Resumo de I-juca Pirama - Gonçalves Dias

Introduction - I-Juca Pirama, translated of tupi, means, in Portuguese, the one that has of being died, what, as we will see, is the great subject of the work.
The work characters are: I-Juca Pirama (typical romanticized hero, perfect, without any discredit and that arouses good feelings in the burgher man reader), the Old Tupi (I-Juca Pirama?s father and symbolizes the secular tradition of the tupian Indian), the Timbiras (ferocious and cannibal Indians) and the Old Timbira (story?s narrator and ocular character).
Subject. The Indian, adjusted to a strong honor feeling, typifies the proper natural power of the American Indian, his high culture for his people, which is represented in the way he accepts his people?s rigid ethic code. The Brazilian Indian is a clone of the medieval rider of the romantic European novels, as of Walter Scott?s ones.
Plot. The poem is presented as ten cantos, organized like an epic-dramatic composition. All of them are ruled by the presentation of an Indian, whose character and heroism are highlighted every moment. (a) Canto I. Timbira tribe?s presentation and description. (b) Canto II. Describes the Timbiras? cannibalistic party and the affliction of the tupian warrior that will be sacrificed. (c) Canto III. Introduction of the tupian warrior I-Juca Pirama. (d) Canto IV. I-Juca Pirama, imprisoned for the Timbiras, recites his song of death and asks for to the Timbiras let him go to take care of his weak and blind father. (e) Canto V. Due to the tupian warrior death song, that Timbiras understood as a coward act, they disqualify him for the sacrifice. (f) Canto VI. The son comes back to his father, who notices a smell of Timbiras? specific tint to sacrifices and then mistrusts him. So, they both leave for the Timbiras? tribe in view to make amends for such a shameful act to the Tupi people. (g) Canto VII. The Timbiras? chief does not allow the ritual accomplishment, under allegation that the Tupis are weak. (h) Canto VIII. The ashamed father curses the supposed coward son. (i) Canto IX. The enraged tupian warrior launches his war shout and valiantly defeats everyone in the name of his honor. (j) Canto X. The old Timbira (narrator) surrenders under the tupian power and says the famous phrase: ?Boys, I saw?.
Memories are narrated by an old Timbira Indian, in a ?narrative I?, who also reports the history of the last tupian warrior ? I-Juca Pirama ? who, together with his father, an old, blind and sick warrior chief, is a remainder of his tribe. The tupian hero is taken prisoner for the Timbiras, cannibal warriors. Before being deceased, the tupian warrior is imposed to begin his death song, singing his deeds, bravery and adventures, once the Timbiras believed that his courage as warrior and his honor would pass to everyone who, after the death rite, ate his body parts. I-Juca Pirama tells his history, talks about his bravery, the enemy tribes, his struggles, fights against the Aimores, but thinking about his blind, sick, old and hungry father, without a guide, he asks for that they leave him to live. This puts him down as a coward and the Timbiras? chief commands that they should release him and, after hearing the warrior, he commands him: ?You are free, leave?. The tupian warrior promises to him that he will come back after his father?s death. At Canto VI, back to his father, the hero, who was prepared for the ritual, talks with his blind father, who feels the smelling from the strong tints that had been passed over the warrior?s body. So, the father asks his son: ?you prisoner, you??. Then, as the son let him know what had happened, but being unaware of the true reason for the son?s coming back, he gets him back to the Timbiras and curses him. The son reacts and decides to show he is not a coward. He shouts ?Alarm! Alarm?, his war screaming. The old man ears, surprised by the son?s reaction, who fights bravely, knocking the enemies and destroying the Timbiras? tribe until the chief orders him: ?Enough!?. The honor of the hero is then recovered. The young warrior cried for his father. And, as he was misunderstood, he fought as a ?valiant and proud? brave.
Critical analysis. The work is full of indianisms and it is very easy to characterize this for the used lexicon. The I-Juca Pirama poem gives us a closer view for the Indian linked to his customs. It is worthy of notice that it is also very idealized and shaped to the romantic taste. The Indian, integrated in the natural environment and, most of all, adequate to an honor feeling, reflects the honor?s occidental thought, so typical of the medieval cavalry. That is the case in King Arthur and the Round Table. The idealism, the fancied ethnography, the situations developed as episodes from the big, heroic and tragic deed of the Brazilian Indian civilization, which suffers the degradation from the white conqueror and colonizer, has, in their form and composition, reflexes of the epopee, the classic tragedy and the Dark Ages romances of historical feat. Gonçalves Dias centers I-Juca Pirama in a set where the facts gain a great importance due to the unavoidable infringement performed by the hero, a Romanesque infringement that, when transposed to the literature, generates an incredible idealization of the soul states.

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