In the well-known very first stanza of the totally free-form poem, Pessoa produces a framework for what he wants essentially the most amid his rambling and depression: for his ideas and wonderful goals contained in his dull appearance for being seen; though simultaneously, he is aware of he isn’t worthwhile. In addition, he thinks the earth doesn’t are entitled to
There are actually references to historic figures which include Napoleon and Christ, emphasizing the speaker's perceived grandiosity and mental pursuits.
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Esse trecho é importante porque fala do estado de espírito do sujeito, da sua autoimagem, da sua autoestima e de como se conhecia tão bem a ponto de evidenciar com tanta precisão as suas falhas de motor vehicleáter e de personalidade.
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O sujeito ainda tenta embarcar no caminho da felicidade inaugurado pela pequena, mas rapidamente volta ao seu estado inicial de tristeza symbol ao tirar o papel de prata, que constata ser de estanho.
a little something in life. This poem is considered the most famous that expresses the latter. All Campos poems can arrive off as manic-depressive, aggravated, and a sense of worthlessness – this poem embodies it all.
The lyrics keep on to explain the scene with the speaker's window, observing the secret of the frequently bustling street and reflecting about the enigmatic character of existence.
The lyrics have a momentarily lighter tone Using the interlude, encouraging the listener to indulge in simple pleasures like chocolate. Nonetheless, even this momentary respite is swiftly dismissed as the speaker's feelings return for their inner struggles and thoughts of inadequacy.
The juxtaposition of loyalty into the physical planet ("Tabacaria") and also a perception that all the things is really a dream highlights their internal conflict in between actuality and illusion.
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o sintoma delivery de tabacaria de cansaço e o tédio, como se tudo fosse repetitivo e o sujeito fosse incapaz de viver a vida ou de ter projetos.