Carlos Drummond de Andrade
| Carlos Drummond de Andrade | |
|---|---|
 |
|
| Born |
October 31, 1902 Itabira, Minas Gerais, Brazil |
| Died | August 17, 1987 (aged 84) Rio de Janeiro, Brazil |
| Occupation | Poet |
| Nationality | Brazilian |
| Literary movement | Modernism |
Carlos Drummond de Andrade (October 31, 1902 – August 17, 1987) was a Brazilian poet and writer, considered by some as the greatest Brazilian poet of all time. He has become something of a national cultural symbol in Brazil, where his widely influential poem "Canção Amiga" ("Friendly Song") has been featured on the 50-cruzado novo bill.
Drummond was born in Itabira, a mining village in Minas Gerais in the southeastern region of Brazil. His parents were farmers belonging to old Brazilian families of mainly Portuguese origin. He went to a school of pharmacy in Belo Horizonte, but never worked as a pharmacist after graduation, as he did not enjoy the career he chose. He worked as a civil servant for most of his life, eventually becoming director of history for the National Historical and Artistic Heritage Service of Brazil. Though his earliest poems are formal and satirical, Drummond quickly adopted the new forms of Brazilian modernism that were evolving in the 1920s, incited by the work of Mário de Andrade (to whom he was not related). He would mingle speech fluent in elegance and derive truth about his surroundings, many times describing quotidian, normal, aspects of life while achieving a fluidity of thought and speech.
The work of Carlos Drummond is generally divided into several segments, which appear very markedly in each of his books. But this is somewhat misleading, since even in the midst of his everyday poems or his socialist, politicized poems, there appear creations which can be easily incorporated into his later metaphysical canon, and none of these styles is completely free of the others. There is surely much metaphysical content in even his most political poems.
The most prominent of these later metaphysical poems is A Máquina do Mundo (The World's Machine). The poem deals with an anti-Faust referred to in the first person, who receives the visit of the aforementioned Machine, which stands for all possible knowledge, and the sum of the answers for all the questions which afflict men; in highly dramatic and baroque versification the poem develops only for the anonymous subject to decline the offer of endless knowledge and proceed his gloomy path in the solitary road. It takes the renaissance allegory of the Machine of the World from Portugal's most esteemed poet, Luís de Camões, more precisely, from a canto at the end of his epic masterpiece Os Lusíadas.
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