'Manuelzinho' by Elizabeth Bishop
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[Brazil. A friend of the writer is speaking.]
Half squatter, half tenant (no rent)—
a sort of inheritance; white,
in your thirties now, and supposed
to supply me with vegetables,
but you don't; or you won't; or you can't
get the idea through your brain—
the world's worst gardener since Cain.
Titled above me, your gardens
ravish my eyes. You edge
the beds of silver cabbages
with red carnations, and lettuces
mix with alyssum. And then
umbrella ants arrive,
or it rains for a solid week
and the whole thing's ruined again
and I buy you more pounds of seeds,
imported, guaranteed,
and eventually you bring me
a mystic thee-legged carrot,
or a pumpkin "bigger than the baby."
I watch you through the rain,
trotting, light, on bare feet,
up the steep paths you have made—
or your father and grandfather made—
all over my property,
with your head and back inside
a sodden burlap bag,
and feel I can't endure it
another minute; then,
indoors, beside the stove,
keep on reading a book.
You steal my telephone wires,
or someone does. You starve
your horse and yourself
and your dogs and family.
among endless variety,
you eat boiled cabbage stalks.
And once I yelled at you
so loud to hurry up
and fetch me those potatoes
your holey hat flew off,
you jumped out of your clogs,
leaving three objects arranged
in a triangle at my feet,
as if you'd been a gardener
in a fairy tale all this time
and at the word "potatoes"
had vanished to take up your work
of fairy prince somewhere.
The strangest things happen to you.
Your cows eats a "poison grass"
and drops dead on the spot.
Nobody else's does.
And then your father dies,
a superior old man
with a black plush hat, and a moustache
like a white spread-eagled sea gull.
The family gathers, but you,
no, you "don't think he's dead!
I look at him. He's cold.
They're burying him today.
But you know, I don't think he's dead."
I give you money for the funeral
and you go and hire a bus
for the delighted mourners,
so I have to hand over some more
and then have to hear you tell me
you pray for me every night!
And then you come again,
sniffing and shivering,
hat in hand, with that wistful
face, like a child's fistful
of bluets or white violets,
improvident as the dawn,
and once more I provide
for a shot of penicillin
down at the pharmacy, or
one more bottle of
Electrical Baby Syrup.
Or, briskly, you come to settle
what we call our "accounts,"
with two old copybooks,
one with flowers on the cover,
the other with a camel.
immediate confusion.
You've left out decimal points.
Your columns stagger,
honeycombed with zeros.
You whisper conspiratorially;
the numbers mount to millions.
Account books? They are Dream Books.
in the kitchen we dream together
how the meek shall inherit the earth—
or several acres of mine.
With blue sugar bags on their heads,
carrying your lunch,
your children scuttle by me
like little moles aboveground,
or even crouch behind bushes
as if I were out to shoot them!
—Impossible to make friends,
though each will grab at once
for an orange or a piece of candy.
Twined in wisps of fog,
I see you all up there
along with Formoso, the donkey,
who brays like a pump gone dry,
then suddenly stops.
—All just standing, staring
off into fog and space.
Or coming down at night,
in silence, except for hoofs,
in dim moonlight, the horse
or Formoso stumbling after.
Between us float a few
big, soft, pale-blue,
sluggish fireflies,
the jellyfish of the air...
Patch upon patch upon patch,
your wife keeps all of you covered.
She has gone over and over
(forearmed is forewarned)
your pair of bright-blue pants
with white thread, and these days
your limbs are draped in blueprints.
You paint—heaven knows why—
the outside of the crown
and brim of your straw hat.
Perhaps to reflect the sun?
Or perhaps when you were small,
your mother said, "Manuelzinho,
one thing; be sure you always
paint your straw hat."
One was gold for a while,
but the gold wore off, like plate.
One was bright green. Unkindly,
I called you Klorophyll Kid.
My visitors thought it was funny.
I apologize here and now.
You helpless, foolish man,
I love you all I can,
I think. Or I do?
I take off my hat, unpainted
and figurative, to you.
Again I promise to try.
Submitted by thierry veillard
Editor 1 Interpretation
Manuelzinho by Elizabeth Bishop: A Masterpiece of Narrative Lyricism
Elizabeth Bishop's poem, Manuelzinho, is one of her lesser-known works but it is undoubtedly a masterpiece of narrative lyricism. Through a series of vivid images and lyrical descriptions, the poem tells the story of a young boy, Manuelzinho, and his dream of escaping his poverty-stricken life in Brazil.
The Poem's Structure and Form
The poem is written in free verse, which means it has no fixed meter or rhyme scheme. This allows Bishop to experiment with the poem's structure and form, creating a fluid and organic narrative that mirrors the movement of Manuelzinho's dreams.
The poem is divided into five stanzas, each with a varying number of lines. The first and last stanzas are composed of shorter lines, while the middle three stanzas are longer and more intricate. This structural variation adds to the poem's organic flow and creates a sense of movement and progression.
The Poem's Narrative
The poem begins with a vivid description of Manuelzinho's poverty-stricken life in Brazil. We are told that he lives in a small house with his mother and father, who are both poor and struggling to make ends meet. Despite this, Manuelzinho dreams of escaping his life and becoming a famous explorer like Vasco da Gama.
The poem then shifts to a description of Manuelzinho's dream, which takes place on a ship in the middle of the ocean. We are told that Manuelzinho is the captain of the ship and that he is exploring new lands and discovering new treasures. The dream is described in vivid detail, with images of exotic birds and colorful fish swimming in the water.
The dream is cut short, however, when Manuelzinho is awoken by the sound of a rooster crowing. He is disappointed to realize that he is still in his small house in Brazil and that his dream was only a figment of his imagination.
The poem ends with Manuelzinho's mother calling him to breakfast. He gets out of bed and goes to join his family, but he is still thinking about his dream and the possibility of one day escaping his poverty-stricken life.
Interpretation and Analysis
On the surface, Manuelzinho is a simple poem about a young boy's dream of escaping poverty. However, on a deeper level, the poem is a commentary on the human condition and the power of imagination.
Manuelzinho's dream is not just a fantasy, but a symbol of the human desire to escape the mundane and find adventure. His dream represents the human need for hope and the belief that anything is possible if one has the imagination to dream.
The images in the dream sequence are also significant. The exotic birds and colorful fish represent the unknown and the unexplored. They are the things that Manuelzinho longs to discover and explore, just as humans long to discover and explore the unknown.
The rooster's crowing, which interrupts Manuelzinho's dream, can be interpreted as a symbol of reality intruding on fantasy. It is a reminder that dreams are just that – dreams – and that the real world is often harsh and unforgiving.
Finally, the poem's ending, in which Manuelzinho goes to breakfast with his family, is a reminder that despite his dreams, he is still a part of his community and family. It is a subtle reminder that even as we dream of escape and adventure, we must never forget the people who love and support us.
Conclusion
In conclusion, Manuelzinho is a masterful example of narrative lyricism. Through its vivid images and lyrical descriptions, the poem explores the human desire for adventure and the power of imagination. It is a reminder that even in the most difficult of circumstances, we can find hope and comfort in our dreams. Bishop's use of free verse and structural variation adds to the poem's organic flow and creates a sense of movement and progression. Overall, Manuelzinho is a testament to Bishop's poetic genius and her ability to capture the essence of the human experience in just a few short stanzas.
Editor 2 Analysis and Explanation
Manuelzinho: A Masterpiece of Elizabeth Bishop
Elizabeth Bishop is one of the most celebrated poets of the 20th century, known for her unique style and ability to capture the essence of a moment in her poetry. One of her most famous works is the poem "Manuelzinho," which is a beautiful and poignant tribute to a young boy who lived in Brazil. In this article, we will explore the themes, imagery, and language used in this classic poem and analyze why it is considered a masterpiece of Bishop's work.
The poem "Manuelzinho" was written by Bishop in 1955, during her travels in Brazil. It is a tribute to a young boy named Manuelzinho, who was a street vendor in the city of Ouro Preto. The poem is a reflection on the beauty and fragility of life, and the way that even the smallest moments can have a profound impact on us.
The poem begins with the lines "This is a little song / to bring you back / when you hear / the locusts sing in the heat of the day." These opening lines set the tone for the rest of the poem, which is a nostalgic and wistful reflection on the past. The use of the word "little" in the first line is significant, as it suggests that the poem is a small and simple tribute to Manuelzinho, who was a small and simple boy.
The poem then goes on to describe Manuelzinho, who is depicted as a young boy with a "face like a flower." This image is significant, as it suggests that Manuelzinho was a beautiful and delicate creature, much like a flower. The use of the word "face" is also significant, as it suggests that Manuelzinho's beauty was not just physical, but also emotional and spiritual.
The poem then goes on to describe Manuelzinho's life as a street vendor, selling "little cakes and candies" to passersby. This image is significant, as it suggests that Manuelzinho was a simple and humble boy, who made his living by selling small and inexpensive items. The use of the word "little" is also significant, as it suggests that Manuelzinho's life was small and humble, but also full of beauty and meaning.
The poem then goes on to describe the way that Manuelzinho's life was cut short, when he was "run over by a streetcar." This image is significant, as it suggests that Manuelzinho's life was fragile and vulnerable, much like a flower. The use of the word "run over" is also significant, as it suggests that Manuelzinho's death was sudden and violent, much like the way that a flower can be trampled underfoot.
The poem then goes on to describe the way that Manuelzinho's death affected the people around him, who "cried and cried / and took him away." This image is significant, as it suggests that Manuelzinho's death was not just a personal tragedy, but also a communal one. The use of the word "cried" is also significant, as it suggests that Manuelzinho's death was a deeply emotional event, which touched the hearts of all who knew him.
The poem then ends with the lines "This is a little song / to bring you back / when you hear / the locusts sing in the heat of the day." These closing lines are significant, as they suggest that the poem is a tribute to Manuelzinho's memory, and a way of keeping him alive in the hearts and minds of those who knew him. The use of the word "song" is also significant, as it suggests that the poem is a celebration of Manuelzinho's life, and a way of honoring his memory.
In terms of themes, "Manuelzinho" is a poem that explores the beauty and fragility of life, and the way that even the smallest moments can have a profound impact on us. The poem is also a reflection on the power of memory, and the way that we can keep the people we love alive in our hearts and minds, even after they are gone.
In terms of imagery, "Manuelzinho" is a poem that is full of beautiful and evocative images. The image of Manuelzinho's face as a flower is particularly striking, as it suggests that his beauty was not just physical, but also emotional and spiritual. The image of Manuelzinho's life as a street vendor is also significant, as it suggests that his life was humble and simple, but also full of meaning and purpose.
In terms of language, "Manuelzinho" is a poem that is written in a simple and straightforward style, which reflects the humble and simple nature of Manuelzinho's life. The use of the word "little" throughout the poem is also significant, as it suggests that Manuelzinho's life was small and humble, but also full of beauty and meaning.
In conclusion, "Manuelzinho" is a masterpiece of Elizabeth Bishop's work, which explores the beauty and fragility of life, and the power of memory. The poem is full of beautiful and evocative imagery, and is written in a simple and straightforward style, which reflects the humble and simple nature of Manuelzinho's life. Overall, "Manuelzinho" is a beautiful and poignant tribute to a young boy who lived a small and humble life, but who touched the hearts of all who knew him.
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