necessity of migrating to the metropolises make the Brazilian life a constant constant.
Carlos Drummond de Andrade and Brazilian Modernism
Or Brazilian Modernism, which emerged during the Modern Art Week of 1922, was a cultural movement that sought to break the patrons and classical and Eurocentric models, inheritances of colonialism. Na poetry, I wanted to abolish the norms that restricted the author's creative freedom: poetic forms more conventional, or use of rhymes, or metric system, two verses or themes considered, até então, lyrical.
On purpose it was to abandon or pedantic the poetic artifacts of the epoch, adopting a more linguistic language. current and addressing issues of Brazilian reality, as a way of valuing culture and identity national.
Carlos Drummond de Andrade was born in Itabira, Minas Gerais, on October 31, 1902. Author of literary works of various genres (story, chronicle, children's history and poetry), he is considered one of the two greatest Brazilian poets of the 20th century.
He joined the second modernist generation (1930-1945) that embraced the influences of two previous poets, and focused on We have long suffered socio-political problems of the country and the world: inequalities, wars, divisions, the emergence of the bomb atomic. A poetics of the author also reveals a strong existential questioning, thinking of no purpose for human life and no place of home, no world, as we can see no poem in analysis.
In 1942, it dates from the publication of the poem, Drummond was in accord with the spirit of the time, producing a political poetry that expressed as Daily difficulties of the Brazilian, common to both dúvidas and anguish, as well as to solidão do homem of the lost interior of the city big.
Drummond Morreu in Rio de Janeiro, August 17, 1987, in the sequence of a myocardial infarction, leaving a vast literary legacy.
Conheça also
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- Poem of Sete Faces, by Carlos Drummond de Andrade
- Quadrilha Poem, by Carlos Drummond de Andrade
- Poem Congresso Internacional do Medo, by Drummond
- Poem Eu, Label by Carlos Drummond de Andrade
- The best love poems from Brazilian literature
- Poem O Tempo, by Mario Quintana
