Mário de Andrade’s definition of poetry

the lyrical self together to the other and to the landscape in the poetic work of Unamuno’s reader

Abstract

In Mário de Andrade’s poems, the lyrical self blends into the landscape of his country, seeking to understand the other and himself. This movement resembles the gesture that underpins the poetic creation, constructed through the movement of the encounter with the world, as Michel Collot understands it. With this assumption, the objective of the article is to demonstrate, by resuming the study of different parts of Mário de Andrade’s poetic work, the blending to landscape as a defining feature of the modernist’s poetry. Furthermore, the essay demonstrates that the work Del sentimiento tragico de la vida, by Miguel de Unamuno, read by Mário de Andrade, is one of the matrices of his conception of poetry, since the loving mixing with the other, that appears in the verses, it is close to reflections developed by the Spanish theorist and poet. Therefore, we consider the poetry of the writer’s initial phase and mature phase, since the movement into to the landscape and the other is in Pauliceia desvairada (1922) and in the posthumous book Lira paulistana (1945, posthumous publication in the following year), taking into account, also, other books by the poet, as Clã do jabuti (1927), Remate de males (1930) and Livro Azul (1941), in which we can find the meeting of the self and the world, basis of the definition of the lyric.