F-ARRIGUCCI

Bandeira's poems are of a unique delicacy and beauty. Recurrent themes can be found in his works: the love of women, his childhood in the Northeast city of Recife, friends, health problems. His delicate health affected his poems. Many of Manuel Bandeira's poems depict the limits of the human body.In his debut (and very short circulation) are rigid poetic compositions, rich rhymes and sonnets in perfect measure, on the same line where, in his later writings, we find as the rondo compositions and ballads. The image of a good man, gentle and friendly in part agreed to adopt that Bandeira at the end of his life tends to produce errors: his poetry, far from being a little sweet song of melancholy, is enrolled in a drama that combines his personal history and conflict stylistic lived by the poets of his time. //Gray of the Hours// presents a great view: the hurt, the sadness, resentment, framed by morbid style late symbolism. //Carnival//, which came soon after, opens with the unpredictable: the evocation Bacchic and, at times, satanic carnival, but ends in the middle of melancholy. This hesitation between jubilation and joint pain will be figurative in several dimensions. //Dissolute Rhythm// in his third book, happiness appears in poems like "I'm off to Pasargadae", where the question is dreamy evocation of an imaginary country, the Pays de Cocagne, where every desire, especially erotic, is pleased, it is not elsewhere but an intangible, a locus of spiritual amenus. In //Banner//, the object of desire remain shrouded in mist and out of reach. Adopting the trope of the Portuguese "saudade", Pasargadae and poems as many others are similar in a nostalgic remembrance of bandeiriana childhood, street life, the everyday world of provincial Brazilian cities of the early twentieth century. The intangible is also feminine and erotic. Torn between a sheer ideality friendly and platonic unions and a voluptuous carnality, Manuel Bandeira is in many of his poems, a poet of guilt. The pleasure is not there in the satisfaction of desire, but in the excitement of algolagnia of abandonment and loss. In //Dissolute Rhythm//, eroticism, so morbid in the first two books, it is longing wonder dissolution liquid element in shipping, as is the case of wet nights in Loneliness. Manuel Bandeira was formed in the basis of theliterary referencesof theParnassianand Symbolism. However, hewas notconcerned about suiting those trends, butrather givinga masterly manner he wished to conveyemotions in his creations. It is possible to divide his creations into threebasicsections : The post- symbolist, in whichtraces are related to thedecadentspiritof Symbolism,formalas well asmusicality. Themodernist phase, in which he " directs" his verses toalanguagewrapped inaconversational tone(making useoffree verseand white). And, the post- modernist, in which he makesasort ofblend betweenthe uses ofrhymedverseand traditionalwith the use offree verseand whiteas well aspopular formssuch asrondo- characterized bya poemwith onlytworhymes andconsisting of threestanzas, totaling fifteenverses. In all the phases, he mentions childhood, love and death.