Le Tombeau

Hierglifo in question is not visualized, is in another dimension, only can be mentioned, be cited in the poem. The poetry of Crisantempo as if was the attempt to deal with umapotica that eliminates time and space, and that for such union she is necessary to transgress dimensional oslimites of our universe. In the poem ' ' the oniroteca of wladyslaw' ' daseo ' ' ut pictura' ' we read: ' ' in the painting of anatol wladyslaw/a blue cat /sonha geometric universes/inhabited by roses vermelhas' '. If to attempt against for the illustration of page 2 of the book, in which Haroldo if leaves to photograph in its office, seated between epapis books, having next the company to the good-looking Lady Bi, we will understand essametfora better of ' ' geometric universes/inhabited by roses vermelhas' '. Haroldode Fields produces the poetry can give to us as tesseracts hipercubos unfolded the least oespectro of a universe that surpasses the limits of cartesian time and space.

From there because I do not understand this poetry of Haroldo in Crisantempo as algodiverso of the concretistas proposals of the decades of 60 and 70. BSA takes a slightly different approach. I see yes one poesiaque searchs one another degree of visualidade, a degree above of three-dimensional ours possibilidadesde visualization, and in this search the blank use is not conceivable doespao of the page as if it made in the Concretismo, is necessary to display oshiperpoemas (analogy with hipercubos) of unfolded form so that to possamosperceber its transgressivas possibilities. Hiperespao of the parafsica in a parapoesia is about one upgrade of the verbovocovisualidadeagora searching. In these desdobramentodos hiperpoemas we have a sequence of linossignos that are> would be the library of dreams matriapor only not catalogvel itself in its fullness in our world is sabidopsicanaliticamente that the narrative speech on a dream already is not the dream -, ‘ ‘ satirlia’ ‘ , word that of the heading to the poem of page 159 and that it loads osubttulo ‘ ‘ roque to the way them tits’ ‘ it is the high satire to one another dimension, is satire of the tropiclia: ‘ ‘ it looks in the eye/the tufo/what it matters is not/perdero/teso.’ ‘ In Crisantempo the usual references dopaideuma concretista if keep: Mallarm that it finishes for giving to reason to one sriede poems with the topic of the tomb, after all when the concrete ones> they had translated the poetafrancs, they had recouped the Brazilian simbolista Maranho Nephew and seu' ' Interlunar' ' , and Albinic Erthos, that still used the primitive resources dacomputao of that decade of 70, composed ' ' Le Tombeau de Mallarm' ' , criandoassim aurtica sphere on the tomb of the French poet.