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The Azorean Heritage in Cecilia Meireles's Writings

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The Azorean Heritage in Cecilia Meireles's Writings The Azorean Heritage in Cecilia Meireles’s Writings Ana Maria Lisboa de Mello Universidade Federal de Rio de Janeiro Abstract. This paper aims to examine Cecília Meireles’s writings from the perspective of the presence of a Portuguese (mainly Azorean) cultural heritage that was passed on by her grandmother, an immigrant from the island of São Miguel, Azores. The paper also illustrates, within this heritage, the presence of India in Meireles’s literary work—an interest that was also evoked by her grandmother’s memories, and resulted in the publication of “Poems Writ-ten in India.” By receiving and then transforming Azorean memory through her own imagination, Cecília Meireles occupies a singular place among Brazilian poets. We can say that she occupies a cultural “inter-place” that becomes a sort of symbolic territoriality. Palavras-chave. Azores; heritage; folklore; memory; Cecília Meireles More than 50 years after the death of Cecília Meireles (1901–1964), her presence in the history of poetry in the Portuguese language has become increasingly more relevant and recognized, and this can be attested by the increase in the number of national and international dissertations, theses, and publications dedicated to her work.1 Cecília Meireles, a descendant of Portuguese immigrants, was born in Rio de Janeiro. Her mother, Matilde Benevides, was originally from the island of São Miguel, Azores, and her father, Carlos Alberto Carvalho Meireles, was the son of Portuguese parents from continental Portugal. When she was three years of age, Meireles lost her parents and older brothers. She was then raised by her maternal grandmother, Jacinta Garcia Benevides—an Azorean—and the only survivor of the family. Jacinta, along with the nanny, Pedrina, became responsible for Meireles’s upbringing. Her grandmother passed on the culture of her native home—the island of São Miguel—to Meireles, as well as her values and the memories of her Azorean family and culture, including linguistic expressions and oral literature, such as rimances,2 nursery rhymes, and popular quatrains. Pedrina, in turn, 39 40 │ InterDISCIPLINARY Journal of Portuguese Diaspora Studies Vol. 5 (2016) taught her about Afro-Brazilian culture, read her short stories with fantastic characters, such as the stories of Saci and the headless mule and, certainly, the folk games of Brazil. In addition to providing emotional support, these two women were decisive in Cecília’s life, and they were her future motivation for carrying out research on Brazilian and Azorean popular traditions, as can be seen in “Batuque, Samba e Macumba: Estudos de Gesto e de Ritmo, 1926– 1934.” Meireles’s marriage in 1922 to the Portuguese artist, Fernando Correia Dias—who had been living in Rio de Janeiro since the beginning of the First World War—enabled her to strengthen her ties with writers and literary critics from Portugal. She maintained a cultural exchange with a variety of writers and became accepted by her Portuguese critics, as shown by Fernando Cristóvão in the article, “Compreensão portuguesa de Cecília Meireles”/ “[Portuguese Understanding of Cecília Meireles],” and Leila V. Gouvêa in the book, “Cecília em Portugal”/ “[Cecília in Portugal],” among other researchers who emphasized the writer’s ties with intellectuals from Portugal. Meireles’s interest in Portugal was also revealed in lectures she gave on Portuguese writers, such as Eça de Queirós, Júlio Dinis, Antero de Quental, Camões, and João Ribeiro, as well as in the 1944 publication of an anthology of “Poetas Novos de Portugal” / “[New Writers of Portugal],” which included the still not well-known Fernando Pessoa. She wrote a long preface to this edition, where she depicts the trends in Portuguese poetry from the first half of the 20th century. In this work, Meireles was able to place these Portuguese poets within the reach of Brazilian readers. Her eighteen years of correspondence with Azorean writer, Armando Côrtes-Rodrigues are particularly relevant, and the letters they exchanged were published in a book entitled, A Lição do Poema: Cartas de Cecília Meireles a Armando Côrtes-Rodrigues / [The lesson of the poem: Letters from Cecília Meireles to Armando Côrtes-Rodrigues]. The set of 246 letters discloses much of the memory of Cecília’s ancestors and “reopens” what Celestino Sachet— organizer of the book—wrote in the introduction, as the “dialogue of Azoreanity between two sides of the Atlantic.” This fruitful dialogue is echoed in Meireles’s second sentence of the first letter addressed to the Azorean writer: “It is wonderful talking to you over the sea. Like two whelks” (Meireles, A Lição do Poema 3). In a letter dated March 12, 1946, Cecília commented on her folk collections and alluded to her childhood memories, which had been restored by the books that Côrtes-Rodrigues had sent her through the mail, and among these are the manuscripts from the future “Romanceiro Popular Açoreano”/ “[Popular Azorean Verses]”: Tenho uma pequena coleção de objetos folclóricos de todas as partes do mundo (exatamente como os marinheiros)—roupas, máscaras, bonecos (muitos bonecos), cerâmica, etc. … Agora V. me transporta para momentos da infância, restitui-me, de Ana Maria Lisboa de Mello / The Azorean heritage │ 41 certo modo, a um mundo que tenho conservado defendido de todos os assaltos e permite-me encontro de saudades conservadas como flores antigas—essas flores que de repente nos caem de dentro dos livros. (Meireles, in Sachet 6) I have a small collection of folk artifacts from all parts of the world (the same as sailors do)—clothes, masks, dolls (many dolls), ceramics, etc. … Now you transport me to moments of my childhood, restoring me, in a way, to a world that I have kept protected from all kinds of assaults, and that allows me to encounter the longing preserved like old flowers—those flowers which suddenly fall from within books. In this same letter, Côrtes-Rodrigues inserts a small quatrain which is included in the “Cancioneiro,” and that she recognizes as having heard many times whispered by her grandmother, though “with variations in the first and third verses”: Meu arvoredo sombrio, Não digas que eu aqui vim, Não quero que o meu bem saiba Partes ni novas de mi. (Meireles, in Sachet 6) My shadowy woods, Don’t say that I came here, I don’t want my love to see These new parts of me.3 And Cecília Meireles continues: Esta quadra coseu muita roupa minha, e é como um objecto familiar que me acompanha. Hei de ver se lhe mando muitas variantes de muitas dessas quadras, bem como dos seus adágios e daquelas parlendas e rimas infantis que um Sr. Goulart publica num dos números da Insulana. (Meireles 6) This quatrain sewed much of my clothing, and it is like a familiar object that accompanies me. I will see if I can send you several variants of many of these quatrains, as well as of its adages and of those nursery and children’s rhymes that Mr. Goulart publishes in one of the issues of Insulana. Cecília Meireles’s interest in Azorean folklore can also be seen in the following articles about Azorean folklore in the journal, Insulana, from Ponta Delgada: “Folclore Guasca e Açoriano” (1947); “Adágios Açorianos” (1953); and “Cancioneiro popular açoriano de Armando Côrtes-Rodrigues” (1953). In 1955, the “Panorama folclórico dos Açores, especialmente da ilha de São Miguel” was published in the journal, Insulana, and was republished again in 1958 in Brazil. Another of her articles, “Notas sobre o Folclore Gaúcho- Açoriano,” appeared in a posthumous edition published in 1968 by the Ministry of Education and Culture. 42 │ InterDISCIPLINARY Journal of Portuguese Diaspora Studies Vol. 5 (2016) In the introduction to the Panorama Folclórico dos Açores, Meireles revealed her interest in preserving the cultural memory of the Azorean immigrants. In the opening of the book, Meireles shows how important it is for the descendants to remember the ancestral customs and folklore of the Azorean islands, in order to perceive how these elements are still present in Brazilian culture: Creio que nós, descendentes de açorianos, […] devemos relembrar os velhos hábitos familiares trazidos para o Brasil, e estudar a sua fixação no novo ambiente. Justamente pretendia esta Memória ser uma exposição comparada do folclore das Ilhas com o de Santa Catarina. Grandes dificuldades impedem, por enquanto, a realização desse trabalho, que viria revelar afinidades, consanguinidades de espírito, sentimento da nossa continuação no passado, que é o modo de se fortalecer um povo no seu destino, como se chega terra à planta para consolidá-la e garantir-lhe vida. (Meireles, Panorama 6) I believe that we, descendants of the Azoreans, […] should remember the old familiar customs brought to Brazil, and study their settlement in the new environment. Indeed this Memory was intended to be an exhibition comparing the Azorean Islands’ folklore with that of Santa Catarina. In the meantime, major difficulties prevent this work from being carried out. This work would have revealed similarities, spiritual kinships, a feeling of our continuation in the past, a way to strengthen a people toward their destination, as when we ground a plant in the earth as a way of setting it and guaranteeing it life. This publication was prepared to be presented at a Conference for the Commemoration of the Second Centenary of the Azorean Colonization, held in October of 1948 in Santa Catarina, Brazil. In this short book, the author’s aim is to present the elements of the “scenery” of the Azores Archipelago, as well as the “material life” (housing, clothing, food, popular medicine), “family life” (marriage, child care, children’s folklore), “work” (agriculture, fishing, weaving), “social life” (popular rights, property, traditional celebrations, such as Carnival), “psychic life” (religiosity, superstitions), “aesthetic life” (music, dance, lullabies), and “intellectual life” (linguistic expressions, oral literature, popular theater, songbooks).
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