By Graciliano Ramos
First released in 1934.
About the author: Graciliano Ramos was once generally certainly one of an important Brazilian authors of the 20 th century. He was once a seminal voice within the literary "regionalism" movement.
As a baby Ramos lived in lots of towns of Northeastern Brazil, affected by poverty and serious climatic conditions (droughts). After high-school, Graciliano went to Rio de Janeiro the place he labored as a journalist. In 1915 he traveled to Palmeira dos Indios, kingdom of Alagoas, to stay together with his father and in 1927 he was once elected mayor.
In 1933 he released his first ebook, Caetés. many years later he was once jailed by way of the Getúlio Vargas govt, on a cost that was once by no means made transparent. His reports in reformatory might turn into a distinct own deposition, Memórias do Cárcere.
Graciliano died in 1953, on the age of 60. His "dry" kind of writing and the clash among the identity and the area are the numerous marks of his works.
About the e-book (in Portuguese): Defrontado consigo mesmo e suas lembranças, no declínio de um atribulado percurso de vida, Paulo Honório, que chegara a ser um poderoso fazendeiro do sertão alagoano, conta a sua história. E o que nos fica é a figura de um homem simplório, perplexo diante da complexidade da existência sobre a qual lutou, sempre, para se manter no papel de protagonista, e que teve entretanto suas ações voltadas contra si mesmo. É o perfil de um homem envolvido quase instintivamente no jogo de poder, na arriscada aposta da lei do mais specialty, e para quem o triunfo rende apenas o vazio e o abandono.
Ao ultimate, Paulo Honório deixa de lado o que conquistou, oprimido pela constatação de que perdeu justamente o que poderia humanizar sua vida, inclusive sua mulher, Heloísa, a quem se culpa, no fundo, por ter destruído. O que escapou a Paulo Honório foi a capacidade de manter o que lhe poderia despertar a aptidão para amar.
A par da elaborada teia existencial desenvolvida ao longo da trama - pelos conflitos entre as visões de mundo incorporadas pelos personagens - destaca-se um texto riquíssimo, principalmente nas falas de Paulo Honório, construído em metáforas surpreendentes, embora disfarçadas pela concretude das palavras.
Ciúme, solidão... Não há sínteses satisfatórias para um romance como este, de linhagem genuinamente machadiana, em que a alma dos personagens se expõe com tanta crueza e exatidão. São Bernardo é a obra que projetou Graciliano Ramos como um dos maiores escritores brasileiros.
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Additional resources for São Bernardo (88th Edition)
But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter,6 I am no prophet舒and here舗s no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. Š And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a half7 To roll it toward some overwhelming question, To say: 舖I am Lazarus, come from the dead,8 Come back to tell you all, I shall tell you all舗舒 If one, settling a pillow by her head, Should say: 舖That is not what I meant at all.
In 舖The Metaphysical Poets舗 ( 1921 ) he defined 舖dissociation of sensibility舗 as a break between feeling and thought that had occurred as English poetry was written in the eighteenth and nineteenth centuries; Eliot advocated the reuniting of emotion and intellect in works of literature. Eliot was also a playwright; among his major dramatic works are Murder in the Cathedral, The Family Reunion, The Cocktail Party, and The Elder Statesman. Shortly after the publication of his second masterpiece, Four Quartets (1943), Eliot received the Nobel Prize in Literature, as well as countless awards and honorary doctorates.
I think Eliot intended that people not read the poem in isolation, because it makes sense only to the extent that we appreciate it as being in dialogue with the vast tradition that preceded it. Eliot makes this point in one of his best-known essays, 舖Tradition and the Individual Talent舗 (see 舖For Further Reading舗), where he writes, 舖No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists.