Chinese Vase

Strange gift, that vase! I saw it.

Coincidentally, once, from a scented
Counter on the shiny marble,
Between a fan and the beginning of an embroidery.

Fine Chinese artist, in love

Nele put a sick heart
In ruby flowers of a subtle design,
In the burning ink, of a gloomy heat.

But perhaps by contrast to misfortune -

Who knows? - from an old Mandarin
Also there was the unique figure;

What art, in painting it! Do we perhaps see it

I felt a certain something with that chim.
With eyes cut in the shape of almonds.

Alberto de Oliveira

In this poem, Alberto de Oliveira chooses the fixed form of Sonnet - just like the other two poets of the Parnassian trio.
in most of his works -, consisting of two quatrains (stanza with four lines) and two tercets (stanza with three
verses). The sonnet is not just another type of poem, but the only type that has an absolute number of verses (14
verses) and almost absolute unanimity regarding the strophic division (two quartets and two tercets, for the Italian, creation
by Petrarch, hence the name Petrarchan sonnet; and three quatrains and a couplet, in the case of the English sonnet), demonstrating the
the formal rigor of Alberto de Oliveira, master of Parnassianism, and one of his greatest concerns while
parnasiano: the precision of words, result of an intense work of adjustment to the form and content of
structures like the sonnet. Regarding the meter, this sonnet is decasyllabic, that is, it consists of ten syllables
poetics, representing one of the main characteristics of Parnassianism; the preference for meters such as the
Alexandrine of French type and the decasyllable (case of Chinese vase).

In the poem in question, there is a predominance of descriptive elements rather than narrative ones; the description rigorously
the objective of the vase. The subject is the paintings that decorate a Chinese vase and the interpretation that the poet gives to them, being
an exemplary poem of Parnassian poetry, with all the characteristics of Parnassianism: exoticism ('strange')
mimo", 1º verso; "coração doentio", 6º verso; "calor sombrio", 8º verso; "singular figura", 11º verso; "olhos cortados", 14º
verse); the plasticity, with its poetry-painting effects, present in every poem; the rich rhymes ("I saw him", 1st verse /
luzidio", 3º verso ; "vendo-a", 12º verso / "amêndoa", 14º verso), impassibilidade (não há sentimentalismo excessivo);
vocabulary precision and its grammatical correction; emphasis on the sensory and its synesthesias ("burning ink", 8th verse; "heat
gloomy", 8th line), and even the necessity and, at the same time, a certain impossibility of expressing something ("I felt a
I don't know what with that chim", 13th verse). The syntactic inversions (hyperbaton), as in "of a scented / storyteller
About the shiny marble, they are due to the cultivation of Portuguese from the 18th century. It is also noteworthy that in Chinese Vase there is no
value judgments about everyday life or reality; Alberto de Oliveira, like the other parnasianists, alienates himself
purposefully for to do a poetry yes art by art prime yes shape.

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 The Wall

It is an old wall, all cracked,

Rotten and black, to what time an offering
Left in a bleeding flowering cactus

And a little bit of moss in every crack.

I have long served as a closure to a residence;

To protect her and keep her safe is your care;
Maybe I can understand this mission,

Always at your post, firm and elevated.

Dead hours, the moon unveils,

And it shines brightly; solitude becomes a star
All of a vague glimmer of silver;

And the old wall, high the bare wall,

Look around, peek at the shadow, and veil,
Between the kisses and tears of the moon.

Alberto de Oliveira

In this poem, Alberto de Oliveira also chooses the construction in the form of a sonnet, once again showing his
parnasian ideals and their intense concern with the formal aspect of poetry and its objective character. And also,
just as it is done in Chinese Vase, it opts for the metric of the decasyllable, so used by other parnassian poets.
of the triad. We can see, then, that the poet remains faithful to the metric laws of the literary movement to which
belonged, always opposed to the 'laxity' and 'incorrectness' of the romantics. This is clear in this poem, as well as in the poem
previously, Alberto de Oliveira was much more concerned with the mechanics of the meter than with the melody in the poem.
Here, the poet, while describing a 'Wall', makes a selection of predominantly descriptive elements, however,
unlike in Chinese Vase, the poet produces more expressive verses, with a certain somberness, as we can
["to perceive in 'Ragged and black' (2nd verse)","(...) in blood-stained flower (3rd verse)","Dead hours, the moon unties the veil (9th)"]
between the kisses and tears of the moon, producing a certain exoticism, one of its trademarks while
parnasian. In The Wall, Alberto de Oliveira constructs an objectivist poetry in its content, faithful to Parnassianism,
printing the work of a rationalism that is characteristic of him, however, he does it through the transfer of

the tonic of vague feelings, so present in Romanticism, shifts to a vision of reality, thus dismantling the idea of the "poet"
completely impassive." Furthermore, we can once again perceive the defense of "Art for art's sake," in which the poet
seeks, fundamentally, perfection in its poetic construction, using, for this, cultured and precise vocabulary,
thus provoking the effects of plasticity that permeate all of his work.

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Chinese - The Wall - Raimundo Correia - The Pigeons - Mal Secreto - Olavo Bilac - Vila Rica - and Profession of
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 Secret Illness

If the rage that foams, the pain that dwells

In the soul, and it destroys every illusion that is born,
Everything that stings, everything that devours
The heart would be printed on the face;

If the spirit that cries could

See through the face mask,

How many people, perhaps, envy now

Then it causes us pity!

How many people who laugh, perhaps, with me

Keep a brutal, hidden enemy,
Like an invisible cancerous sore!

How many people laugh, perhaps there exists,

Whose unique adventure consists
In seeming to others fortunate!

Raimundo Correia

In Mal Secreto, Raimundo Correia employs the ABAB rhyme scheme in the first two stanzas and the CCD scheme in the last two.
last stanzas. The form used by the poet was that of a Sonnet, widely used by the Parnassians and the triad. In
Regarding the metric, Raimundo Correia opts for decasyllabic verses, which are also widely used by Parnassian poets.
Raimundo Correia also makes use of sound and visual resources: The rhythm marked by the sound, especially
in the stressed words, and in the rhymes the mark of a consistent and strong tone. Through these resources, the poet is able to
transmit your fundamental semantic opposition within the poem, between the intimate self of the human being and its appearance, with the
masks that often hide reality.

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Chinese, by Muro Raimundo Correia, The Doves, and Mal Secreto, and Olavo Bilac, Vila Rica, and Profession of
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 Rich villa

The golden glow of dusk covers the old houses;

Struggle, in golden veins, the mines, what ambition

In the tortured entrails opened of the noble earth:

And every scar shines like a coat of arms.

The angelus mourns far away in painful toll,

The last gold of the sun dies in the haze.

E, austere, amortalhing the glorious and poor city,

The twilight falls like an extreme unction.

Now, over the hill, the sky seems

Made of ancient gold that time has darkened...

The mist, brushing the ground, whispers in prayer,

Like a spectral procession that moves...

Good about the bell... It coughs a verse from Dirceu...

On the sad Ouro Preto, the gold of the stars rains down.

Olavo Bilac

In addition to various figures of speech - comparison, metaphor, metonymy, personification, inversion, etc. - the poem is rich
in sound suggestions, like the ringing of the bell suggested by the nasal phonemes and the alliteration of the phoneme /jê/ in the 1st
verse of the 2nd stanza. In addition, there are several chromatic suggestions related to gold (sunlight and the gold from the mines) and
to the black (of the night, of the past and of the city's own name). It is also possible to notice the existing oppositions in
poem, which reinforces the contrast between past and present, wealth and poverty, day and night, the glorious past and the
humble gift.

In the 'sobbing' of Dirceu's verse, the repetition of the phoneme /s/ in the last stanza, while reminiscent of a cry,
also suggests the romantic sufferings of Marília and Dirceu and the Minas Inconfidência, only suggesting, never
filling the text with excessive sentimentality and subjectivism. It is, therefore, a poem that manages to unite
construction techniques to a rich historical content - qualities that were not always achieved by the Parnassians.
Thus, in Vila Rica, Bilac shows the parnasian objectivity evolving into a more intimate and subjective stance.

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 Greek Vase (Alberto de Oliveira) mãos”; “brilhante copa”; “novo deus”; “roxas
This is a worked out relief, ["petals","thin edges","charmed music"]
Dedicate hands, shining cup, one day,
Já de aos deuses servir como cansada,
In the poem in question, this becomes clear due to the
Coming from Olympus, the new god served.
use of cultured vocabulary, for in Parnassianism the
It was the poet from Teos who suspended him. Poetry must be perfect from an aesthetic point of view.
So, now full now empty,
He/she/they were touching your fingers, We find in this poem an aesthetically pleasing rhyme.
All the deroxaspétalascolmada.
rich, presented by the grammatical class, example:
Later... But, the work of the cup is admired, day/servia; sweet/was. But there are also poor rhymes
Touch it, and by bringing it closer to the ear, to the edges. like: suspended/ had; edges/ ropes.
I just heard you, melodious and sweet,
The theme of Greek mythology is present as it is.
Unknown voice, like that of the ancient lyre
frequent in Parnassian poetry.
It was enchanted string music,
What if this voice were that of Anacreon.
Any inanimate object becomes poetry, going against
Analysis of the Poem: the idealization of the 'Lyric I'.

In this case, the 'cup' is the descriptive object of this

Áureos = adjetivo
Relevos = Substantivo poem.
Divas = adjective In the last two stanzas, personality is given.
Mãos = substantivo to that vase. A transformation of the lyrical beauty of
Brilliant = adjective vase, in an objective customization, characteristic
Cup = noun well parnasian.
New = adjective
God = noun This sonnet concretizes the idea of 'art for art's sake',
Cup = noun in which beauty is its greatest value.
Friend = adjective
Roxas = adjective The poem was crafted with decasyllabic verses in
Pétalas = substantivo form of sonnet, for the
Bordas = substantivo
Finas = adjective Parnassianism takes up this type of construction and
Enchanted = adjective para valorizar ainda mais o seu trabalho, o poeta
Música = substantivo make use of punctuation resources by abusing the use
the commas within the same sentence.
At the historical moment of this literary movement the
the poet is influenced by scientific ideals and There is an exaltation of form and rigid metric,
revolutionaries of the period. represented in the first verses.

Thus, objectivity is present, both The cup represents the poetry of the poet (fine, melodious,
quanto a fuga ao sentimental e ao piegas. sweet).

Through the metonymy between poetry and muse, one realizes-

Parnassianism adopts a formal language and
I know that the cup humanizes itself, as it expresses itself, with
seeks aesthetic perfection.
voice "melodious and sweet" when played by the poet.
In this poem, there are several occurrences in which the
the adjective appears before the noun, which indicates Canora = smooth.
formal refinement. E.g.: "golden reliefs"; "divas"
Rhymes: ABAB, BABA, CDE, and CDE.
The analysis of a parnasian poem can be done Objectivity
in two distinct ways. In the form: Preference for sonnets
♦Rich rhymes. This happens when the author of
Objective: It consists of analyzing the metric and the the poem makes rhymes like words from different
structure of the poem, its verses and stanzas grammatical classes.
Subjective: The attempt to capture the idea that the
author who wanted to convey to the reader. Subjective Analysis

The author uses a 'metaphor' in the first stanza.

to refer to times in your life
(...)I suffer and endure, this autumn, when
Remorse I calculate what I lost in spring.
He shows regret for things not done.
Sometimes, a pain drives me to despair... In the second stanza, the regret is for
In these anxieties and doubts that I find myself. things he stopped doing, and if he had
I suffer and endure, this autumn, when done, would be happier.
I calculate what I lost in the spring. Now, as he looks back, he realizes what he has lost
and laments.
I suffocated verses and loves, silencing, Anyway, the idea that the author conveys to us in this
Without enjoying it in a sincere explosion... poem, it's just that he doesn't regret things
Ah! But a hundred lives! With what fervor I would wish made by him, but by things he left behind
Mais viver, mais penar e amar cantando! to be done in function of shame and power.
Bringing us to think, that if he could
I feel what I wasted in my youth; going back in time, he would do the things that for
Crying, in this beginning of old age, Several reasons stopped doing it.
Martyr of hypocrisy or of virtue,

The kisses I didn't have out of foolishness,

From shyness or what I could not suffer,
And out of modesty, the verses I did not say!
Olavo Bilac

Objective Analysis

Well, this poem is about a sonnet, by the poet

Olavo Bilac, member of the Parnassian triad.

What characterizes a sonnet?

The first two stanzas must have,

each one, four verses and the last two three.
The main characteristic of a sonnet is the
presence of the 'Alexandrine verse'. This verse
represents the joining of the 12 poetic rhymes.

Other characteristics of this poem:

Descriptivism
 Importing this language to other peoples was not a
easy task, as it involved destroying the culture of
No Language Poem Portuguese oauthor other peoples.
parnasianOlavo Bilacmake an approach about
the history of the Portuguese language, a topic already addressed In the last tercet, to conclude, when the author
by Camões. This poem inspired others says: "In which I heard the motherly voice: "my son!/ And
approaches, like the poem "Language" by Gilberto in which Camões wept, in bitter exile/
Mendonça and 'Portuguese Language', by Caetano "genius without luck and love without shine," he
Veloso. uses an expression outside the norm ('my
"son" and refers to Camões, who consolidated the
This story is told in fourteen verses, Portuguese language in her famous book 'The
distributed in two quartets and two tercets - "The Lusiads", an epic that recounts the deeds
aroundsonnetfollowing the classical standards of grandiose two of the Portuguese during the 'great
punctuation and rhyme. "navigations", produced while he was in exile,
at 17 years old, in the Portuguese colonies of Africa
Starting a semantic analysis of the text and from Asia. In this exile, "The Lusiads" was born,
literary, it is observed that the poet, with the metaphor one of the eight epics of the world.
"Last flower of the Lácio, uncultivated and beautiful" refers to the

the fact that the Portuguese language was the last Poem in full:
Neolatin language formed from vulgar Latin
spoken by the soldiers of the Italian region of PORTUGUESE LANGUAGE
Lácio.
Last flower of Lácio, uncultivated and beautiful,

In the second verse, there is aparadoxAndit is a And, at one time, splendor and burial:
time, splendor and tomb”. “Splendor”, Gold native what na Ganges impure
because a new language was rising, The brute mine among the gravel sails...
continuing with Latin. 'Burial' because,
from the moment the Portuguese language Amote so, unknown e obscure
is being used and expanding, Latin is Tuba high clangor lira simple,
What you have is the trumpet and the whistle of the storm.
falling into disuse, 'dying'.
And the flow of longing and tenderness!
In the third and fourth verse, 'Native gold, which in
impure gang / The brute mine among the pebbles I love your vigorroughand your scent
"sail", the poet exalts the language that has not yet been Of virgin forests and of wide ocean!
stoned by speech, in comparison to the others I love you, oh harsh and painful language,

also derived from Latin.

In what I heard from the mother's voice: "my son!"
The poet emphasizes the beauty of the language in his And in what Camões cried, in bitter exile,
The genius without fortune and the love without shine!
various expressions: speeches, lullabies,
emotions, prayers and praises: "I love you like this,
unknown and obscure,/ Tube of high clangor,
single lira. When using the expression 'Your
aroma / of blind virgins and wide ocean,” the author
points to the subjective relationship between the new language,

newly created, and the "pleasant scent of virgins"

"forests", characterizing the Brazilian forests
still unexplored by the white man. He
manifests the way in which the language was brought
to Brazil - across the ocean, in a long
caravel voyage - when the second one ends
verse of the tercet.

Still expressing your love for the language,

now through a vocative, "I love you, O rude and
"painful language," Olavo Bilac refers to the fact that
that the language still needed to be shaped and,
 Flexures: Joints, nods, looseness;

Aged: Sour, Acre;

Tortures: Tortuosity, curvature, torment;

Mild, tasteless, lacking energy;

Blooming: What blooms, adorned with flowers, bright,

prosperous, remarkable;

Serpes: Serpentes;

Arms
Tetany: Affected by tetany, afflicted by
muscle contractions, (neologism);
Nervous arms, white opulences,
Dazzling whiteness, shining whiteness,
Pure whites, virginal whites, Delirium: Unconscious disturbance, exaltation of the spirit,
hallucination, enthusiasm;
Lactescences of rare lactescences.

Tremulous: To shake, to move tremulously, to hesitate, to waver;

The fascinating, morbid slumbers
From your embraces of lethal bends,
They produce sensations of aggressive torture, Pompa: Sumptuous, magnificent apparatus, splendor;
From desires, the warm blossoms.
Cohort: People fleet troop, group crowd
Nervous arms, tempting snakes supporters;
They catch, they tense up like herpes,
Two delusions in the trembling court... Lukewarm: Slightly warm, loose, tepid;

Warm and flowery meat pump, Floreas: Blooming, flowery, lush, beautiful;
Arms of strange marble corrections,
Open to Love and to Death! Correções: Correction, punishment,improvement
perfection, purity, smoothness;
Cruz e Souza.
Marble-like: Like marble, which has some attributes
Brief glossary. of marble, color, cold, hardness.

Opulence: Magnificent, abundant, pompous;

The first stanza depicts an exhortation in asyndeton,
Mist; where successive reiterations about clarity, purity, whiteness
the brightness intertwines with the metaphor 'nervous arms'
Nervous: Excited, vigorous, energetic; (v.10), note a single noun, an article
prepositioned and all the other adjectives, some reiterated,
Fulgent: Brilliant, that has brilliance, provoking a common syntactic/semantic effect in
poet.
Alvuras: Quality of target, purity, candor;
The second stanza has its two initial verses noting
Chaste: Innocent, pure, who preserves chastity; the physical decay, "morbid dormancies" (v.5) until the
"flexing breezes" (v.6). The next two verses build
a parallelism between pain and pleasure, recorded through the
Virgin: Pertaining to virgins;
sensations, from then on the parallelism will prevail in
reading
Lactescences: It has properties similar to milk;

The first tercet addresses the attributes of seduction, in

Rare: Uncommon, eccentric, extravagant; figure of the serpent, reaffirming desire like a disease
tetanus like herpes (v.10); the last verse of this
Morbid: Sick, ill, languid; the tercet makes a reference to the choice, the partisan skin of
I wish, there is the parallelism fever/passion.
Numbness: Quieting, partial insensitivity, lethargy
physical, There is a blatant sensual relationship between desire and death,
since "nervous arms, white opulences" (v.1) in
Lethal: Related to death, gloomy, fatal; open to Love and to Death
The second tercet addresses love in its first verse. indicated in the constant use of the first person, by the cult to
sensual, the ambiguity of "marble corrections" (v.13), night, in search of the symbol and the mystery of existence,
through synesthesia, leads the image of arms that through a dark, suggested and distorted image.
they express, embrace even the final stance before death.
He is considered by many to be one of the greatest poets.
Let's consider the lexical level, the poet expresses himself through symbolists of the world, with a very high literary quality
of cultured and sophisticated language. There is a noticeable restriction close to two of the best French symbolist poets,
in the use of verbs, only three, one of them, like Mallarmé.
tetanism, a neologism and a proposal for elaboration of
a reflective piece, dealing with abstract images and Some aspects were reserved for future analysis,
intimate considerations of the author. due to the need to organize the presented matter,
others were treated superficially for approach
Observing the syntactic level, it is quite pronounced the through debate in the very topic, if there is something more to
parallels supported by reiterations, the verb tense considering, being a matter of my attention we return
used, present, seeks to establish a proximity to comment afterwards.
with the reader.
This analysis, like the others, is not intended to be absolute;
This is a first, linear reading, which says where it goes up to. surely there will be ambiguities or information
the poem reaches; however the poem is also the poet and refutable, but always open to questioning,
arms brings a direct reference to the color white throughout the correction and debate.
your first verse that conflicts in the poet's skin. There will be
coincidence? I take this opportunity to thank the dedication of the Recantista Diana.
Gonçalves for co-authorship in the analysis and collection of
Arms perform tasks that have always been denied to you. information during the process; the valuable contribution
despite all the attributes resulting from its formation. from Nilza Azzi regarding the adjustments and questions that came up

presenting during the course.

Death and love are intrinsic to the entire poem,
like in the life of the poet.

Like the book Broquéis, this is a representation

quite vigorous of symbolism in Brazil. The work of
a unique poet who, posthumously, achieved merit and
added a relevant value to Brazilian literature.

The poetry of Cruz e Sousa maintains the formal structure.

typical of Symbolism, use of sonnets, rich rhymes, etc.
but in a more musical, rhythmic tone, with a
variety of sound effects, a wealth of
vocabularies, and a precious game of correspondences,
synesthesias, contrasts, and antitheses.

Transparency reveals social concern, where man's pain

black is the result of its own experiences of
prejudice merges with universal human pain, conferring
to his work a philosophical tone that reflects the anguish, the
pessimism and boredom. The solution is always escape, the
preference for the mystical, the quest for the spiritual world
which or console.

It is the eternal conflict between the real and the unreal within the

human universe, the mysteries of God and man, of

life and death that coexist with love, mysticism,
and the desires. The result is always the suffering of the being,
often personified by the pain of prejudice, what
brings to the abolitionist ideals within his work.

In contrast to the black color, there is the use of a vast

vocabulário relacionado à cor branca: neve, espuma,
pearl, cloud, shiny, etc. This reflects your obsession,
typically symbolist, for the imprecision, for the vague, the
purity and the mystery.

Your work is still largely characterized by sensuality,

for the pursuit of self-affirmation and subjectivity,
 valued the technique of writing and the richness of vocabulary.
See below one of the texts read by the class for
analysis
Prison of souls
Cruz e Souza
Ah! Every soul is imprisoned in a prison
Sobbing in the dark, between the bars
From the dungeon looking at vastness,
Seas, stars, afternoons, nature.
Everything is dressed in equal greatness
When the soul is in chains, freedoms
Dream and, dreaming, the immortals
Tear in the ethereal Space of Purity.

O imprisoned souls, mute and closed

In the colossal and abandoned prisons
From pain in the dungeon, atrocious, funereal!

In these solitary, grave silences,

What keychain of Heaven possesses the keys
To open the doors of Mystery for us?!

Vocabulary

. Dungeon: underground prison;

prison.
. Shackle: a chain that binds the
convicts; jail, handcuff.
. Funeral: relating to death, to
dead or the things that are with them
relate us.
Prison of souls – . Ethereal: sublime, pure, elevated;
celestial, celestial.
Analysis The critic Gilberto Mendonça Telles (1999) states that
August 23, 2014Andréa the more metaphorical and symbolic the language is
MottaCommentsAlphonsus de Guimaraens, Cross and
literary text but it is closer to Romanticism and
Souza, Literary periods, Symbolism
Symbolism. In the poem above, ocárcere is
One of my high school classes did a used to symbolize the body that represents a
evaluation of Symbolism, literary movement prison for the soul ("Every soul walks in a prison
"capture"). The lyrical I expresses his desire to
that, in Brazil, took place at the turn of the 19th century to
the 20th century. The poems that were supposed to be transcend the physical body overcome
analyzed by the students are Prison of Souls, the limits imposed on the human being,
of Cruz e Souza, and let others sing the clear pain as can be observed in the verses 'What a keyring of
green, by Alphonsus de Guimaraens. In the classes Heaven holds the keys/ To open the doors for us
Mystery?!". Note, also, that the desire to overcome the
previously, we read the
physical imprisonment is reinforced in 'When the soul enters'
Antiphon texts Crying guitars,
also from Cruz e Souza and, for the evaluation, the chains the freedoms / dreams and, dreaming, them
immortalities/ Tears in the ethereal Space of Purity.
students should answer questions regarding
interpretation of the title of the first text, resources Religiosity was one of the themes of Symbolism.
linguistic elements that contribute to the musicality of what could be expressed through
symbolist text and the romantic influences and liturgical vocabulary - present in texts
como Antiphon, by Cruz e Souza - or with the
Parnasian
highlighting the limits of the soul. The poem
As I have already published,in another text, o
represents the mystical conception of life
Symbolism in Brazil officially begins in 1893
with the publication of Missal and Broquéis, of a typical characteristic of Symbolism - and suggests
that no soul is happy. Such a suggestion is
Cruz Souza. The movement emerged as a
reaction to Parnassian poetry, whose production presented through metaphors ('Every soul
 in prison walks captive"; "Oh trapped souls, mute, . Virent: lush, blossoming.
closed / in the colossal and abandoned prisons). It is In the text above, it is also possible to observe the idea
it's good to remember that one of the main characteristics that the soul is trapped and that only death can be
Symbolism is subjectivity; thus, the self liberation: “Sing this mansion, where among cries /
lyric demands from the reader the perception that the prison Each one awaits the sepulchral handful of damp dust that
is used as a representation of this there must stifle its corners..." Once that the I
a feeling of anguish that permeates the entire text. the lyric longs for the supreme freedom of his soul, he
transfer to others the happiness of exalting the joy of
life and contact with nature (used here as
symbol of everything beautiful): “Sing of spring: I
"I sing about hell." While for others, heaven is
symbol of tenderness, the lyric I desires it as an end,
since your life has no meaning: "Each one of us
it's a compass without a north.

In addition to the religiosity that provides the vocabulary to the

in texts, Symbolism is a literary movement in which
musicality is prioritized. Howwe have already explained
in another article, the first texts of the movement
they suggested that music was more important than the
literature, as it appears in the poem 'Poetic Art', by
Mallarmé: "First of all, music values / therefore, the
odd. One can only use what is more vague and soluble in the air.
/with nothing in itself that rests or weighs.
The two texts are structured.
couplets (two quatrains and two tercets);
format that was already present in movements
previous ones like Baroque, Romanticism and
Parnassianism. In both poems, we can
to observe some linguistic resources that contribute
for the sound: rhyme, meter, figures of
construction.
When we observe the rhyme scheme and the
métricaem “Cárcere das almas”, percebemos
decasyllabic verbs, distributed in stanzas
organized in opposite rhymes, when the 1st
verse rhymes with the 4th, and the 2nd with the 3rd (the so-called
We sing to the clear verdant color
ABBA scheme); the tercets, maintain the scheme
Alphonsus de Guimaraens
Let us sing others to the bright green color
A-A-B. Observe:
Ah! Every soul is imprisoned in a dungeon.
In the forest in bloom and the light of eternal day...
Sobbing in the darkness, between the bars
Wrapped in the golden flashes of the east, From the dungeon looking at infinities,
We sing to spring: I sing to winter.
Seas, stars, afternoons, nature.
For many, the sky is kind. […]
It is a cloak of soft and tender affection:
O captive souls, mute and shut
They sing of life, and none of them feels
In the colossal and abandoned prisons
That which decants goes to hell itself. From pain in the dungeon, atrocious, funereal!
Let us sing of this mansion, where among tears In "Let us sing others...", we observe that stanzas and
Each one awaits the sepulchral handful tercets are organized in rhymes
From the damp dust that will stifle its corners... alternating (A-B-A-B). See:
For many, the pleasing sky
Each of us is the compass without a north. It is a mantle of soft and tender affection:
Always the present worse than the past. They sing of life, and none of them feel
Others sing of life: I sing of death... That which decants goes to hell itself.
Let us sing of this mansion, where amidst tears
Vocabulary: Everyone awaits the grave handful.
. Clement: kind, benign. From the damp dust that will suffocate its corners...
. Decant: to exalt, to magnify. We can also observe some figures of
. Fulvous: yellowish. language that contributes to the rhythm of the text. A
. Imoto: real estate the inherited characteristics of previous movements
 it was the taste for alliterations (repetition of sounds)
consonants for intensification of rhythm or
establishment of a significant sound effect) and
assonances (repetition of vowel sounds)
identical). We cannot forget that, in these figures
of language (just like in rhymes), what is
observe is the sum, not the letter, since letters
different ones can correspond to the same sound. In the
In the excerpts transcribed above, we have the assonance of the phoneme.
nasal /ã/ that repeats in several words: cloak,
we sing, decanting, tears. We can,
also, observe subtle alliterations like the one that is
present in the first stanza of the poem by Cruz and
Souza: prey, darkness, star...
Another important point for the understanding of the texts
symbolists is the influence of Romanticism and, above all,
about Parnassianism and its productions. Symbolism
can be understood as a reaction to the currents
scientific of the 19th century; as well as Romanticism,
express the disappointment with rationalist solutions and
refuses to limit poetry to a 'description of the
objects or the technique of producing it" (BOSI, 1999, p.
The symbolist yearns for transcendent values: the
Well, the Beautiful, the True, the Sacred, and thus,
"walk" in the opposite direction to science. Of
Parnassianism or the Symbolist movement inherits passion.
for aesthetic effect; that's why they maintained structures
poetics and the recurring linguistic resources in it
predecessor.