25 melhores poems by Carlos Drummond de Andrade analyzed and commented
Carlos Drummond de Andrade (October 31, 1902 - August 17, 1987) is one of the two greatest authors of Brazilian literature, being considered the greatest national poet of the 20th century.
Integrated into the second phase of Brazilian modernism, its literary production reflects some characteristics of its time: use of current language, everyday themes, political and social reflections.
Through his poetry, Drummond was eternalized, winning the attention and admiration of two contemporary readers. His poems focus on questões that remain atuais: to rotina das great cities, to solidão, to memory, to life in society, to human relationships.
Among its most famous compositions, those that express deep existential reflections, where or subject matter and question its way of life, its past and its purpose, also stand out. Check out some of the two most famous poems by Carlos Drummond de Andrade, analyzed and discussed.
No Meio do Caminho
No meio do caminho tinha uma pedra
tinha uma pedra no meio do caminho
tinha uma pedra
no meio do caminho tinha uma pedra.
I will never lose my mind from that event
In the life of my tired retinas.
I will never think that I do not walk
tinha uma pedra
tinha uma pedra no meio do caminho
no meio do caminho tinha uma pedra.
This is, probably, or Drummond's most famous poem, with its singular character and thematic fora do comum. Published in 1928, in Revista da Antropofagia, "No Meio do Caminho" expresses or modernist spirit that tries to approximate to everyday poetry.
Referring to the obstacles that arise in the life of the subject, symbolized by a stone that crosses no path, a composition with harsh criticism for its repetition and redundancy.
Contudo, or poem entered for the history of Brazilian literature, showing that poetry is not limited to traditional formats and can be about any subject, even a stone.
See also Complete analysis of the poem "No meio do caminho tinha uma pedra".
Sete Faces Poem
When you were born, um anjo torto
desses that live in the shadow
disse: Wow, Carlos! be gauche na vida.As casas espiam os homens
that runs after women.
In the afternoon maybe blue fosse,
I don't houvesse so many scraps.O bonde passa cheio de pernas:
white legs pretas amarelas.
Why so much leg, meu Deus,
ask my heart.
Porém meus olhos
don't ask anything.Or homem behind the bigode
It is serious, simple and strong.
Quase don't talk.
Tem poucos, rare friends
or homem behind two oculi e do bigode.Meu Deus, why did you abandon me
Did you know that it was not Deus
You knew that the US was a failure.World world vast world,
se eu chamasse raimundo
It would be a rhyme, it would not be a solution.
World world vast world,
more vast is my heart.Eu não devia te dizer
more essa lua
more is that conhaque
Botam people like or diabo.
There are two aspects that I immediately grasp at the reader's attention in this poem and it is a fact of the subject to refer to himself as "Carlos", Drummond's first name. Also, there is an identification between the author and the subject of the composition, or that confer an autobiographical dimension.
From the first verse, he appears as someone marked by "um anjo torto", predestined to not fit, to be different, stranger. The seven stanzas are demonstrated by seven different facets of the subject, demonstrating the multiplicity and the contradiction of two serious feelings and states of mind of him.
It is evident or seu feeling of inadequacy perant or rest of the society of the solidão that or shadows, after an appearance of force and resistance (he tem "few, rare friends").
In the third stanza, he alludes to multidão, metaphorized by the "legs" that circulate in the city, evidencing either its isolation and the despair that invades.
Citing a passage from the Bible, he compares his relief with Jesus who, during his provação, asks Pai why He left him. Assume, assim, or helplessness that Deus sentenced to his fragility when he was home.
Nem same poetry seems to be a response to this lack of meaning: "It would be a rhyme, it would not be a solution." During the night, when he drinks and lua, or written moment is that where he sat most vulnerável and excited, fazendo verses as a way to lose his breath.
I also read to Complete analysis of the Poema de Sete Faces.
Quadrilha
João loves Teresa who loves Raymond
that Maria loved that Joaquim loved that Lili loved,
that he did not love any.
João was for the United States, Teresa for the convent,
Raimundo morreu from disaster, Maria ficou for tia,
Joaquim suicidou-se e Lili casou with J. Pinto Fernandes
that has not entered history.
As the title "Quadrilha", this composition seems to be a reference to European dance as the same name as the tradition of the Brazilian June festivals. Dressed in disguise, you get married, dance in a group, led by a narrator who proposes several brincadeiras.
Using this metaphor, the poet or love appears as a dance where you pair up, where you disagree. Our first three verses, all of the people mentioned above are unrequited love affair, except Lili "que no amava ninguém".
We four final verses, we discover that all are Falharam romances. All of the mentioned people will end up isolated or morreram, just Lili married. O absurd da situation seems to be a satire on the difficulty of finding a true and reciprocated love. As a sorte jogo fosse, barely two elements are seen as a happy ending.
Also entrust to Complete analysis of the Quadrilha poem.
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,
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?
Um two major and more well-known poems by Drummond, "José" expresses the solidity of an individual in a large city, for his lack of hope and the feeling of being lost in life. Na composição, or lyrical subject repeatedly asks himself about what rumor he should take, seeking a possible meaning.
José, um nome muito comum na Portuguese language, can be understood as a collective subject, symbolizing a povo. Assim, we seem to be facing the reality of many Brazilian people who surpass many privacy and battle, day after day, for a future melhor.
A reflection on either its course is evident or it took dysphoric, as it is temporarily deteriorated in its sense, or that it clearly appears in verb forms such as "acabou", "fugiu", "mofou". By listing possible solutions or ideas for the current situation, he sees that he would not be a civil servant.
Nem mesmo o passado ou a morte arise as refuges. Contudo, or subject, assume your own força e resiliência ("Você é duro, José!"). Sozinho, you help from Deus or support two homens, he continues alive and follows in front, just as you know for where.
See also Complete analysis of the poem "José" by Carlos Drummond de Andrade.
to love
May a creature be senão,
among creatures, to love?
love and love, love and love,
love, unlove, love?
semper, and tied of olhos vidrados, to love?May I ask, or be loving,
sozinho, in universal rotation,
Senão roll também, and love?
love or what or sea traz à praia,
or that buries him, and or that, na marinha breeze,
Is it salt, or a need for love, or a simple feeling?To solemnly love the palms of the desert,
or that he delivers or expectant adoration,
e love or inhospitable, or cru,
a glass with a flower, a chão de ferro,
e o peito inert, e a rua vista em sonho, e
a rapina bird.This or our destiny: love sem conta,
distributed with perfidious or null coisas,
Unlimited doação to a complete ingratidão,
in an empty shell of love to seek fearful,
patient, of more and more love.Loving us is lacking in love,
e na sure we love implicit water,
e o beijo tacit, e a infinite seat.
Presenting a human being as a social being, who exists in communication as another, this composition or subject defends that or his destiny is to love, establish relationships, create ties.
He reveals the various dimensions of love such as perish, cyclical and mutave ("to love, unlove, love"), also transmitting ideas of hope and renewal. Suggest that even before death, it is necessary to prove that you are not reborn and that you do not desist.
Appointed as "being loving", always "sozinho" no world, or subject defends that salvation, or the sole purpose of being human is in relation to another.
For Isso, he feared that he would learn to love "or that the sea draws" and "buries", or that it is born or that it dies. You go more além: it is necessary to love nature, to reality and objects, to be admired and respected by everything that exists, since that is "our destiny".
To fulfill it, it is necessary for the individual to be fearful, "patient". He must love tied in the absence of love, to know his "infinite seat", to the capacity and ability to love more and more.
Os Ombros Suportam o Mundo
Chega um tempo em que no se said more: meu Deus.
Time of absolute purification.
Tempo em que no se said more: meu amor.
Because love turned out to be useless.
E os olhos não choram.
E as more of him he hardly or rude work.
E o coração is dry.Em vão mulheres batem à porta, you will not open.
Ficaste sozinho, the light turned off,
but in the shadow of your eyes, you shine enormously.
This is all certainty, you don't know how to cook.
And you don't expect anything from your friends.Little does it matter, come to velhice, what is to velhice?
Teus ombros suportam o mundo
e eleno weighs more than mão de uma criança.
As wars, as fomes, as discussed in two buildings
Provam just that life goes on
e nem all liberateram ainda.
Some, achando barbarian or show
I would rather (the delicate ones) die.
Chegou um tempo em que no adianta die.
Chegou um tempo em que a vida é uma order.
Just a life, sem mystification.
Published in 1940, in anthology Sentimento do Mundo, This poem was written in the late 1930s, during World War II. It is notorious to the present social theme, portraying an unjust world full of suffocation.
O subject to the hardness of your life with love, religion, friends or dry emotions ("or heart is dry"). At times you cross, full of violence and death, the item that will become practically insensitive to support so much sauce. In this way, his concern is barely working and surviving, or it turns out to be an inevitable solidity.
Despite the pessimistic take on the whole composition, a concept of hope for the future arises, symbolized by "mão de uma criança". Approaching the images of the velhice and of the birth, face reference to the cycle of life and its renewal.
Our final verses, as transmitted by a lição ou conclusion, affirms that "life is an order" and must be lived in a simple way, focused on the present moment.
See also Complete analysis of the poem "Os ombros suportam o mundo" .
Destruction
Lovers cruelly loved each other
e com se amarem so much no se veem.
Um se beija no outro, refletido.
Dois lovers, what are you? Two inimigos.São meninos lovers ravaged
hair mimo de amar: e não percebem
how much is pulverized will not bind,
and how or what was the world returns to nothing.Nothing, no. Love, pure ghost
What a mild, assim a cobra
It is printed na lembrança de seu trilho.They are bitten forever.
Deixaram to exist, more or existed
continues to doer eternally.
Starting from its own title, this poem and inegável a negative view of the subject about two love relationships. Descrevendo or love as "destruição", reflect on the way you marry one another "cruelly", as one lutassem. We are entrusted to the individuality of another, we must see ourselves, seeking a projection of ourselves.
This own love that seems to "ravage" lovers, corrupts them, raises them up in this way. Alienated, I do not perceive that together they have destroyed you until the rest of the world. Due to dessa paixão they turned off and mutually canceled each other.
Destroyed, keep the memory of love as a "cobra" that persecutes and bites you. Same as the passage of time, that memory of ainda machuca ("stay bitten") and the lembrança do que viveram persists.
International Congress of the Medo
Provisionally we will not sing or love,
that took refuge more under two subways.
We will sing o medo, that sterilizes you embraces,
We will not sing or hate, because this does not exist,
It exists barely or half, nosso pai e nosso companheiro,
or half great, two sertões, two seas, two deserts,
or half two soldiers, or half days more, or half days big,
we will sing or half two ditators, or half two democrats,
We will sing o medo da morte e o medo de depois da morte.
Depois we will die from medo
and on our burial mounds, yellow and fearful flowers are born.
"Congresso Internacional do Medo" assumes a social and political theme that spells or historical context of its creation. From the Second World War, some quests that most of the poets and writers were due to insufficient speech before death and barbarism.
This composition seems to reflect the climate of terror and petrification that crosses the whole world. This universal sentiment totally surpasses love and ties to hate, raising disunity, or isolation, a friend "who sterilizes you embraces."
O little subject intends to express that humanity does not exceed all or relief that I assisted, being amazed and commanded with only medium hair and skewing all other emotions.
A year-long repetition of everything or poem seems to sublimate that this constant insecurity, this obsession, will lead individuals to death and will perpetuate itself from them, in "yellow and fearful flowers". Assim, Drummond reflects on the importance of we heal ourselves, in terms of humanity, and we re-learn to live.
Also entrust to Complete analysis of the poem Congresso Internacional do Medo.
Ano Novo Recipe
For you to win beautiful Ano Novo
rainbow cor, ou da cor da his peace,
Year Novo sem comparação with everything or time já lived
(bad lived maybe ou sem sense)
for you to win a year
not just painted de novo, patched up in carreiras,
mas novo nas sementinhas do vir-a-ser;
novo
Até no coração das coisas less perceived
(to start hair inside)
novo, spontaneous, that is so perfectly noticeable,
the more you eat it, you spend it,
you love yourself, you understand yourself, you work,
You don't need to drink champagne or any other birita,
It does not need to issue nem receber messages
(plant recebe mensagens?
pass telegrams?)
Not precise
fazer list of boas intenções
for arquivá-las na drawer.
I do not need to crash regretfully
you peel consummate beasts
nem vaguely credit
that by decree of Esperanza
from janeiro as coisas mudem
e seja tudo claridade, reward,
justice between the homens and the nations,
freedom with cheiro and taste of morning pão,
respected direitos, comming
direct hair augusto de viver.
To win um Ano Novo
what deserved this name,
Você, meu caro, tem de deserve-lo,
tem de fazê-lo novo, eu sei que não é easy,
more tempt, experience, conscious.
É within you that or Ano Novo
cochila and waits forever.
Nesta composição, or lyrical subject seems to fail directly as seu leitor ("você"). Seeking to consult him, share his wisdom, formulate his vows of transformation for the new year.
He started recommending that this really be a different year from the previous two (tempo "badly lived", "sem meaning"). For this, it is necessary to look for a real move, which will also give appearance, which will generate a future new.
Continue, affirming that transformation must be present in small things, having an internal origin of each um, with its attitudes. For this, you need to take care of yourself, relax, understand yourself and evolve, you need luxury, entertainment or companionship.
In the second stanza, your leitor console, determining that it is not worth regretting everything or that, nem to prove that a new year will be a magical and instantaneous solution for all problems.
On the contrary, fear that he deserves or even that chega, to make a "conscious" decision to change himself and, with a lot of effort, to change to his reality.
Feeling of the world
I have hardly any more
the feeling of the world,
more estou cheio de escravos,
minhas lembranças escorrem
e o corpo compromises
at the confluence of love.
When I get up, or céu
will be dead and looted,
I will be dead myself,
morto meu desejo, morto
o pântano sem chords.
You comrades não disseram
there was a war
it was necessary
Trazer fire and food.
Sinto-I scatter,
before fronteiras,
humbly you sin
that you lose me.
When the corpos passarem,
eu ficarei sozinho
defying remembrance
do sineiro, da viúva e do microscopista
that we will live in a barrack
e não foram found
year of love
esse love
mais noite que a noite.
Published in 1940, na ressaca da Primeira Guerra, or poem reflects a world still downcast perant or terror of fascism. Or a fragile, small, human subject, who has "hardly any more" to carry or "feeling of the world", something enormous, overwhelming. Em seu redor, tudo or confront with the vulnerability of life and the inevitability of death.
Surrounded by war and death, he sat alienated, distant from reality. Making menção à luta politics, through the use of the expression "comrades", sublime that was surprendered by a major war, to battle for the survival of each one.
I also read to Complete analysis of the poem "Sentimento do Mundo".
As Sem-Razões do Amor
Eu I love you because I love you.
You don't need to be a lover
e nem you always know I know.
Eu I love you because I love you.
Love and state of grace
e com amor is not paid.
Love is given of grace,
I do not sell,
na cachoeira, do not eclipse.
Love foge to dicionários
e to various regulations.
I love you because I don't love you
quite ou de mais a mim.
Because love does not change,
não conjugates nem se ama.
Because love is love to nothing,
happy and forte em if same.
Love and cousin gives death,
and death is victorious,
for more than or math (e matam)
at every moment of love.
O set of words present in the poem's title (assonância between "sem" and "cem") is directly related to the meaning of the composition. For many reasons we have to love someone, they will always be insufficient to justify that love.
Or sentiment not rational or passive of explanations, it simply happens, same or another not deserved. O subject accredits that love does not lose anything in exchange, it does not need to be rewarded ("com amor no se pay "), it cannot be submitted to a set of rules or instructions, because it exists and it is worth it if same.
Comparing the love sentiment à morte, it declares that it achieves surpassing it ("gives death the winner"), but many times it suddenly disappears. It seems to be that contradictory and volatile character of love that also tells me about its charm and mystery.
Trust to detailed analysis of the poem As Sem-Razões do Amor.
For Semper
Why does Deus allow
What else are you going to do?
Mãe não tem limite,
é tempo sem hora,
light that doesn't turn off
when sopra or vento
e chuva desba,
hairy hidden
na pele wrinkled,
pure water, pure water,
pure thought.
Dying happens
How short is it?
sem deixar vestígio.
Mãe, na sua graça de ella,
é eternidade.
Why does Deus lembra
- deep mystery -
of tirá-la um dia?
Fosse eu Rei do Mundo,
she baixava uma lei:
Mãe não never die,
me will always
together with seu filho
e ele, velho embora,
it will be small
feito grão de milho.
Despondent and sad, or subject, he questions vontade divina, asking why Deus lifts more and leaves his filhos behind. He misses the maternal figure as something greater than his own life ("Mãe não tem limite"), an eternal "light that does not turn off."
A repetition of the adjective "pure" sublinha or unique and grandiose character of the relationship between men and children. Por isso, or eu lrico não oil a morte de sua mãe, because "dying happens as it is brief." Contrary, ela and immortal, it is eternalized in his memory and continues to be present on his days.
In any case, a vontade de Deus é um "deep mystery" that the subject cannot decipher. He opposes the operation of the world, he affirms that it is fosse or "Rei" he would not allow more than as more morressem.
This infantile desire to invest in a natural order will see that, same as adults, the children continue to need maternal coloration. Or filho "velho embora, / will be small" always give us arms of his wife.
Or brand poem, assim, a duo solidão e orfandade do subjeito. On the one hand, he loses his mother; for another, he begins to question his relationship with God, unable to understand and oil or present.
O Love Bate na Porta
Cantiga do amor sem eira
nem beira,
vira or world of head
for baixo,
suspend saia das mulheres,
throw the oculi two homens,
or love, look like for,
é or love.
Meu bem, não chores,
Check out Carlito's film!
O love bat na porta
o love bat na aorta,
I went to open and I constipei.
Cardiac and melancholic,
o love husky na horta
between pés de laranjeira
among medium green grapes
and mature scraps.
Among green grapes,
meu love, don't torment yourself.
Acid certos adoçam
to mouth murcha dos velhos
and when you dents no mordem
and when your arms are not pledged
o love face uma cocega
o love unhack a curve
own a geometry.
Love and educated bug.
Olha: o love pulou o wall
o love subiu na arvore
in tempo of crashing.
Soon, or love crashed.
Daqui I'm selling or sangue
that runs off the androgynous body.
Essa ferida, meu bem,
sometimes it's never sara
sometimes sara amanhã.
Daqui am I selling or love
irritated, disoriented,
more also see other things:
old bodies, old souls
vejo beijos que se beijam
ouço mãos who converse
I am traveling on a map.
Vejo many other coisas
that I do not understand ...
Or a fala poem about the transforming power of the loving sentiment and the contradicting emotions that are not lyrical subject. A sudden paixão alters the behavior of homens and women: a "song of love sem eira / nem beira" is enough to turn "or world of head to go down", subverting sociais rules.
Assim, or love emerges personified, an androgynous figure that invades the house and the heart of the lyrical, affecting até a sua saúde ("cardiac and melancholic"). In contrast to the "medium green grapes" and the "old ripe grapes" it seems to be an allusion to romantic expectations that often cause frustration for lovers. The same when "green" and acid, or love can be worshiped by mouth, let him or her live.
Selvagem e sperto like an "educated bug", or love and courageous, fearful, follow his path running all the cliffs. Many times, these cliffs grow softer and lost, symbolized here as a figure caindo da arvore ("Soon, or love crashed").
Using a humorous tom and childish quase, or little subject seems to relativize this sauce, facing-or as part of daily adventures and misadventures.
A image of love no chão, it is hidden in sangue, it symbolizes the heart of the lyrical party. It is about a tragic ending that leaves a ferida, which is not known when it will pass ("sometimes it is never sara / sometimes it is sara amanhã"). Even bruised, "irritated, disheartened" depois da disappointment, he continues to sell new love nascendo, maintaining an inexplicable hope.
Mãos Given
Não serei or poet of an outdated world.
Also não cantarei or future world.
You are imprisoned in life and olho meus companheiros.
They are taciturn but have high hopes.
Among them, I consider a huge reality.
O present é tão grande, we do not worry.
We are not very busy, we are going for it.Não serei or cantor de uma mulher, of uma historia,
I will not say sighs to the evening, to the landscape seen by janela,
I will not distribute obstructive or suicide letters,
não fugirei para as ilhas nem serei abducted by seraphins.
O tempo é a minha matéria, o tempo present, os homens present,
to present life.
As a kind of poetic art, this composition expresses the intentions and the principles of a subject as a writer. Demarcating from previous literary movements and trends, he declares that he will not save on a "outdated world". He also claims that he is not interested in the "future world". Contrary hair, you do or deserve your attention or present moment and those who or rodeiam.
He opposed old models, common themes and traditional forms, he drew his own guidelines. Its objective is to walk "of mine given" as present time, to portray its reality, to write lightly on what you see and think.
Ballad of Love through Idades
I like you, you like me
from tempos imemoriais.
Eu was Greek, you were a Troian,
Troiana but not Helena.
Saí do cavalo de pau
to kill seu irmão.
Matei, let's brigade, let's die.
Virei Roman soldier,
persecutor of christs.
Na porta da catacomb
I found you again.
But when I saw you
fall in the circus areia
I read that I have come,
dei um desperate
e o leão comeu nós dois.
Depois I was a mouro pirate,
scourge of Tripolitânia.
Toquei fire on the frigate
where you were hiding
da fury of meu bergantim.
More when will i hit you
e te fazer minha escrava,
você fez or sinal-da-cruz
e rasgou o peito a punhal ...
I killed myself too.
Depois (more enjoyable tempos)
I was courtesy of Versailles,
spirit and devasso.
Você cismou de ser freira ...
Pulei convent wall
more political complications
we will take us to guilhotina.
Hoje sou moço modern,
rowing, polishing, dancing, boxing,
tenho dinheiro no bank.
Você é uma loura notável,
box, dance, pula, row.
Seu pai é que no faz gosto.
More than a thousand trips,
eu, hero of Paramount,
I hug you, I love you and we got married.
Logo us two initial verses of the poem, we perceive that the subject of your beloved are twin souls, destined to meet and disagree over two centuries. Despite the love that unites you, live paixões prohibited in all the incarnations, condemned to be born as unimigos naturais: Greek and Troian, Roman and Christian.
In all cases, I ended up tragically, with assassinations, guilhotines and suicide, like Romeu and Juliet. The first three stanzas of the poem, or subject, narrates all the failures and provações that the house has to face.
By opposition, the last stanza fails to present life, exalting its qualities and revealing itself as a great party. Face so many journeys, or the only obstacle that I face now (or country that does not approve or romance) does not seem so serious at the same time. Com humor or poetic seems to convince his lover that this time I deserve a happy ending, worthy of cinema.
Or poem deixa a message of hope: we must always fight for love, even when it seems impossible.
Absence
By much time achei that in the absence and lack.
And it hurts, ignorant, at fault.
Hoje no a pity.
There is no lack of absence.
In the absence of it, he um be with me.
E sinto-a, branca, tão stuck, conchegada nos meus braços,
that laugh and dance and invent happy exclamações,
because in the absence, that assimilated absence,
no rouba mais de mim.
A poetic production by Carlos Drummond de Andrade is called as two main focuses to reflect on a passage of time, a memory and a saudade. Nesta composition, or lyrical subject comesça for establishing a difference between "absence" and "lack".
As a life experience, he perceives that saudade is not synonymous with lack more or its opposite: a constant presence.
Also, in the absence of something that accompanies him at all times, that is assimilated to his memory of him and happens to be part of him. It is all here that we lose and what we feel saudade is eternalized in us and, therefore, remains familiar.
Poem da necessidade
It is necessary to marry João,
It is necessary to support Antônio,
I must hate Melquiades
It is necessary to replace all of us.It is necessary to save the country,
I must believe in Deus,
it is necessary to pay so brightly,
I must buy a radio,
It is necessary to see whore.I must study volapuque,
it is necessary to be always drunk,
it is necessary to read Baudelaire,
I need to colher the flowers
that rezam velhos authors.I need to live like homens
I need not assassinate them,
I need to be pale
and announce O FIM DO MUNDO.
This is a poem as a strong social criticism that appoints the various ways in which society conditions two individuals to life, stating here that we must and "need" to do so.
Ironically, Drummond reproduced all these expectations and rules of conduct, showing that I set the society to regulate our personal relationships. Refere pressões as a necessity to marry and establish a family, or environment of competition and hostility.
A second stanza, mentioning patriotism and faith in Deus, seems to echo the ditatoriais speeches. There is also a mention of the capitalist system, in need of "paying" and "consuming". Citing several examples, or little subject, he enumerates the ways in which society manipulates us, isolates and enrages us through the medium.
A Machine of the World
E like eu palmilhasse vaguely
a road of Minas, stony,
I don't date late um but roucobe mixed ao som de meus sapatos
that it was slow and dry; e birds pairassem
no céu de chumbo, and its pretas formsslowly fossem diluted
na escuridão maior, vinda dos montes
and of my own to be disillusioned,the world machine opened
so that he could break, he would dodge
e só o ter thought carpia.Be majestic and circumspect,
sem emit um som that fosse impure
nem um clarão maior que o tolerávelpelas pupils spent on inspection
continuous and painful desert,
e pela mind exhausted to mentionall a reality that transcends
the image itself is debuted
no rosto do mistério, we abysses.Abriu-se em pure calm, and inviting
how many senses and intuitions restavam
What do you mean, I used to lose you?e nem desejaria will regain them,
it is em vão e forever we repeat
We are the same, sad, sad périplos,inviting you all, em coorte,
to be applied on or unpublished grass
da mythical nature das coisas,assim me disse, embora voice somebody
ou sopro ou echo or simple percussion
it was crowded that somebody, on a montanha,to another someone, night and misery,
The colóquio was addressing:
"Or that you tried in yourself or out ofyou were restricted and never showed,
Same as giving-se or surrendering,
and every moment more I withdraw,olha, repair, listen: that wealth
leftover at full throttle, essa ciência
sublime and formidable, more hermetic,this total explanation gives life,
this first and singular nexus,
What do you conceive more, pois tão elusiveit was revealed before a burning investigation
em that you consumed... go, contemplate,
open your peito for agasalhá-lo. "As more superb pontes and buildings,
or what offices are made,
or what thought foi e logo atingedistance greater than or thought,
the resources of the land dominated,
e as paixões e os impulses e os tormentsand everything that defines or terrestrial being
ou lasts até you encourage us
Check out plants to soak inI don't sound rancorous, two miners
dá volta ao world and returns to engulf
na estranha geometric order of tudo,e o original absurd e serious enigmas,
its high truths more than so many
monuments erected à verdade;e a memory two deuses, e o solene
feeling of death, that blooms
I do not keep the existence more glorious,you all apresentou nesse relance
and I chamou for your august kingdom,
at the end submerse to human sight.But how do you reluctance to respond?
to such a wonderful appeal,
pois a fé abrandara, e same or anseio,to hope more minimal - esse anelo
to see treva espessa faded
that between the raios of the sun inda seeps;as deceased creases summoned
Presto e fremente não se produzissem
a de novo tingir a neutral faceWhat are you walking hairs showing,
and how was another to be, no more that
inhabitant of me for so many years,passasse to command minha vontade
that, hah if it volúvel, it closed
like those reluctant flowersem if they are open and dated;
how are you late sun já não fora
appetizing, before firing,baixei os olhos, incurioso, lasso,
From nhando colher to coisa offer
that was opened free to meu engenho.A treva mais estrita já pousara
on the road to Minas, stony,
in the world machine, repelled,it was very meticulously recomposed,
enquanto eu, valuing or losing,
I was still wandering, you think.
"A Maquina do Mundo" is, sem dúvida, one of the most majestic compositions of Carlos Drummond de Andrade, eleito or melhor Brazilian poem of all tempos by Folha de São Paulo.
The theme of the world machine (as engrenagens that condition the way the universe works) is a subject that has been widely explored by the science of medieval and Renaissance literature. Drummond face reference to the song X two Lusíadas, passagem onde Tétis shows Vasco da Gama the mysteries of the world and to the force of destiny.
O episode symbolizes greatness of divine construction face to human fragility. No text of Camões, it is evident or enthusiasm from home to or with knowledge that I have granted it; Or else there is no poem by the Brazilian author.
Ação é situated in Minas, the native land of the author, or that or about the lyrical subject. He is contemplating in nature when he is struck by a kind of epiphany. The first three stanzas are described or his state of mind is: um "to be disillusioned", tired and hopeful.
A sudden understanding of the destination or mishap. A divine perfection hardly contrasts with his human decadence, opposite or subject to the machine and evidencing his inferiority. Furthermore, he refuses to reveal himself, refuses to understand or sense his own existence due to fatigue, lack of curiosity and interest. He remains, however, no chaotic and messy world that he knows.
Ainda bad
Ainda bad ask,
ainda that you answer badly;
ainda that I misunderstand you,
ainda bad repeat;
ainda bad insists,
ainda bad apologize;
ainda how bad I squeeze myself,
ainda how bad you turn me;
ainda how bad it showed me,
ainda how bad you vex me;
ainda how bad I faced you,
ainda how bad you furte;
ainda how bad I follow you,
ainda how bad you turn around;
ainda how bad I love you,
ainda that bad or saibas;
ainda how bad I grab you,
ainda how bad you kill yourself;
ainda assim i ask you
I'm burning in your eyes,
It saved me and it hurt me: love.
Neste poem, or lyrical subject, manifests all the contradictions and imperfections that we go through in love relationships. Despite all the difficulties of communication and understanding, lack of true understanding or intimidation between or married, or love prevails.
Embora for times is he duvide da own paixão ("I still love you badly"), even though he is a hundred days precarious of feeling, he remains "burning" in his arms. Or love and, simultaneously, to salvation and to ruin of the little guy.
Final Song
Oh! I loved you, and how much!
But it was not so much the same.
Até os deuses claudicam
in arithmetic nuggets.
Meço or passado com régua
of exaggerating such distances.
You are so sad, or more sad
é não ter sadness alguma.
I do not venerate the codes
of acasalar e sofrer.
É viver tempo to spare
I know about miragem.
Agora vou-me. Ou me go?
Ou é vão to go or not to go?
Oh! I loved you, and how much,
quer dizer, nem so much assim.
As "Canção Final", or poet expresses in an exquisite way the contradictions that we live not term of a relationship. Either the first verse announces the end of a romance and the intensity of its paixão for the lost woman. Logo depois, ele vai se contradizer ("I was not so much assim"), relativizing a forced feeling.
Or he took two verses in succession é de indifference and desdém. O his lyrical confesses that we own deuses get to know how exatidão what he felt. A memory is appointed as a "rule of exaggerating distances", which increases and exaggerates everything.
Além gives uncertainty, or eu poetic disbands on or vazio que o consome: no tem dry to sadness, já no tem nem a rotina of "acasalar e sofrer". You are hopeful, you don't have a "miragem", an illusion that you want to continue.
O Deus of Every Homem
When I say "meu Deus",
I affirm propriedade.
There are a thousand deuses pessoais
in city niches.
When I say "meu Deus",
I cry compliance.
Mais fraco, sou mais forte
do that to desirmandade.
When I say "meu Deus",
shout minha orfandade.
O laughed that he offered me
rouba-me a liberdade.
When I say "meu Deus",
choro minha ansiedade.
I don't know what to do
Or poem is a reflection about the human condition and its difficult connection with divine force. Na first stanza, or subject says that in relation to each one with Deus and particular, it is his. When we say "meu Deus", we are not in a single divinity plus multiples of "deuses pessoais". Each um imagines his own breeder, faith is processed in different ways us individuals.
The next stanza, or subject sublinha that or use of the possessive pronoun "meu" gera proximidade. Focusing on a "fulfillment" between human and divine, it evokes a feeling of companionship and protection.
In contrast to the third stanza ("Mais fraco, sou mais forte") reflects the paradoxical relationship of this little subject with Deus. On the one hand, assuming that he needs divine protection, he acknowledges his fragility. On the other hand, he strengthens through faith, surpassing "desirmandade", solidão and indifference.
This source of light was diluted in the following verses, when the lyricist defines his faith as a way to "shout" his "orfandade", to exasperate his despair. He sat abandoned by Deus, hand over to his own lot.
Accrediting the figure of the Divine Creator, he sat imprisoned by him, subjected to his decrees ("O king that he offered me / rouba-me a liberdade") and his power to alter his own life.
A composition expresses, in this way, the "anxieties" of the little subject and his inner conflict between faith and descrença. Through poetry, he simultaneously states that he must prove that Ele does not exist.
Memory
Love or lost
deixa confused
this heart.
Nothing can or forget
against or make sense
I appeal do Não.
As coisas tangíveis
you become insensitive
to palm da mão
More as coisas findas
very much more than beautiful,
essas ficarão.
In "Memória", or poetic subject he confesses that he is confused and wizarding to love what he has lost. At times, the overcoming simply does not happen and this process cannot be forced.
Give them moments when we continue to love the same thing when we do not become fazê-lo. Moved hair "sem sense / appeal do Não", or little subject insists when he is rejetado. A prisoner ao past, he stopped paying attention to the present time, here that he can still play and live. Contrary to the past, or past, here that has ended, and eternal when it is installed in memory.
Don't kill yourself
Carlos, stay up, or love
the isso that you are selling:
leaf beija, amanhã não beija,
depois de amanhã on Sunday
and second-fair, no one knows
or what will be.
Useless you resist
or commit suicide.
Don't kill yourself, oh don't kill yourself,
Reserve everything for
as weddings that no one knows
when virão,
I know that virão.
O love, Carlos, telluric você,
a noite passou em você,
and you emphasize sublimating,
inside a inefável barulho,
you pray,
vitrolas,
saints who cross themselves,
announcements of melhor sabão,
barulho that no one knows
of what, praquê.
Meanwhile you walk
melancholic and vertical.
Você é a palmeira, você é o scream
that no ouviu no theater
The lights all went out.
Or love is not dark, no, not clear,
I'm always sad, meu filho, Carlos,
but don't say anything to anyone,
no one knows, no one will know.
Don't kill yourself
"Carlos" is the recipient of this poem. Once again, there seems to be an approximation between the author and the subject that reflects the fault with himself, trying to reconcile and appease.
With a broken heart, he lembraces that or love, like his own life, and inconstant, passageiro, full of uncertainties ("hoje beija, amanhã não beija"). He affirms, therefore, that he is not afraid of escaping from death, through suicide. Or what remains is to wait for "weddings", or reciprocated love, is this. In order to continue in front, it is necessary to prove no happy ending, even if it never happens.
He walks firm, "vertical", he remains defeated. Melancholic, during a night, he tries to convince himself that he must advance with his life, despite the fact that he dies, of killing himself. Assume that love "is always sad" but knows that you must keep segredo, not be able to partilhar or sofrimento with no.
Despite all the disappointment, or poem transmits a hope of hope, which the lyrical subject tries to cultivate in order to continue living. Embora points to his greatest anguish and resembles his greatest loss, or love also arises as the last return, not what we need to have faith.
Or tempo passes? No pass
Or tempo passes? No pass
not abismo do coração.
Inside it, it lives on graça
do love, florindo em song.O tempo brings us closer
more and more, it reduced us
a um only verse and a rhyme
de mãos e olhos, na luz.No time has been consumed
nem tempo to save.
O tempo é all dressed
of love and time of love.O meu tempo e o teu, beloved,
transcend any measure.
Além do amor, there is nothing,
loving him or sumo gives life.São calendário myths
as much or ontem as or agora,
e o teu anniversary
It is all on time.E nosso love, that sprouted
do tempo, do not fear,
pois only who loves
Escutou or appeal gives eternity.
Neste poem, is evident or contrast between the outer, real tempo, and the inner tempo of the subject, to his perception of it. Embora envelheça and sinta the marks given superficially, or the lyrical not sentence to passage of time in his memory or our feelings, which remain unchanged. This difference in rhythms is due to the love that accompanies it. Rotina seems to unite more and more lovers, who are transformed into a verse, a being.
He announces, moved by the paixão, that life must not be poupada nem wasted: or our time must be dedicated to love, the highest purpose of being human. Together, the lovers need not worry about buying, dates or "schedules". Live in a parallel world, spent two outros and deliver one year another, because I know that "além do amor / no ha nada".
Subverting regras universais, past, present and future misturam, as we can be reborn every second by being united. In this way, the composition illustrates the magical and transforming power of the loving feeling. Something that the face of lovers will feel and want to be important: "just love / escutou or appeal for eternity."
Consolo na praia
Come on, no chores.
As a child she is lost.
A mocidade is lost.
But life was not lost.
Or first love passou.
Or second love passou.
Or third love passou.
More or heart continues.
Perdeste or melhor friend.
You did not try any trip.
There is no car, ship, or land.
More tens um cão.
Some harsh words
in a meek voice, it will hit you.
Never, never scar.
More, e or humor?
An injustice is not resolved.
In the shadow of the wrong world
you mumbled a shy protest.
More virão outros.
Tudo somado, devias
rush you, from time to time, to waters.
You are nu na areia, I do not vento ...
Sleep, meu filho.
Likewise, as in other composições de autor, we are facing a defiance of the little subject that seems to try to appease our own sadness. The recipient of the consoling message, addressed to the second person, may also be a reader himself. Reflecting on his journey and passage of time, he notes that a lot of coisa was lost ("to infância", to "mocidade") but to continuous life.
He knows several countries, he has lost and wasted, but he must preserve the ability to love, despite all the failing relationships. Fazendo um balanço, he enumerates what he did not perform and what he did not fear, recalling past offenses and offenses and revealing that he is still open.
Quase not end gives life, he goes back, acknowledging here that falhou. Faced with social injustice, or "wrong world", he knows that you will rebel but your protest was "shy", no difference. Likewise, he seems aware that he fez to his part of him and that "outros virão".
With the hope deposited in future generations, deeply analyzing his existence and fatigue, he concluded that he should play, not end, finish com tudo. As you murmur a song of the child, console your spirit and wait for death as you plow or sound.
Conheça also
- Love poems by Carlos Drummond de Andrade
- Drummond's poems to reflect on amizade
- Poem Eu, Label by Carlos Drummond de Andrade
- Fundamental Brazilian poets
- The most famous poems of Brazilian literature
- Poems about life written by famous authors
- Great poems of Brazilian modernism
- Manoel de Barros and his great poems
- Fernando Pessoa: the fundamental poems
- Os melhores poems by Vinicius de Moraes
- Melhores poems by Charles Bukowski
- Brazilian chronicles curtas com interpretação
