6 chronicles curtas with interpretation
A fairly diverse literary genre studied in Brazil, chronic is a type of usually short text that uses simple and accessible languages. Their customary themes are related as everyday, spelling or sociocultural and political context of production.
As chronicles can also assume several different functions: for example, they can be descriptive, humorous, journalistic, lyrical or historical.
1. Furto de flor, Carlos Drummond de Andrade
Furtei a flower daquele jardim. O porteiro do edifício cochilava e eu furtei a flor. Trouxe-a for home and place no flake with water. Logo I felt that she was not happy. O flake is intended to be drunk, and the flower is not to be drunk.
Passei-a for the glass, and I noticed that she thanked me, revealing her delicate composition. How many new things have a flower, we will contemplate bem. Being the author of the furto, it assumes the obligation of conservation. I renewed the water of the glass, but the flower of paleness. I feared for his life. I did not restore the ao garden. Nem to appeal to or doctor das flowers. Eu a furtara, eu a via morrer.
Já murcha, e com a particular cor da morte, I hit twelve and was deposited the no garden onde unbutton. O porteiro was attentive and repreendeu-me:
- What idéia a sua, vir jogar lixo de sua casa neste jardim!
Um two more famous ones from national literature, Carlos Drummond de Andrade (1902 - 1987) is mainly planted for his timeless poetry. Contudo, or author also wrote great texts in prose, as we present here.
A famous chronicle was published in a work Contos Plausíveis (1985) is part of uma ação simples, um everyday episode that ends up provoking deep thoughts and feelings.
Num spontaneous gesture, or homem colhe uma flor do jardim. The following days, the accompanying or its decomposition process, being raised to think about a passage of time, fragility and life event.
Trust us too major poems by Carlos Drummond de Andrade.
2. Or pavão, Rubem Braga
I consider the glory of a pavão showing off the splendor of its cores; é um imperial luxury. But I am reading books; I discovered that those cores all do not exist in pain of pavão. There are no pigments. Or that there are tiny balls of water in which the light is fragmented, like a prism. Or pavão é um rainbow of feathers. It considers that this is the luxury of a great artist, reaching the maximum of nuances as the minimum of elements. Of water and light of the face of its splendor; its great mystery and simplicity.
Consider, finally, that assim é o love, oh! minha beloved; of all that it arouses and splendid and shudders and delirium in my existence just meus olhos receiving the light of teu olhar. He charges me with glory and my face is magnificent.
Rubem Braga (1913 - 1990), appointed as one of the two greatest Brazilian chroniclers, published dozens of books of the genre, helping to define our country.
Or text that we selected was written in 1958 and integrates the work 200 Chronicles Escolhidas (1978), a colletânea that brings together the seus melhores writings produced between the years 1935 and 1977. Here, we start from a curious uncovered about the animal that is known for its beauty.
Na verdade, as cores dos pavões not dependiam on your sorrows, but in the way that the light is reflected by them. Isso leva or author to fazer considerations about da artistic breeding e to importance gives simplicity.
Logo depois, she uses a metaphor to address a woman she loves and compares to her own animal. By declaring that his brilliance depends on her, he shapes how he is olhated by her, sublinha delightful to be loved, to happiness and to trust that isso traces our lives.
3. Please don't be distracted, Clarice Lispector
There was a slight drunkenness of walking together, a joy as when he sat down at the throat a little dry and one sees that for admiration was half-opened: they breathed from before or who was in front, and this headquarters was own water them. Go through streets and streets falando and surrender, falavam and riam to give material and weight to the very slight drunkenness that was to joy from the headquarters of them. Because of cars and people, sometimes they are touched, and year to touch - to headquarters and to graça, but as águas são uma beauty of dark - e ao touch brilhava or brilliance of water from them, in the mouth ficando a little more dry of admiration. As they admire them, we will be together! Até that all was transformed into não. You were transformed into not when they wanted that same joy from them. Então a grande dances two errors. Or cerimonial of misguided words. He tries not to go, the way he doesn't turn, he who was there, not so much. Not so much that he was there. All errou, and there was a great poetry of ruas, and how much more erravam, more with harshness that I want, sem um sorriso. You just because we were paying attention, just because we weren't quite distracted. That's because, suddenly demanding and tough, I wanted to do that já tinham. All because I wanted to give um nome; because I wanted to be, who I was. So I learn that, if I am not being distracted, or telephoning does not touch, it is necessary to leave home so that the letter can check, and when or telephoning finally knocks, or I desert, wait until short. All, all for we will not be more distracted.
Published in the work For Não Esquecer (1978), this is two short texts full of lyricism that mark Clarice Lispector's literary career (1920 - 1977), além dos seus inesquecíveis romances.
In "We will not be distracted" we can find two personagens sem nome; pela simple description of two events, we get to perceive that it is um casal apaixonado. I do not eat, it is evident or enthusiasm when I pass the city, totally immersed in conversation and in the presence of another.
Contudo, so coisas was suddenly altered, irremediably. When to stop taking advantage of the moment and tempt recriar initial happinessYour expectations are frustrated: I got into a misconception, I can't get any more to communicate.
This cutout from everyday life illustrates or comes and ends of a paixão, showing delicacy of human bonds and the way in which our anxieties and pressures can harm them.
Trust us too more poetic texts by Clarice Lispector.
4. Beijinho, beijinho, Luís Fernando Veríssimo
Na festa dos 34 anos da Clarinha, or her husband, Amaro, had a speech that was highly applauded. She declared that she did not exchange her Clarinha for two of 17, did you know why? Because Clarinha was duas of 17. Tinha a vivacidade, or freshness and, deduzia-se, or somado sexual fervor of adolescent duas. No car, depois da festa, or Marinho commented:
- Nice, or Amaro's speech.
- I do not have two months for them to separate from Nair.
- Or what?
- Husband, when I started to praise the woman very much ...
Nair deixou will not be all of the implications of male duplicity.
- More and more they seem more and more dull - protested Marinho.
- Exactly. Apaixonados demais. Lembra or what are you saying when Janice and Pedrão come to walk from me given?
- Same ...
- Have you been married for years and suddenly I started to walk away given? As in love? Ali tinha coisa.
- Same ...
- E não deu outra. Divorce and litigation.
- Você tem razão.
- E or Mário with Marli's intercourse? From one hour to another? Beijinho, beijinho, “great woman” and I will discover that this case with the manager gives the loja.
- Você acha, então, que o Amaro te outra?
- Ou outras.
Nem duas de 17 estavam fora de cogitação.
- Acho que você tem razão, Nair. Nenhum homem face uma declaration daquelas assim, se other reasons.
- I know I'm right.
- You are always reason, Nair.
- Always, não sei.
- Always. You're smart, sensible, insightful, and invariably right on the fly. Você é uma mulher formidavel, Nair. For some time, it was only out, inside the car, or two tires not on asphalt. Aí Nair perguntou:
- Burn her, Marinho?
Luís Fernando Veríssimo (1936), one of the two most famous Brazilian contemporary chroniclers, is known for the humor that characterizes his texts. A chronicle "Beijinho, beijinho", crossed by satire and by social criticism, is a good example of his style.
Nela attended a conversation of a casal, Nair and Marinho, about a friends event. Or atmosphere of romance between Amaro and Clarinha vira fonte de intrigues and flabby, raising mistrust.
Faking as husband, Nair reveals that he achou or exaggerated behavior and suspeito: praising his wife as well, or another must be hiding something. To prove her theory of it, she began to cite several cases of adulthood that happened in a circle of their friends.
Or husband, convinced by the argument, begins to praise her perspicacity, fazendo how Nair assumes that she is being brought too. Through a comic tom, or text expressa uma cynical view on or marriage e as long-lasting relationships.
Trust also Most funny chronicles of Luís Fernando Veríssimo.
5. Conversinha mineira, Fernando Sabino
- É bom mesmo or cafezinho daqui, my friend?
- Sei dizer não senhor: I don't drink coffee.
- Você é dono do café, don't you know what to say?
- No item claimed from não senhor.
- Então give me coffee com leite, pão e manteiga.
- Café com leite only se for sem leite.
- Não tem leite?
- Hoje, não senhor.
- Why do I look at it?
- Because I look at it or read it.
- Ontem ele veio?
- Ontem não.
- When are you seeing him?
- Tem dia certo não senhor. Sometimes it is vem, sometimes it is not. I know that I did not deviate em geral no vem.
- More ali fora is written "Leiteria"!
- Ah, isso there, sim senhor.
- When is that tem read?
- Quando o leiteiro vem.
- Tem ali um guy eating coalhada. É feita de que?
- Or what: coalhada? Então o senhor não know what is a coalition?
- It's bem, você ganhou. I traced a café com leite sem leite. Escuta uma coisa: How am I going to politics here in your city?
- Sei dizer não senhor: eu não sou daqui.
- How long does Senhor stay here?
- Vai for fifteen years. Isto é, no posso a guarantee with certainty: a little more, a little less.
- Já dava to know how I go indo a situation, não acha?
- Oh, or senhor fala da situção? Say that vai bem.
- For what party? - For all parties, it seems.
- I would like to know that I am going to win the election here.
- Eu also gostaria. Uns falam que é um, outros falam que outro. Nessa mexida ...
- E or Prefect?
- What is it, or Prefeito?
- How are you or Prefeito daqui?
- Or Prefect? This is the one who falam him.
- What is it?
- Dele? Uai, that's all that falam from all the quanto and the Prefeito.
- Você, certainly, já tem candidate.
- Quem, eu? You are waiting for the platforms.
- More item or portrait of a dependent candidate on the wall, what story is that?
- Where, Ali? Uê, people: penduraram isso aí ...
Fernando Sabino (1923 - 2004), writer and journalist born in Belo Horizonte, faces a beautiful journey with his origins in the chronicle "Conversinha mineira".
Or text published in the work To Mulher do Vizinho (1962) uses a linguistic register quite close to oralidade, reproducing a banal conversation.
Here is what you call attention not to dialogue with the answers that are strange to the donation of the establishment that seems not to be aware of what you are doing.
Also, you are not interested in your own business, by diverting the various questões that are placed, it is also not imported as political situation do local and preferably not take a position.
6. Beautiful yourself, Martha Medeiros
When is a woman really pretty? No moment em que sai do cabeleireiro? When is numa festa? When do you pose for a photo? Click, click, click. Sorriso amarelo, artificial posture, performance for the public. We are beautiful when no one is selling us.
Striped no sofa, like a shoe to fit at home, a blouse missing a button, the legs screwed on a na other, or Cabelo caindo of any jeito hair ombro, no concern is or batom resistiu or not a long passage of the day. Um livro nas mãos, or Iâ € ™ ll be lost in so many words, um ar de uncoberta not face. Cute.
Walking pela rua, scalding sun, with the sleeves of the blouse fixed, the neck on fire, or the hair standing upright with a bad shape, a number of disapproval of the hair Delay of the bus, hundreds of people crossing-no getting any, she hooks her head like palma da mão, little girl sobrancelha like you fingers. Perfect
Saindo do banho, a towel abandoned no chão, or corpo ainda úmido, as well as unpacking or espelho, moisturizing cream for the legs, deodorant, A last minute of relaxation, there is a day inside to percorrer and also that a porta do banheiro for aberta já não will be more dona of yes same. Brush the teeth, cuspir, rinse in mouth, breathe deep. Spetacular.
Inside the theater, the lights are off, or I laugh alone, scandalized, so more applauding at open dinner, sem commands, your trunk dislodging-I know when a fala surpreende, gargalhada que no If she is constrained, she does not obey adequação, gengiva à show, her shoulder on the side not shoulder on the side, both turned to face, to me covering her mouth with a brief access of shyness because of so much happiness. Um sonho.
Or car parked at the pressas numa street unknown, an urgent need to crash because of a music or a lembrança, a head jogada on or steering wheel, the burning tears, fartas, a lenço of paper tasted in the bag, or nose being attached, the fingers cleaning the papillae, or rear-view mirror accusing you of the vermelhos and the same also serving as protection, I am here as you, only this is I sell. Lovely.
Posted em Life Coisas (2005), "Bonitas mesmo" is an inspiring chronicle of Martha Medeiros (1961), a contemporary writer and poet who was born in Porto Alegre.
Com um olhar attentive and critical, or começa text for committing and commenting as aesthetic pressões that women are subject to the various collections that exist around their appearance.
Presenting its definition of true beauty, the author distances himself from social taxes and two reducing parents. Second ela, we are still more beautiful when we are comforting, when we are not worrying com isso.
Observing e exalting everyday gestures These are the most common, the author traça a praise to the feminine power that exists in all of us and goes much further to the image of each uma.
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