20 melhores poems by Florbela Espanca (analyzed)
A poet Florbela Espanca (1894-1930) is two major names in Portuguese literature.
With poems related to more varied themes, Florbela passeou in a fixed form and frees and composes verses of love, praise, despair, experiencing singing more different sentiments.
Confira os vinte maiores poemas da author.
1. Fanaticism
Minh’alma, from sonhar-te, is lost
Meus olhos andam blind from seeing you!
It is not dry because of my life,
Pois that you are all a minha life!
No old nothing assim mad ...
Passo no mundo, meu amor, a ler
Not mysterious livro do teu ser
To the same story so many times it is lida!
"Your world is fragile, your world is passa ..."
When you tell me this is all right
Duma divine mouth fala em mim!
E, olhos postos em ti, I say of traces:
"Ah! We can fly worlds, die stars,
That you are like Deus: Princípio e Fim... "
Us verses of Fanaticism or eu-lyrical he declares himself deeply dull. O own title of poem alludes to esse blind, excessive affectation, that snatches or poetic subject.
Here he acknowledges that no world has many that say that your feelings are transitory and perish, more sublime than your love, or contrary to what they affirmed, is timeless.
The sonnet composed by Florbela Espanca at the beginning of the XIX century continues to be contemporary and falando from time to time. Até two days of browsing, being in a completely different context from that of the writer, we feel portrayed by verses when we find ourselves in a situation of deep love.
2. Eu
I know that no world is lost,
I know that my life is not north,
Sou a irmã do Sonho, e desta sorte
Sou to crucified... sore ...
Shadow of new faint and fading,
And what or bitter, sad and strong destiny,
I pushed brutally to death!
Soul of mourning always misunderstood ...Sou quela that happens and no see ...
Sou a que chamam sad sem o ser ...
So what now do you know why ...Sou maybe to visão that Someone sonhou,
Someone who saw the world to see me
I never found myself in life!
We have verses over an attempt, on the part of the poetic subject, to recognize himself and identify himself by finding or being his place in the non-world.
Num exercício of constant search, or eu-lrico approximates of definições possíveis embora abstratas. Ha, porém, um gloomy tom not a poem, a taciturn register, deep solidão, as se or subject felt a pária.
The verses invoke a funereal atmosphere, eat heavy, sense.
3. Nevoa tower
I climbed high, à minha Torre esguia,
Feita de fumo, névoas e luar,
E pus-me, como vida, to talk
Like dead poets, all day or day.Contei-lhes os meus sonhos, to joy
Two verses that são meus, do meu sonhar,
And all the poets, to chorar,
Responderam-me então: "What a fantasy,Criança doida e crente! We too
Let's have illusions, like no other,
E tudo us fugiu, tudo morreu... "Calaram-se you poets, sadly ...
I have been bitterly wooing since then
Na minha Torre esguia with o Céu ...
Or eu-lyrical here he appears as a poet who is conscious of belonging to a class that has Muito or antecede and, by isso, I will consult the old writers, the mortos, on the seus desejos blueprints.
The seus precursors, for their time, identify themselves as the idea of a young poetic subject, more showing the future, or what happens with those projects that tinham.
Not final do sonnet or eu-lyrical finally reveals himself as a lonely, bitter subject, who lives abandoned and misunderstood as a symbolic tower.
4. Vaidade
I dream that I am a Poetisa Eleita,
The one that you say you know,
Let it be a pure and perfect inspiration,
That gathers num verse to imensidade!I dream that um verse meu tem claridade
To encher everything or the world! E that delights
Same as those who morrem de saudade!
The same deep and unsatisfied soul!I dream that I am Someone in this world ...
That of knowing vast and deep,
Aos from burning the earth is curved!E quando mais no céu eu vou dreaming,
And when but not high I'm flying,
Acordo do meu sonho... I don't know anything ...
The verses accima falam about self-valorization, and it seems, at first, a praise of the poetic subject to himself.
First of all we find a eu-lyrical verse that boasts of his status as a poet and of his lyrical work, in the final stanzas we see this image being deconstructed.
In the last three verses we see that you do not passou de um sonho and that, na verdade, or poet is more than someone who dreams that someone who himself is trusting himself.
5. To minha dor
A minha Dor é um ideal convent
Cheio of cloisters, shadows, archaic,
Where to stone with gloomy convulsions
Tem linhas dum requinte sculptural.You sinos têm doubles of agonies
Ao gemer, comovidos, o seu mal ...
And all têm sons of funeral
Ao battery hours, not running two days ...A minha Dor é um convent. There are lyrics
Dum roxo macerated of martírios,
So beautiful as I never saw you someone!Nesse sad convent where eu Moor,
Noites and days I pray and shout and choro!
E ninguém ouve... no see... no ...
The verses are typical exemplary of the poetics of Florbela Espanca: as a night there is a praise for the solitary condition of the eu-lyrical.
To try to represent or his drama, or poetic subject he has a metaphor like architecture and face I use two sonos and do religious climate Cristão as background cloth.
In the image of the convent, we can illustrate this disturbing setting of deep solidity where the subject sits inhabiting.
6. Hidden tears
I started to cismar in other eras
Em that I laughed and cantei, em that I was loved,
It seems to me that they were our spheres,
It seems to me that it was another life ...E a minha sad sore mouth,
That dantes tinha or laugh das springs,
Esbate as serious and severe lines
E cai num abandonment of esquecida!Ephobic, pensive, sniffing or lazy ...
Take brandura placida dum lago
O meu face of an ivory nun ...E as tears that flow, white and calm,
None of you see the soul sprout inside!
No one will see you fall into me!
Us verses of Hidden tears We find a contrast between the past and the present, between the joy of outrora (the laughs of spring) and the sadness two days of leaf.
O little poetic subject then olha for after you try to understand or that you passou so that you chegasse nessa condition of isolation This depression is characteristic of a genre of poets, not which Florbela was included.
7. Neurasthenia
I feel like a cheia soul of sadness!
Um but I will turn to my Ave-Marias!
Lá fora, a chuva, brancas mãos esguias,
Faz na vidraça rendas de Veneza ...Or I come out of the gut, chora e pray
For two souls who are in agony!
E flocks of snow, white, cold birds,
Batem with handles pela Natureza ...Chuva... I have sadness! But why ?!
Vento... I have saudades! More of what ?!
Oh, what a sad or nosso fate!Or chuva! O vento! Ó neve! What torture!
I shouted to the world inside this bitterness,
Say I feel like I'm not posso ...
Or title of poem - Neurasthenia - face reference to a type of neurose that causes mental disturbances similar to depression. O eu-lyrical discloses typical behaviors in these cases: sadness, saudades of the past, in the presence of a bitterness that is not known to be from where you come to where you go.
O tempo, on the side of fora (a chuva, o vento, a neve), synthesizes the poet's state of mind.
The last verses of the poem treat of the need for extravagance or sentiment, of partilhar as the world to felt anguish and of assuming the incapacity to continue in front.
8. Torture
Throw Emoção inside the peito,
A lucid Verdade, or Sentimento!
- E ser, depois de vir do coração,
Um point of cinza esparso ao vento ...Sonhar a verse of high thought,
It is pure as a rhythm of prayer!
- E ser, depois de vir do coração,
Either, or nothing, or so long ...São assim ocos, rudes, os meus verses:
Lost rhymes, you will be scattered,
How I hope you others, how I lie!Quem me to find or pure verse,
Or verse haughty and strong, strange and hard,
Que dissesse, a chorar, isto que sinto !!
O little lyrical guy Torture Fala gives difficult to manage your own feelings and gives great affliction that carrega does not fight.
O seu supplication of him and partilhado as leitor, that testemunha o torment of the fazedor of verses that, in spite of the difficulties, at any moment give up writing.
The poet here criticizes his own verses - I diminish and belittle you -, at the same time as clam um full poetic fazer ("haughty and forte").
9. Love that dies
O nosso amor morreu... Burn or say!
I burn or think the same thing to see-I'm silly.
Ceguinha de te ver, sem ver a conta
Do tempo que passava, que fugia!
Bem was going to feel that he would die ...
E outro clarão, ao longe, já desponta!
Um deceit that dies... e aponta logo
A light doutra miragem fugidia ...
Eu bem sei, meu Amor, que pra viver
São precise loves, pra morrer
E são precise sonhos to leave.
Eu bem sei, meu Love, it was precise
Fazer of love that part or of course laugh
Doutro impossível love that has to vir!
Enquanto a major part two poets used to dedicate their verses to love that is nascendo or growing, Florbela escolheu wrote here a poem dedicated to the end of a relationship.
Or eu-lrico treaty of the end of a relationship to dois that ended unexpectedly, sem that or married desse conta. But on approaching it conformed, or lyrical subject, it acknowledges that there is no only possible love in life and that the future awaits a new partner equally numb.
10. Arvores do Alentejo
Dead hours... Curved aos pés do Monte
A planície é um brasido... e, tortured,
So bloody trees, revolted,
Shout to Deus a bênção duma fonte!E quando, manhã high, or sun postpone
To hear a giesta, to burn, pelas estradas,
Sphingical, cut me unglazed
You tragic perfis no horizon!
Arvores! Hearts, souls that choram,
Souls iguais à minha, souls that implore
Em vão remédio for so much trouble!
Arvores! Don't chore! Olhai e vede:- I'm also screaming, mortuary of headquarters,
I ask Deus for a drop of water!
O poem by Florbela Espanca tece uma homage to the Alentejo region, located in the center / south of Portugal.
We have verses that do not give me the area or eu-lyric in praise of the rural landscape, the trees and the country topology of the region.
There is also an allusion to the climate of the Alentejo plains and a capacity to identify the poetic subject with the landscape it narrates.
11. Minha fault
Sei la! Sei la! Eu sei la bem
Quem sou?! Um fátuo-fátuo, uma miragem ...
Sou um reflexo... a song of scenery
Ou just cenário! Um back and forth ...
How to sort: browse here, depois além!
Sei la quem Sou?! Sei la! Sou a roupagem
Dum doido que partiu numa romagem
And never again voltou! Eu sei la bur ...
Sou um see me that one day I wanted to be an astro ...
A truncated alabaster statue ...
Uma chaga sanguine do Senhor ...
Sei la quem sou?! Sei la! Fulfilling the fados,
Num world of emptiness and sins,
Sou mais um mau, sou mais um sinner ...
As a colloquial linguagem and a relaxed tom, we see a lost eu-lyrical, more desirous of being found.
Multiple and multifaceted, or poetic subject here speaks of the heterônimos also of Portuguese poet Fernando Pessoa na sua search for an identity that is not fragmented.
From volta to Florbela, em Minha fault we test um eu-lrico que é muitos, which is scattered, backward, and is seen over all from a negative otic.
12. Friend
Let me be your friend, Love;
To your friend only, what do you want?
What hair your love seja to melhor
To the saddest of all women.
That só, from you, I come to magoa e dor
Or what does it matter to me?! Or what do you want
É always um sonho bom! Seja or what for,
Blessed are you for me dizeres!Beija-me as mãos, Love, devagarinho ...
As you two were born, let's go,
Birds singing, ao sol, no mesmo ninho ...Beija-mas bem... What a fantasy louca
Save as, dated, nestas mine
You beijos that sonhei pra minha boca ...
Um dull poem, that's that Friend, that refers to a seemingly unrequited relationship of affection.
Despite the object of desire not to give back or love in question, she still wants to be close, even as she is only a friend.
Embora this proximity implies comfort, even the poetic subject is willing to occupy this place with the hope that love will transform into romantic love.
13. Voice that stalls
I love as pedras, os astros e o luar
That beija as ervas do atalho dark,
I love as Águas de Anil e o Twelve Olhar
Two animais, divinely pure.
I love hera who understands the voice of the wall,
E two toads, or brando tilintar
Of cristais who wander,
E da minha hinge or hard face.
I love all the dreams that fell apart
Of hearts that sentence me não falam,
Tudo o que é Infinito e pequenino!
Handle that protects us all!
Soluço imenso, eterno, que é a voice
Do nosso great and miserable Destiny ...
O poem above and a celebration of life and two minor elements that many times passam lost in our daily lives.
Here o eu-lrico declares o seu love not for a partner, more pela paisagem than or near not from day to day: as stones, as ervas, are encouraged to cross or seu caminho ("Tudo o que é Infinito e pequenino").
Contrary year of a series of poems by Florbela, em Voice that stalls We found a kind of cry of gratitude to the universe and recognition of the beauty of the little things to us.
14. Teus olhos (initial stretch)
Olhos do meu Love! Loiros infants
Let us trazem you prisoners, endoids!
Neles deixei, um dia, os meus tesoiros:
Meus anéis. minhas rendas, meus brocades.
Neles ficaram meus palácios moiros,
My tanks, destroyed,
I love you diamonds, you all hear me
What a trouxe of Além-Worlds ignored!
Olhos do meu Love! Fontes... cisterns ..
Enigmatic medieval campas ...
Jardins de Espanha... Eternal professorships ...
Berço vinde do céu à minha porta ...
Ó meu leite de núpcias irreais ...
Meu sumptuous mound of morta ...É um não wanting more than bem wanting; (Camões)
Or long poem Teus olhos, divided into a series of atos, traz nessa initial introduction já to thematic do idealized love.
In the first part two verses we find a physical description of the beloved, more specifically two olhos. There is also a presence of a strong imaginary component that helps to situate or read the context of the poetic sound and the poetic.
There is also here a first menção ao pai da Portuguese literature, or poet Luís de Camões. It is how Camões's lyrics were contaminated in a certain way or Florbela Espanca's poem, tracing an imaginary universe quite similar to the year that the poet was singing.
15. O meu impossível
Minha ardente soul is a fogueira acesa,
It's a huge fire going to crackle!
Anxiety to try to find
A chama onde burn an uncertainty!
You are vague and incomplete! E o que more weighs
It is nothing to be perfect! É dazzle
A stormy night I tied blind
E tudo be em vão! Deus, what a sadness ...
Aos meus irmãos na dor já disse tudo
You don't understand me... I'm mute
Foi tudo or what I understood and what I pressinto ...
More can be done, more than just me.
Count, no time like now,
Irmãos, I did not feel like a feeling ...
Florbela registers us her verses or human feelings, often feeling lost, disoriented, abandoned.
Com um tom heavy and gloomy, let's read um eu-lyrical bitter and isolated, sem get partilhar a sua dor nem find uma saída possível.
São verses of lament and sadness, marked by a sign of incomprehension.
16. Voices
Eu wanted to be or Sea of haughty bearing
That laughs and sings, to vastidão imensa!
I wanted to be a pedra who does not think,
A pedra do caminho, rude e forte!Eu wanted to be or sun, in immense light,
O bem do que é humble e não tem sorte!
Eu wanted to be a rough and dense tree
What a world do you want to do!Mas o Mar also chora of sadness ...
As Arvores also, as it prays,
Abrem, aos Céus, os braços, as um crente!E o Sol haughty e forte, ao fim de um dia,
I fear tears of sangue na agony!
E as Pedras... those... tread all over people ...
TO presence of the sea é muito forte não só na lyric by Florbela Espanca as well as by a series of Portuguese writers. Em Voices ele, or sea, appears as a starting point and central element, north or poem.
Here, the eu-lyrical aspires or impossível: a freedom and a presence that is compared to elements of nature.
When fala da condição you want to reach - inatingível -, or poetic subject face use of symbolic comparison like sea, stones, trees and sun.
17. Prayer of joelhos
Blessed be it to me that I gerou!
Blessed or read that you grow up!
Blessed or berço where I embalou you
I love you to lull you to sleep!
Blessed seja o luar shine
Da noite em que nasceste so smooth,
Que deu essa candura ao teu olhar
E à tua voice is that bird warble!Blessed are all who will love you!
I am turning to you with the elharem
Numa grande paixão, fervente, louca!I know more than eu, one day I love you
Someone, blessed seja essa mulher,
Blessed seja or beijo dessa boca!
In the format of religious prece, Prayer of joelhos is a kind of louvação ao beloved subject celebrating its existence.
Here the eu-lyrical show-snatched partner hair and pays a tribute to all who, in some way, participate in the creation of daquele that loves or crosses or seu caminho.
In a generous and unexpected way, or sung love does not transfer poem and shows itself, in the end, not selfish. The last three verses, or eu-lyrical affirms that some other woman will emerge, even hairless, he wants it to make the love concretization through do beijo.
18. So that?!
Tudo é vaidade neste mundo vão ...
Tudo é sadness, tudo é pó, é nada!
E ill wake us up at dawn,
See logo a noite encher o coração!Até or love us mind, essa canção
That or nosso peito ri à gargalhada,
Flower that is born and the unfolded logo,
Petalas that step on chão hair ...Beijos of love! What for... Sad things!
Sonhos que logo são realidades,
Let us leave our souls as mortals!Só neles accredits quem é louca!
Beijos of love that go from mouth to mouth,
Like poor people who go from porta em porta ...
Or poem So that?! é marked hair discouragement, hair tiredness and pela frustration. We observe a eu-lyrical that shows hopelessness as the helpful feelings that he can extract from life and goes on not finding non-everyday beauty.
The verses above are quite characteristic of Florbela's writing, very marked by depressão and by a more somber tom.
Ao affirm that tudo é provisional e passageiro, or poetic subject appears um tom de abadimento e exaustão.
19. A minha tragédia
Tenho ódio à light and raiva à clarity
Sun, happy, hot, na climb.
It seems that my soul is persecuted
For um carrasco cheio de maldade!Ó minha vã, useless mocidade,
Trazes-me drunk, dumbfounded ...
Duns beijos that you give me our life,
I swallow my red lips, a saudade ...Eu not like sun, eu tenho medo
That you read us olhos or segredo
Of not loving any, of being assim!Gosto da Noite imensa, sad, preta,
Like this stranger and doida borboleta
That he always felt like turning to me ...
Eat heavy, A minha tragédia evokes um dark spirit and depressed, presenting a discouraged eu-lyrical.
The sonnet seems to want to show that everything is useless and meaningless, and that it is half solid and that it permeates life, let it be created.
This poem fala de perto a biografia da writer, who lives her brief tormented life pela rejeição (overtudo by the country), pela solidão and consecutive pelas crises nervosas I committed suicide at the age of 35 years.
20. Velhinha
I know you will see me já cheia de graça
Olharem bem head-on for me,
Maybe, cheios de dor, digam assim:
“Já ela é velha! Como o tempo passa... "I will not laugh and sing for more than that!
Ó minhas mãos talhadas em marfim,
Deixem esse fio de oiro que esvoaça!
Deixem run to life até o fim!I am twenty and three years old! Sou velhinha!
Tenho white hair e sou crente ...
Já murmur prayers... phallus sozinha ...E o side cor-de-rosa dos carinhos
That you face me, olho-you indulgent,
How does a netinhos band break up ...
Or sonnet causes a curious effect I do not read, that at the beginning it raised the title to believe that the poem will go try a idosa, more than, in the second part two verses, I notice that she is before a young woman of 23 years.
We observe here how the question appears to be related not to a number, but rather to a state of mind.
Em Velhinha A young poetic creature is identified as a velhinha both in physical terms (white hair) and in terms of gestures (murmuring orações and falando sozinha).
Biography of Florbela Espanca
Born on December 8, 1894, Florbela da Alma da Conceição was born in Vila Viçosa (Alentejo) and saw It will become one of the greatest poets of Portuguese literature having been especially celebrated hairs seus sonnets.
With barely seven years she began to write poems. In 1908 she became a mother and passed to be raised in the house of the father (João Maria Espanca), of the stepmother (Mariana) and of the meio-irmão (Apelles).
Ainda young, she will awaken the first symptoms of neurose.
Florbela was trained at the Évora National School, married as a classmate and opened a school where she gave classrooms. In parallel, she collaborated as a series of jornais. A writer was also trained in Letters and entered the Direito da Universidade de Lisboa course.
In 1919 she launched her first chamada work Livro de Mágoas.
A feminist, she divorced her husband Alberto in 1921 and was born as an artillery officer (Antônio Guimarães). She recently separated and married in 1925 as a doctor Mário Laje.
She died prematurely or committed suicide using barbiturates, no day she would complete 36 years (December 8, 1930).
Conheça also
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