THE social poetry marks its presence in the resistance of the dictatorship in the 60s, marked by the political and social struggle in literary production. Social poetry has its first nuances in the third generation in the 19th century, called the condor generation, it is at this stage that the Social poetry takes its first steps in literature, reflecting the internal struggles of the second half of the reign of D. Pedro II, the generation suffered with great intensity the influence of Vitor Hugo and his political-social poetry, being also known as generation Hugoan.
The term third generation condorism has a very representative meaning of social policy, or that is, the same is the symbol of freedom, the symbol of freedom adopted by young romantics in America Latin. The main poet of social poetry at the time was Castro Alves, as well as Fagundes Varella and Sousândrade.
Castro Alves was greatly influenced by Vitor Hugo, expanding his literature to broader and more realistic horizons, seeking only the not me, but the reality of whoever is present there, that is, the entry of a process of universalization. Castro Alves brought his abolitionist work, seeking the great dream: the Republic, for him the republic was the solution to all problems experienced by the country, but for this to happen, it was first necessary to witness the overthrow of the monarchy and its institutions, such as the slave labor, in this reality of the time, the writer wrote “Navio Negreiro”, “Vozes d’ África” and “Saudação a Palmares”, works that the consecrated.
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SLAVESHIP
(Fragment)
It was a daunting dream…. the deck
That from the Luzerns the glow reddens,
In blood to bathe.
Clinking of irons… snapping of the whip…
Legions of black men like the night,
Horrific to dance...
Black Women, suspending to the tits
Skinny children whose black mouths
Water the blood of mothers;
Other girls... But naked, skewered,
In the whirlwind of dragged specters,
In vain eagerness and hurt.
And the orchestra laughs, ironic, shrill...
And from the fantastic round the snake
Do two spirals...
If the old man gasps... If he slips on the ground,
Screams are heard… The whip cracks.
And they fly more and more (...)
60'S SOCIAL POETRY
In the 60s, social poetry portrayed works that brought resistance against the dictatorship in their lines military, it is important to mention that Mario Chamie, with his “Poetry-Praxis”, consecrated social poetry in the Brazil in 60's, in opposition to radicalism, in addition to it, Cassiano Ricardo was also present in the poetry-praxis movement.
At the same time, another literary movement that came to mark history was Neoconcretism, as opposed to Concretism, a movement aimed at perception of reality, social and political problems experienced in the country, with the great name Ferreira Gullar, who began producing his works US 50's, with concrete influences, breaking with the line of thought in the mid-1960s, after the military coup, he began to learn about the popular demonstrations, theaters and cultures, starting to carry out more social, realistic poetry, engaged in resistance against the dictatorship military.
Here is the example of a social poetry by the great writer Ferreira Gullar:
Social Poetry by Ferreira Gullar
No vacancies
the price of beans
it doesn't fit in the poem. The price
of rice
it doesn't fit in the poem.
Gas doesn't fit in the poem
the light the phone
the evasion
of milk
of the meat
of sugar
of the breadthe civil servant
it doesn't fit in the poem
with your hunger salary
your closed life
in files.
As it doesn't fit in the poem
the worker
that grinds your day of steel
and coal
in the dark workshops– because the poem, gentlemen,
it is closed:
"no vacancies"It only fits in the poem
the man without stomach
the woman of clouds
the priceless fruitThe poem, gentlemen,
doesn't stink
doesn't even smell
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