Brazilian Laugh

    We can notice the use of metaphors in first estrofe where opoeta speaks of joys, lighted parties, fogueiras, at last, symbols of infancy; already in second estrofe it affirms that he does not feel plus this joy, everything is silenciosoe the people folloied who it already do not exist more, symbolizing faseadulta. We notice absence of concern with punctuation, does not have rules, for issoquanto to the style its verses are characterized as free verses. They versosdanavam them, they sang and they laugh appear below of the other giving a desequencia idea in the order of the events. The poet still mentions to the figures desua family as the grandfather and the grandmother, what he makes in to perceive them the importance that estaspessoas had had in its infancy. In the above-mentioned poem we identify primeiraforma clearly presented by the cited critic, therefore the verses show to infancy comoalgo amused where everything is diversion. Instead of presenting the child as to umser inferior that it values bobagens, Flag makes question of valoriz-ladestacando its tricks, its perceptions and creativity. Let us see as issoacontece in the poem Mandate of Recife: The street of the union where I played of burnt whip epartia of the glasswares of the house of Owner Nestles Viegas Totnio Rodrigues was very old and botava pincen in the tip of the nose After the supper the families took the sidewalk with cadei frogs, malicious gossips, namoros, laugh. People played in the way of the street the boys cried out: Rabbit leaves! It does not leave! In the distance the soft voices of the girls politoneavam: Roseira of – me a button (Of these roses much rose will have died in button) This poem presents the routine of the children in the Brazilian centrourbanos, its tricks of street and characterizes the environment ondeelas costumam to grow: After the supper the comcadeiras families they took the sidewalk, malicious gossips, namoros, laugh..

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