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The Kant Philosophy

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Também já fui brasileiro Eu também já fui brasileiro moreno como vocês
Ponteei viola, guiei forde e aprendi na mesa dos bares que o nacionalismo é uma virtude.
Mas há uma hora em que os bares se fecham e todas as virtudes se negam. Eu também já fui poeta.
Bastava olhar para mulher, pensava logo nas estrelas e outros substantivos celestes.
Mas eram tantas, o céu tamanho, minha poesia perturbou-se. Eu também já tive meu ritmo.
Fazia isto, dizia aquilo.
E meus amigos me queriam, meus inimigos me odiavam.
Eu irônico deslizava satisfeito de ter meu ritmo.
Mas acabei confundindo tudo.
Hoje não deslizo mais não, não sou irônico mais não, não tenho ritmo mais não.

A questão, "quem sou EU?",seja colocada por um português, um brasileiro ou um americano, é uma questão que passa tanto por uma resposta relativa à identidade pessoal como pela identidade nacional. Quem sou EU, pergunta o leitor? E as respostas são tantas como são aqueles que me lêem.

Mas a descoberta da identidade nacional, ou sua tentativa ,pode ser feita por outros meios. Ocorre-me, por exemplo, a música como expressão da identidade de um povo; a culinária, a religião, os esportes, etc. Se se considera estes meios, logo se descobrirá como os povos se diferem na expressão dos mesmos.

Eu que progressivamente se desidentifica consigo mesmo e se desidentifica com o mundo em que se reconhecia, restando apenas um ser que se define por negação “Hoje não deslizo mais não/, não sou irônico mais não/, não tenho ritmo mais não.”

O verso "moreno como vocês" uma redondilha menor enlaça o ritmo típico dos cantores populares e anuncia a entrada do próximo onde se aproxima ainda mais do brasileiro típico tocador de viola e em seguida recusa a grafia da marca americana "Ford" para pronunciá-la em sua forma abrasileirada "forde.

Neste primeiro verso o que temos é um Drummond que valoriza o elemento étnico, (moreno) e, que, por outro lado, brinca e ironiza o nacionalismo fascista que estava na moda e que era uma questão que dependia do horário de funcionamento dos bares. Ele apoiava, naturalmente, o Nacionalismo Cultural que havia se expressado na Semana de Arte Moderna de 1922.

Quando ele diz que também já foi brasileiro e moreno, isto parece uma despedida precocemente nostálgica de tudo que o Modernismo rasgava às escâncaras: nossa mestiçagem, nossa ginga

Em um clima de viola e fala popular entra em cena a mesa de bar, espaço que é praticamente a maior escola dos trópicos, onde todos os problemas são resolvidos com souluções geniais e simples. É o espaço natural dos poetas, artistas e cantores, aqui no brasil nada de cafés para se estabelecer o diálogo com o belo ou a verdade. No Bar brasileiro, surge um mundo de fantasia um mundo onde o poeta diz que aprendeu que o nacionalismo é uma virtude. Mas essa virtude, critica, se acaba pois a fantasia tem hora para acabar quando o garçom recolhe as mesas.

Nessa segunda estrofe o poeta se distancia das escolas anteriores tratando-as como meras repetidoras de romantismos feitos, metáforas vazias sobre astros celestes. Entre a infinitude do céu e a vagueza do desgaste o poeta sente que não faz mais sentido trabalhar, expressar seus anseios e galanteios nos termos do passado pois já não possuem mais o mesmo peso ou força encantatória. Uma poesia pertubada exige novas musas, novas palavras e poeta recusa o passado em prol do novo ainda a construir.

Nos versos seguintes o poeta retorna aos versos octossílabos e conclui o poema tão carregado de ironia e negação que fica difícil acreditar que ele não seja mais irônico ou dotado de ritmo.

Todo o poema é uma contradição, forte patente e criativa. O poeta renega a cada verso aquilo que mais substancialmente é: brasileiro e poeta. Ao dizer que não é aquilo que é de fato ele pretende se distanciar de certas posturas que lhe causam aversão entre brasileiros e poetas.

No poema "Também já fui brasileiro", o poeta assume uma posição crítica diante dos hábitos e costumes brasileiros, diante de uma espécie de nacionalismo alienante. O poeta não se deixa contaminar pelo pitoresco e se coloca à distância, acuado, com algo de amargo e cético:

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