The Poet

After the death of its father, Mr. Alexander Jose of the Coast in 1849, it and its mother, owner Leopoldina Maria of the Coast, had been to live with an uncle in San Francisco of the South, SC. She was a woman who lived very beyond its time. That it knew to make use of the poetry to show as poet, therefore did not exaltou the poetess, but yes, the woman-poet who inhabited in deepest of its being: ‘ ‘ The poet is the flower that unclasps tmida/To the sun of the life that of the light to the val. /It is the dew candy of gentile dawn/In shy rosal! ‘ ‘ In its poetries it can be perceived that Jlia participated actively of the Brazilian romantismo, however, unhappyly, its work did not have the same relevance for the history of the Brazilian literature as of other poets of the same period; first for being woman and later, for liveing far from the great cultural polar regions of the time? Rio De Janeiro, Bahia and So Paulo. As ‘ says Muzart; ‘ it is reason of bigger pain, a time that leaving of the ignorance it is had conscience of the subordinate state of the woman, in an limited performance and inferiorizada’ ‘. In its poetry ‘ ‘ My Terra’ ‘ the presence of proper characteristics of the romantismo is evident ‘ ‘ I was soon, (that cruento destiny)/Of my home, child so banished/There that pains! That hurts acerbas/Since then torment me the life.

//I cried for my mimoso cradle/As the poor person prohibit for bread! /And at least I did not hear in this world/No candy shout affection. The same style can be verified in its poetry ‘ ‘ Tristeza’ ‘ To the merencrio to marulhar of the waves/Alone, now, in the desert beach/It comes to the sadness to add pranto/How for the seios the espraia homesickness! . Many affirm that the poetries contained in the workmanships Dispersed Flowers I and Dispersed Flowers II, denote a Jlia bitter and suffered in virtue from its marriage with the Comendador, for imposition of its family. However, this does not proceed, since it was married in 1871 and its books had been published in the years of 1867 and 1868 respectively and one third edition published in 1874-1885. Ahead of these data, it is easy to deduce that Jlia, really, belonged to the Brazilian romantic school.