Os Timbiras (Ilustrado) (Literatura Língua Portuguesa) (Portuguese Edition)

Foi dest enft-lo para a Purto e depo!! DoIs anOi durou 0 prOCt Quando 0 in fante D. Prdro Ulurpou a corca do irm VIPIlA nio p6de completar.. A HiJt6ria do Futuro. A eplstolografia loi muito cultlvadll no itculo XVII. A fundac;iio da Atc'dia Uuitana. EJopaida e no Labi';n to de Crtta. Itndo estado em Cautio "Macau. E m multu composio;6I: Foi '''n bucoliata de forma CO DeJa lizeram patte 6oc;A. MACmo, tipo de Irade dl!

A mar9"m do rio Sado. Db te oom e de. Mandado para a India. DO da Congregao;Jio do Oratorio, eujoa padres tiv"ram bf: Importnnte do qUt a da rscola qUt ,t prop6s combate.. Mico nos Iegou de melhor utA nos ttabalho. I'm dos homeos que mail con tribulr.. DO, 0 tradutor dOl Biblu. Em sua linguagem dc. Colli 0 pronome obllquo.

Fo; cia qutm ab. T radutlu algumu was-primas. I urante 0 uiUo que lomoo conhttimcnto do n6vo Cliplrito que revoluciona". Pedro rv e lomou parle no circa e tomacia do Pacto. Entre al su,," obru COtlUlm-. Da sua obra poitlea sobrt"lvem algumas!! E m 39 foi nomudo bib! NO tinha da Hl 3t6ria uma ooncep.

Coimbra e cultivou Jnflltlgitvclmente a. Cartas de Eeo e Narciso. Sua obra vale apcn. Em ISH surge 0 peri6dico Trovador, fund.. Reitot, A Morgadinha dos C am",;a;. Mals tarde Itt utud05 nil AClldemia Polittenic. O cultivou prlnclpalmente 0 mmancc passional de car""! Onde ,stli a f"JidrJarJ,? A bscs nOll1es cumprt acrescenllr n. Joio If e a Nobru,. J em lingu"gtm pura e sOlida. L s6brc liS Cllusa. Os componcn lu da thamnda e. Vrn ciJOI da Vida.

RafFIO de Floru - foram depols n: Formou-se depois em Diretto pela Univcrsidade de Coimb. Convertido As idtills weialista s. EIltados-Unidos e do CanadA. Odu ModeHIU , depols na metafisiea.. Na faa de dua. Altm clas obrllS jA dtad. Mas nio perdurou omo poela. Bema, Nao H demorou na d;plom. A mam parte da lua obr. A MUla em Firias. A Vclhice do Ptldct Cterno. I"ellam 0 mundo de mi J na terrIl miJf: A ini1ll'lD cia do pam. E studou em Co! IOIIl e que era de tado n6"" na poesia de lingua po. U em forma simpla. A s"a 00'" t vasta. Ie publkoo 0 Me Mauu, onde era advogado II: De volta a Ponugal.

Em 72 efltrou para a c. Fol tambtm urn ioovador do csti1n liledrio, que com fie ganha IIgllidade e na turalidade onvall. Refugou 0 vocabul'rio livruco e. ESlrada de Sin lra. Um mutre na histOria romanceada D.

Ttftu do Demo, Alldllm F.. DIU lecru com 11m romance. A I prlnclpais obru hl.!. Portugal t 0 Soci.: A s Rafiu flumaflu t a Civ;lizllfJo Primit;"a. A eMU alhlls 5e contrap6e 8. Jii5t6rla da Ponia Poptllar Portuguha.

Deaths from stroke

Ntlel fazia 0 aulor propaganda doa novas pontos de vista em materill de hlglene. Aa mumo gblero pertellCt: Ddxou as KguinlQ OOras: Expwir'o dll Prnnun cia Normal Portuguw. GAOO l con lilgrou-se ao eSluda da dlaletologla lu A Teu da Infanta D. No sentimento da saudade via 0 poeta 0 pr6prio Gtnlo da. Ii1de pdos bumildu I: CU tivro de esutia 0 Cri: K destllCllm a belo l: Ie opunha a do Integralismo u. Entre cuas dUllS contntu autro. K feUnirilm num centro dl: Q r oll1Atirn3 e em prosa ,i l" Buca volu mes ji permlte'" pOeta. A vanguaroa IiterArii portugutsa procurou conciliar 0 naclooal;,mo e 0 cnsmopolitismo.

I dos q ue. Nela colaborllvam mala velho. Njhil Sibi, con tista de Nouo. Ihas, em Chiquinho, Santa Cala rina etc.. II aulonomia literllria Ielultill5e da ilutonomla poJitiu.

Moacyr Filho | Revolvy

Na ualidade uma t: Mando atravU dOl I! IDOlS kgando ao idioma p revalect. Na morfologia deluram as lingua. IIlho mais m6 o: Na sin tut a iIlflu! De Ullla IIlantira csquemltica. IVH unidade poJilica e moral. A partir do Kgundo! KIlaivel att oa lituatura cu lta. Dividiu a paula e. VamOI dar a de. Imprtss50 que sc confirma em ]. VO diz que Um claro ",tilo. Ol, qllt aabe dtlKU'o'u em ntilo doac. Grande amigo da nosaa terra, uc: Do proprio texto X colig. Os blSlCH'ladonl cOitumam assioillar pap..!

Influindo 86brc os pais. Paulo de Pitatininga It d. Bruilrirll de ut,u vem uma poui. A D -ull tuJI".. Nio It,'rdou 0 bolO fuuil. AGII 35 anos Eoi 00mudo rdto. Hcar col0nOll e 0 genllo. Srg-undo 0 r-drc SI! E'perllOr;" do que lemo Dt puder Em latlm t 0 parma da Virgrm Maria. Iranscrrve-IIS na Integra, coml:: Do maior interbse sao tnmbtlll as carta. R ll l PUEntA. Nasccu em Matuim Bahia aD OIIdc se fotmou em. Dc rcgrcao BrasJJ. QlW1do voltou a Portugal. Indo att 0 lrocadllbo. NAo raro moceJa dos portugull! Mas a lJI1a veta ",""It'! Perdendo ca rgo da magln. Voltou wtlio II tcrra nalal. I" contra tudo e conl.

S6 sci que dtJte Mio df M lu,pt. II casa dc uill parentc AU sc entrtgou "' muma VI a, lombando de tuclo. M as ail que.. Niio fol um grande potU" mill eu uma pc: An lado dI ll! A fsKs nomu l",ntf: Do convlvto com os conlrades d. Em """hum", outrlf reflUio. Estava podm ao g6sro do Itmpo e foi lida oom ent..

S 11"'bas dos unllOrt: Da Academia dos RellucidoJ! No Rio a "ademla malllUlliga Eol" dos Pdars IOJ recenru da Incon! Io da "ida d d. Ou glOSiU' motes como bte:. Sonetos em que ada verJO perlencia au Fh 0 curso de lelt.. DO CoIfgio dos J""'''!

Dlltalll de enlio as 5uas prilllelrllS obras pottlea. T ermioado 0 curso. Ulll f"dos dil paula arct. No lunda da bll. OS grflw nas co,,"'. Nessa lira 0 Poet. E uprtssu COlli fino to. Cunha M eneRt t stu, favorila P05ltrlormrnte lot a questao lIIuilo debatida. Pois n'" mt dtu Il vei. Em cetto POlliO as f.! Pol acelro na Companhlll de Jesus em Mas nust mtsmo allO t a Ordtm txpulu.

S nAIl se de"'"roll aU; seguiu para Roma. Foi enmo aCllaado como Clr. Clnqiltnta t Mit nn05 ante! Dcpois de lormado, reg rnsou ao Rio. KU protdDr' C amigo. NGA era um cslud iollO nan sO dlls p. COmO de mat",mAlica '" de cilncias Iiskal e natun. H ta pelo Conde de Rrsendr. Do;" an"" depOis era pOsta em libcrdade. A primelra parte cons.

GA a simphcidadt t a mesma, scnia major. Iam 01 versoS de molngueiras. Nasceu no Rio em Foi causa de scr rec: Em mlm tome urn triste rxemplo Quem amando quer vl"rr; Salba que i "iller mortend.. A obra tern gran. Kgundo diz D pn'lprio lIIulo. Stria lSllC o prilllelro romlnce aparcc: Ertcan tltdol por r Jte ""mc sOOulor. Para corrliJir Ui'liI fJaqueza, p. Ilia alml, e por ,0be,. COmo iniciad01', tem aido COlltestlclil.

S lit vagas tendtndu rombticas K O1'9iUtizaram em doutrin. Vindo para a C6. Quando seu mestre Debut, Um do. Na E uropa eomplelou em viaglmS P"'''' Fra n9'. CIIcritora nOS- usalam de tao rico vocabu l. Pendem 01 pomol da nult,: A batllIIIa I tuente. M reluglara com a amanle. SCu llvelmente ppuradp india purll ou cafusa? Em lroun-o 0 pal p.

II rim de cmbarearem para, Europa. Nao poucas foram al dl flcu ldadu materials que ""f.. Houve momento em que 0 Poet. Em 18i 5 tuminCKI a. Afarll 0 CUt30 univusit. Ern quuldo e admif. Em 18i6 vela par. JA provadol no Dieionfuio da Ungua Tupi. Os tr"bnihOli dtssa c: R A Noiua dt """'ulna. Tudo se equllibra em sua pocsia: Poueo importll 0 que haja de ". Ltito de l6lha, IH: NAo chell"" pOrtm ao! SCondia portm uma fund.. Ht de flldo isso no 5t1J Hvro de "tr-'03 Lit. Fh os uludos em Fribu. AI saudadu da In flncla,..

Moacyr Filho

Pormou-se a seu rupc: A sua obrs poi! C laro Estado do Rio. T odas as Influtncia. A pcrda de Ulll lilhinbo in.: Cantos do 8rmo e da Cidade, CaMo. Aos poxtas influenciados pda poe3la ". II ave de maiox porte e mats a lto vOo d. IIo de M inlU. Em fina dt 68 Ieve. A provincia natal "1 1. P ubllCllrll till 70 0 livro da. S cumpre d lstlng uk a parsla d. SoUSA fui 0 inldador do gmero entre nbs. Ao prlmdro romance llegulram-se ourros: A Monninha i uma hist6ria romlnuca, senl1mental alt a pieguke.

A, M erom;u de Ulll' S. Escrita dill a dla. IIa fOtllla, embota descuidada. Em Josf Martiniano DI! A obra lilerliria de AUNC.. A Pata da Gazda. Diu e Luciola ; 0 romance hlltbrlto As Mill A Efcrava luu,a etc. Fol profeuor t polJtico. Cllilivoll lambfm a hlst6r1p. Q1ll5 I t destacam Miie e 0 lesuita; tntn: JlCAR Itz 0 lealro de lese. Air cnfermou de lubcrculose t no ano segu! I 75 marCam 0 prriodo de m"io. Bartolomell de Gusmao, SAo T omi etc. Todo bs,c npert6r1o, hole esquecldo.

Iulot, mas de um!! Ino de sua morle, criou pel!! Hl nesta parte do " II pal depois de deiur II Br.. N tol uquad rinhador infallgbeJ de arquivos e fb ac. Esclaneeu Uma multldlio de fatos ooscuro, d.. Mas tMaS ddldbrclas cram fa. A H is totia do BruU mlo Mas ach3va que s6 doi. NO fol 0 instrumtn to ell VOla ao fuzimmento do pal. Ao ""r p6sto em liberdade, ABIlI! Depois de uma breve passagem p"los Estados U nido! Entre as l1guras notAve;' de lornalL"'ils da tpoca rom.

Ie formar till Itt. Sf dfvt gmp'" escrel1er. De carliler plilcJdo mas firme. Pelo jomalismo l que K Inklou! E era orador tXimio. No diacurto de lDau. Nenhum homem politko " 'lIn n6. Conlempm-ineo dos ii lll Entre tantos oradoru cumprt: Profusol1 nll orotm Irancistllna em Casado com uma senhora portu gut. VMU a partir de 83 no sell retlro das "gllas Ptrreas.

A Ilia libra pode set dlvldida em duu fasn. Na pouia stg lltm-K PaJenu e Americanas; po con to. Os verso5 de Cridllda. Na poella encontra mol apenn a. JUdra a maiorla dos poema. Cada 11 m dfDu 1;1'1'0. Confusa-o no prdllclo pda boca do hU OIl de urn X. IIl10 Hi U lhe mtti tJgumas.

T6da t lU gent" viaiou: II cruelciade da natureza. Soc comover com tig. A vida e a marie 0'11 dol. W illS obras mais pu fcila. Ac im t que Eo! A etiqulfa de Mpatnasialio lusdlOU controvtrsiu dude os primrirns momentos. A chaJllada "ucola co! A partir de 10, a rt. OU liIoe6fica de SfI. Por volta de 70 apartcla no lUI. Parmllda e cursou M edid na att 0 teKei! V trSO, de Saudttdt: Alma e Cwo Chcito de Flor, Ruin. Em Alma tm Flo. Ioguas do M a. In ttrrompeu a carreira para suvir como seo: A formll , Olll!

Certamente t 0 malor art3l11 do VH! De volta ao Rio. Na ugunda edw;iio IIp11recerarn mais sa uguinttl partts: Af Viagens c 0 Carador de Esmrrald"". Seu illu",o livro fOi Tarde. IIito - V isit.. Com acenlOll de amarga tristna. Insanu A lua forma. Anoelica, Ioogo poema em qUt ctlebra 0 na!! Dtre 0'1 quai, o falQoto.

1. Nocoes de historia das literaturas by Jose Barbosa - Issuu.
2. Downtown Culpeper (Images of America)?
3. .
4. .

Nat ura l de Sao. Al b n de urnS gra",Atica. Ie dlstingue pela rlqueza do vocabllliirio. L , alllo. Gonnga d e SA. V IRclu o V. MAYA foi Um vigoroso pinto. Nos tltudos histllrkoa dOlnIn. Natural do Cu,i, colaborou Ill!. Imprtnsa de se u Estado natal. Ir concu rso pllrl! Um quadro iusl da nossa evolu io como pova. Materiau e Ache9a, par. Ir tIe instalados em sua pr6pria easa. As BUas puqulsas lIOb.

Tuto e VocabulArlo Cuilla R",lo dt Pero Lopt' dfl: Aurtlio NAlIuco de Arall. NAN, nl qual rebate a tese de Du '. Sio P aulo, feverelro de A Lingua Nadonal, Curiolid No ano de SI vrio para 0 Rio. Ia alividade de Jo. Poi 0 primeiro a abandona. C",fro AI"u e seu Tempo. OS 5- , "alural do Rio de Janeiro. Or, IUbstiwtO dt Macedo n. H lstbr ill e Gtogulia do BrasIl. In Quem sou eu? According to Luiz Gama, the miscegenation was something so complex that the words black, white or mestizo did not seem to resolve or handle this complexity. Therefrom the insurgent question: This episode that would have caused offense was never reported by Luiz Gama; at least we did not find proof of that.

Actually, there are some stories passed on from the publication of Sud Menucci, resulted from memories of "people who remember the great black man, or who lived together with other people that knew him". The fact is that Gama responds this prejudiced practice with his verses. But based in what kinship? And closely related Gama is positioned critically against this stereotyped representation of blacks. The satirical approaches to racial mixtures in the literature had its greatest exponent in the colonial period with Gregorio de Matos, in Brazil's Miracles, Hell's mouth Boca de inferno , expresses his particular "aversion to blacks and mulattos, who he, as a matter of course, calls the dogs" The racism experienced by Gama is a remnant of the politics of "infected races", now focused on biologizing criteria of modern raciology.

Nowadays, the question remains emblematic, as observed by the musician Caetano Veloso: It is precisely through this confusion that comes up the need of thinking about hybridity For Homi Bhabha, the societies that have gone through the historical experience of colonization fully lived under the sign of irony. The colonization, when promoted in the same space a juxtaposition of a "set of contradictory and conflicting values" 93 , where "each set questioned and relativized the other" 94 , it established in the "native", an acute awareness of the irony.

There is, here, a social call to rethink the place of color prejudice based on racial purity in a miscegenated society. In the 19th century, the travelers saw Brazil as a big "racial laboratory". Louis Agassiz, Swiss who has been to Brazil in , for example, was quite adamant about the historical experience of the mixture of races. Therefore, he wrote in his travel reports:. Will not be able to deny the consequent deterioration of the amalgamation of the races, more general here than anywhere else in the world, and that quickly puts out the best qualities of white, black and indian, leaving an undefined, hybrid and deficient in mental energy type The fear of miscegenation is evidenced in the very expression of the everyday use in the 19th century: The term refers to an iconic image of the social imaginary: The mix of races would have generated a "diabolical" race.

Here, the comicality indirectly mocks the monogenic scientific arguments 97 dominant in the 19th century, which believed that mankind was united and that the links between different human groups could degenerate them, argument that contributed to the fears of the white intelligentsia.

Luiz Gama took a political look at miscegenation, more directly in the way society represented the otherness, positioning himself with critical autonomy, as protagonist and historical subject:. It is noticed an ironic compliment to the "hell" of miscegenation. His first illustrated newspaper was called the Lame-Devil Diabo-Coxo The devil figure appears in his writings as "moralizing agent, critic of the society and its mistakes ".

The devil as a character, in the Gama's productions , has the function of "exposing and punishing these criminal or ridiculous, stupid or proud individuals". It is in this tone that character Lame-Devil greets his readers on the front page in the newspaper. He sought to break the propositions about race considered "true", presenting critical positions that deconstructed its discursive framework.

As much as the affirmation of the idea of race leads to the subordination of the other in Brazil, there is no historical continuity of discriminatory practices. The situation experienced by Luiz Gama presented a configuration and its own cultural model of discrimination. Although Luiz Gama did not forge a blackness project, we notice his constant struggle in "defense of African values and the black diaspora" , that somehow, retorted the scientific definitions of the modern thought. Subsequent movements for blackness built a narrative from the selective representation of Gama's memory.

In the poem There goes the verse, we notice how the African diaspora nourished his imagination, the formation of his own and social conscience. Every poetic constitutes a network" From his relations that were fragmented and interrupted by the slavery, he rebuilds, through memory, the condition of his mother in an imagined and imaginary Africa. He also expresses the impossibilities of living according to the African way of life from a different time, other than slavery, because of his color. He pointed that his mother dedicated herself to pray, "an infinite prayer", given "our lost beliefs" in this "land of captivity".

In this poem and in his memory letter, Gama characterized his mother as ornery, soft, restless, vengeful and endowed with activity. This last quality would have been due to her participation in a slave insurrection in Bahia. It is clearly noticed that the diasporic intellectual let themselves be influenced by these constructions in such way that their personality present similar characteristics. This emotional relation created in his narratives nourished the formation of his political identity.

Luiz Gama recovers the aspects of the Afro-Brazilian culture by means of memory, traces, remnants, present in the language, in the daily life. Primeiras Trovas Burlescas de Getulino shows a hybrid lexicon, in which there are words of the daily life and strong references to Africa: He plays with the languages, demonstrating the hybridity in the formation of the Brazilian linguistics. Gama thought and wrote in those different languages. This act is defined by Walter Mignolo as a kind of linguajamento, a language that is not limited to syntactic, semantic and phonetic rules, but that "are strategies to guide and manipulate the social domains of interaction ".

In short, this kind of parlance is a cultural practice and a fight for the people in respect of the hierarchization of the language. It can be noticed, through the verses, what this diasporic intellectual understood for identity, its process and especially its relational condition and how the subjects identified themselves self-concept:. Gama presented a poetic image of a hybrid social history that threatened the cultural authority by questioning the idea of a pure identity or the subordination of the black participation.

The questioning about the racialized identities under the white racial supremacy disturbed the image of the nation, in which the black participation was only exalted in the functional and economic aspects. Joaquim Nabuco was sympathizer of this interpretation, when he affirmed that the black was the "main instrument of occupation and maintenance of our country ". The poems with racial bias present the problems of the subjective perspective of belonging and of the culture.

The diaspora as a category of analysis allows us to deconstruct the image of equal nation and rooted belonging. The diaspora presents the complex interlacing of peoples and cultures, "the metamorphoses of individual identity that defy the purity in the 'contact zones" The racial satire was a transgressor poetic exercise, with a view to the place of emergence of this production: Through the satirical writing mediated by a diasporic thought, by a historical and critic conscience, Luiz Gama contributed to reconfigure the cartography of the racial belonging in a historical moment in which the literary thinking sought the rooting by idealizing image-symbols of nationality.

Paz e Terra, O local da cultura. Companhia das Letras, The Souls of Black Folk. Os condenados da terra. Juiz de Fora, MG: Primeiras Trovas Burlescas e outros poemas. Com a Palavra Luiz Gama: Editora 34; Rio de Janeiro: O precursor do abolicionismo no Brasil Luiz Gama. A cidade das letras. A Lith-Typografia Fluminense, Livraria-Editora Casa do Estudante do Brasil, Editora Paz e Terra, Editora Objetiva, , pp. Brasil de todos os santos.

1. Clube de Regatas do Flamengo players!
2. 19&20 - As pinturas indianistas de Rodolfo Amoedo, por Marcelo Gonczarowska Jorge.
3. Services on Demand.
4. Hollowmen (The Hollows Book 2).
5. .
6. ?

Editora Jorge Zahar, Primeiras Trovas Burlescas de Getulino. I make use of this edition, fully digitalized version by the Institute of Brazilian Studies Instituto de Estudos Brasileiros. The fifth edition was organized by J. Ferreira, in the Introduction of Primeiras Trovas Burlescas e outros poemas, presented the difficulties of personal a black, former slave , textual and poetic matter with the release of the work.

Martins Fontes, , pp. These statements are contrary to that from Edson Carneiro, in whose work Antologia do negro brasileiro, written in , sustains that Henrique Dias, who lived in the 17th century in Pernambuco, was the first literate black. Finally, the fact is that in the second half of the 19th century it was possible to find a reasonable amount of non-white literate people, and the current state of the art of the African descendant literary studies in its discoveries has been dedicating itself to bring out these silenced ones.

Radical Paulistano, July 29, Correio Paulistano, Saturday, March 13th, His criticism was made within a manorial logic, putting himself exactly in the position in which a lord would like to see him, without damaging or directly transgressing the domains of dependency". Thus, he supports that "literary studies must be redefined and matters resulting from the eastern expansion and from global interconnections since the end of the 15th century must be discussed", which point to transimperial, transcolonial, transnational and cultural studies.

These, among others, were spaces that materialized the ideas of the literate city. Edition fac-similar of the second edition from , Rio de Janeiro: A Lith-Typografia Fluminense, , p. Companhia das Letras, , p. Juiz de Fora MG: Publisher UFJF, , p. Os aprendizes do poder Publisher Perseu Abramo Foundation, The legal definition of the slave as 'thing' also becomes a social condition, with the pretension of understanding or describing the historical experience of the blacks". National Library Foundation, Available at: When he prefaced Trovas Burlescas, he already possessed literary and political notoriety.

Coelho Neto was one of those legitimizing instances, whose critic comment can be divided between esthetic absence of beauty in the form and politics that goes straight for the target. Gazeta do povo, December 1, Com a Palavra Luiz Gama Companhia Editora Nacional, , p. Publisher-Library Casa do Estudante do Brasil, , p. Publisher Objetiva, , pp. Ronaldo Vainfas, specialist in colonial history, explains that the first to interpret the appearance of the word was Frei Vicente. Publisher Jorge Zahar, The book tells the story of Asmodeu, a poor, lame devil imprisoned in a bottle. When he was freed by a student, he granted the young one the power to see, through people's ceiling and walls, what happened with the people inside their houses.

Preface of the book version of the newspaper Diabo-coxo. Written by Luiz Gama; illustrated by Angelo Agostini. But the main character of the newspaper-novel was the infamous 'Cabrion'". Imprensa Oficial do Estado, Arquivo do Estado, Publisher Loyola, , p. This is an open-access article distributed under the terms of the Creative Commons Attribution License. Services on Demand Journal. Articles Luiz Gama and the racial satire as the transgression poetry: Abstract This article interprets and analyzes the cultural production of the poet, journalist, mason, abolitionist, lawyer and political leader Luiz Gama.

Analyzing the conditions that led him to his dismissal from the job as amanuensis in his article published more than ten years after the event, his critic attitude before the vertical power relationships can be noticed: His dismissal had a strong impact, in such way that his mordacious way and his satirical flair gain fame: Regarding the sales of his work, we found the following announce from February 17, , published in Correio Paulistano: Today, sad, you don't sing, As once did in palmares; Today, slave, at the manors Neither swayed by the worshiped breeze; Nor bonded to your chirps - By the bald dark rocks - Of the sliding waterfall.

Sciences and letters Are not for thee; Black from the Coast Is not a person here. Sorry, my dear friend, There is nothing I can give you; In the land the ruled by white, We're deprived even of thinking!.. Slave - no, I did not die In the iron chains of slavery; There in palmares I lived, Have my heart free! In my torn flesh, In the bleeding faces I feel the tortures from here; From this miserable body My released spirit Didn't leave - kept me there! Oh muse from Guinea, of jet-black color Statue of denigrated granite, To whom the Lion gives away and surrenders, Stripped of the atrocious wild fury; Lend me the urucungo calabash, Teach me to brandish yout marimba, Inpire the cadimba science in Lead me to the ways of highness.

When the swift breeze, in between the underskirts Waves the hidden cambric, Allowing the lustful eyes see The smooth shiny ebony legs. I do not tolerate the magistrate, That with careless pride, Sells the law, betrays justice - Brings injustice upon all - Strictly depresses the poor, Grants shelter to the rich, to the noble Only finds hideous the crime By the beggar, who is depressed.

Does it matter who? I am an outcast troubadour, Bringing written on my forehead This word - Nobody! For I am clean and white Went to Bahia wretched I do not know what birth is for In this contaminated Brazil For a white and honorable man Without other race If I am black or goat Matters little. There are goats of all the castes Because that species is very vast Here, in this good land, Some butt everything, all of them bleat; Nobles, counts and duchesses, Rich ladies and marquesses Deputies, senators, Gentlemen, aldermen, Vain beautiful ladies In their prideful nobility; Superb young princes Proud noblemen Friars, bishops, cardinals, Imperial braggarts, Poor people, noble people Within all of them there are relatives of mine.

Because if everyone has goat tail, Why so much caprice? Let there be peace, let there be joy, Loosen and play the goatness; Cease, because, the early morning, Because everything is bodarrada! Late at night, feeling my head Full, as a blazing volcano, Light feather I wielded, immidiately I was weaving the thread of thoughts. Invoked the nymphs so they could see From my avid estrus, the fire; And then, hovering in the sky, Were they from the proclaimed poets.

The glory, I want to bring down from the old poets. I want to engrave in the clear columns Obscure power of stupiduty, And the fame of taking the vile foolishness To remote regions of the old Bactria! I want that the world, facing me, see, A resounding kinky hair Orpheus That the lyre despising, for pettiness, To the sound decants of the majestic Marimba; And, who another Arion among the other Delfins, The avid pirates deceiving - The fierce paddle they brandishes, With style which praises the adust Lybia.

With profound knowledge Great achievements of luminous people, That the trickery portentously moving Haunts the mind, astounds the nature! My mother Was very beautiful and charming, Was the most pretty black, Queen from the adust Libya, And poor slave in Brazil! Oh, how I miss Her comforting caresses, When with her young children She'd play with joy. We were two - her care, Dreams of a beautiful soul; She, the simple palm tree, Born in the fawn sand.

In the round ebony arms, Of love, the fruit hugged, And our lips brought together A kiss of yours, which was life. When the pleasure opened Her lips like a purple lily, She pretended martyrdom In the shadows of solitude. The snow-white teeth Of freedom were myth, In the face, the pain of the afflicted, Black color of slavery.