Carlos Drummond

Wedge (1990, P. 121) demonstrates the perception well that if has of the woman for the man in a stretch of its story, the father: The father stopped in the door enters when and now. Why you arrived late? Where already young woman of family in the street saw itself until these hours? You know that hours are? For the love of God, father, I have forty years, until when you I go to ask for satisfactions of my life? Although the writer lives deeply this quandary, demonstrating its indignation with regard to its inferiority to the man, its writing privileges what this considers, leaving clear the feminine submission by means of the word. From century the twenty and twenty and one we obtain to perceive the feminine writing taking bigger dimensions. The writing of the woman until then little explored, now passes to say of itself for the other and not of the other and its judgments on it. If to worry about what the other thinks, mainly the other masculine, was olvidado by the woman. The poem of Adlia the Prado, With poetical License (1976) makes a contraposition to the poem of Carlos Drummond de Andrade, called Poem of seven faces.

Object of our research, it will show an indication of that the woman starts stains to transgress them of a masculine literature, presenting feminine literature as source of social transformation. With poetical license When I was born an angel esbelto, of whom they touch trumpet, announced: it goes to load flag. Position very weighed pra woman, this still ashamed species. Accepted the subterfuges fit that me, without needing to lie. Not I am ugly that it cannot marry, I find Rio De Janeiro a beauty and however yes, however not, believe in childbirth without pain. But what I feel I write.