Dobre vіdomo: the skin of a great writer is a special world, a special all-world. Ale of the creations of the light of the day is based on the stresses of the light of the real, and the numbers of the light of the day are even more different. In order to say a word about life, some artists need to construct divinations of the world with a special geography and a special history - some place Glupov Saltikov-Shchedrina, the district of Yoknapatof William Faulkner, some mythological Middle Earth-J.R.I. Tolkien. In Latin American literature, Juan Carlos Onetti, who foresaw for his novels in a special place - Santa Maria.

There is, however, another type of writers - writers, all the world of which we call "Paris of Balzac", "Petersburg of Dostoyevsky", "Dickensian London". The creative share of these artists is inextricably linked to the emergence of a historically correct “chronotope”, the selection of this non-repeated stream, the linking of documentary regularity to the rank of myth. Choice of the first chi of the other of the two paths in the intimate nourishment of the writer's creativity. For the reader, one artistic result is important. And if we talk about the Latin American culture of the 20th century, then here is not the most boring example of another path, a path infused with geographical reality in great literature - the work of Georges Amado.

Georges Amada was lucky to be born on the outskirts of Bahia, one of the most beautiful and most amazing places in the world. And Bahia was lucky that on the serpentine day of 1912, at the same time, in the same day, a small plantation of cocoa was born to the one who in the future was destined to give life to a life in mysticism, a life of culture. The mitetz was born not of mishtse value, not just dying in a little piece of the earth, but a mitetz, like a kind of local, regional, global nationality, among the people of Bahia - an instillation of the Brazilian folk character.

Bahia ( outside of im'ya, Given to the place by the Portuguese colonialists, Bulo San Salvador da Bahia) lie on the smelter of Brazil, on the birch of the quiet bay. The place sprang up from the beaches of the bays, to fight uphill with the slopes of the humpbacks. Buy everything here: old mansions and churches, built in the 17th-18th centuries in the baroque style, gloomy most recent banks and offices, Negro huts... we swear by the NATO: here they trade, rule over the state, eat, b'yutsya, zazyvayut, bet... Prote divovizhnist Bay is not yet in the right place. Schob її evaluate, you need to look at the past.

Bahia was one of the first centers of the Portuguese colonization of Brazil. Around the place, a plantation state was formed (they bred church cane and tyutyun, then bavovna and cocoa), founded on a slave practice. At Bahia, there were caravans of ships with Negro slaves from Africa, and the shards of the natives of the country - the Indians - did not go into wrapping up on the neilniks. The Portuguese-colonists took Negro women and Indian women from their concubines, sometimes they made friends with them, the majority of the population of Bahia and the last brewery gathering of Brazil became mulati and mestizo, the covers of three different races. Through the war of ethnic change, a new folk culture was formed. For a long time, the Negroes took care of the African pagan cults and treated them more lightly for them, which the white lords and Catholic missionaries followed more harshly. Cebula was a form of protest against slavery. Negro vіruvannya were angry with those close to the pagan spirit vіruvannyam іndіantsіv, such themselves repeated and rotten. If Negroes and Indians forcibly converted to Catholicism, the stench added the new religion to their pagan cults. Catholic saints were commemorated with idols, with “orish”. Thus, the holy trinity of Christians pretended to be the mighty orish Oshal, who can appear now at the sight of the young man Oshodian, or the elder Osholufan. St. George, who opposes the dragon, was given as a whole accessory for the god Oshossi. Ale and bіli people, zіtknuvshis from the alien and unsafe nature of the tropics, easily took over Negro and Indian beliefs. More than that, having injected the Negro and Indian svetopriynyattya, having strengthened and saved the pagan, pre-Christian elements in the Iberian folklore brought by the Portuguese.

In the folklore art, which rose up in Baia and expanded in all of Brazil, the successors distinguish between black, Indian and Iberian elements, alece is fused in new, native - Brazilian. Buine, richly holy - carnival - was born on the day of the traditional holy European middle place that pagan holy in honor of the coming autumn. The wrestling, which the Negro slaves from Angola were engaged in in the quiet of the lords, overgrown with music and songs and turned into capoeira - a unique wrestling-dance, where the vipad is accompanied by folding acrobatic movements.

With a steady struggle, the Brazilian Negroes managed to end slavery (1888), and, consequently, later - to recognize the right to save their tribal cults. The priests of madness were reconciled with him, that the holy Catholic saints are accompanied by pagan processes and dances, that, rotting the vrants near the church, they will sacredly end at night with sacred dances on the radio - candombl (abo macumbe). Before that, the sound of the people became the banners of the entire stringed population of Baia, they lost their cult character, they pretended to be pobutov, they fell in love with mass and joyful rites. The originality, originality of Bahia itself is reflected in the fact that in the great city of the middle of the 20th century, folk art was not reduced to the role of handicraft crafts and amateurs to occupy, but live a natural, full-blooded life, joining the masses of the city dwellers with the folk collectives.

The accordion calendar of bagatia for the holy day - and for the skin - its own songs, its own dances, its own rituals. Sacredly viruє on the streets, squares, beaches, nothing is organized by anyone, people flock to themselves and unite in an oppressed rhythm. The creators of the holy are the bіdnyaks of Bahia. Residents of rich quarters are overwhelmed with peeps. Vtіm, often їkh zaplyuє vladny rhythm zagalno gaiety. The bayants can transform into a sacred practice. Lovers of marveling at fishing come together from the last place: five dozen - sixty fishermen are playing a gigantic line, these bodies are collapsing to the beat of the song, like the mustaches of the fishing village of the fishing village - women, children, old - and the accompaniment of drumming and bryaz.

“There is no need to think that it is easy for the people to live in Bahia. Navpaki, ce bіdne mіsto in slabozvinenny, mayzhe zhebrak stateі, scho hoch and volodіє majestic natural riches. There are fewer opportunities for the people here, lower, for example, in Rio de Janeiro and Sao Paulo. Vіdmіnіst polyaє in narodnіy tsivіlіzаtsії, іnіnііnіі kulіturі, yak rob zhiznі zhorstі і suvorіm, humannіshim... "- write Georges Amado in the book "Baiya, the good land of Bahia". help to endure evil and social injustice, inspire life and hope. (* Jorge Amado. Bahia, boa terra Bahia. Rio de Janeiro, 1967, p. 60.)

Georges Amadou from childhood reached the zhorstokoy suvorost of the people's life, and to the folk art, which enlightened the suvorist. “The fates of the youth, held on the streets of Bahia, in the port, on the markets and fairs, on the folk saint or on magic in capoeira, on the magic candomble or on the porch of the capital’s churches, is the axis of my best university. Here are my talents, bread of poetry, here I recognize the beauty and joy of my people, ”revealed Amada in promos, tales in 1961 when joining the Brazilian Academy of Literature. college. And fourteen rokіv vіn utіk vіd mentorsіv i tinyavsya, the docks of the father did not say yoga, through the steppes of the state of Bahia. One more course at the University of Folk Life... (* Jorge Amado, povo e terra. Sao Paulo, 1972, p. 8.)

Amadou's literary activity was marked by the novel "The Country of the Carnival" in 1931. Then came "Cocoa" (1933) and "Pit" (1934) - unvarnished, dry-protocol description of the practice of hiring workers on cocoa plantations and proletarians from the outskirts of Baia. A young writer, having recognized a deep influx of light revolutionary literature of the 20s. I read “Quiet Don” by Sholokhov and “Rozgrom” by Fadeev, “Cement” by Gladkov, “Zalizniy Potik” by Serafimovich, “Tyzhden” by Libedinsky, books by Michael Gold, Epton Sinclair in Portuguese and Spanish language. Under the infusion of the expanded theory, Amadou took revolutionary literature like "literature fact". Before moving on to “Cocoa”, a writer, formulating the task of such a “maximally honest”, documented image of social processes, asks: “Wouldn’t it be a proletarian novel?”

Cocoa and Pete knew a hot drink from the participants of the revolutionary movement in Brazil. Ale Amadou buv satisfied with his first books. Iomu wanted to have the theme of the formation of class consciousness bula soldered with daily national forms to pobut that idea. All those who vin chuv and bachiv for the hour of their podlitkovyh and youthful blubbering mist - songs, legends, retellings - everything was torn on papyrus. So Amadou wrote his first cycle of novels about Bai: Zhubiaba (1935), Dead Sea (1936), Captain Pisku (1937).

At the "Dead Sea" Amadou knows the necessary poetic key to explain: the skin situation, the skin of the heroes in May, there are two possible fogs, two sensi: the splendid and the kazkovy, the real and the legendary. The real plan of the heroes of the novel is to live the sinister life of a fishing village, to perish by the sea, having flooded that orphan. At the legendary plan, the stinks clash with the gods, and the sailor does not turn from swimming, but becomes the goddess of the sea Emanzhi. Folklore myth, like Amadou vikoristav at the book, superscript extensions at Bai. І poninі 2 of the fierce, on the day of the goddess of the sea Іansan (abo Єmanzhі) residents go to the beaches, let the winds of the wind, women throw modest gifts near the water - combs, namistos, rings, to propitiate the terrible goddess, ask them to turn the undecided man.

The theme of the formation of the class identity of the Brazilian robot worker is also in this novel, but it is buried in stories about the legendary life of the smiley Gumi and let the nobility be more than a moon: either a riddle about a strike near the port, or obscure dreams of the teacher Donny Dulcie about social justice. There are two motivations for the finale of the book - poetic and poetic - depending on the correct result of the opposition.

There is a lot of time at the "Dead Sea" about the share of the widows of sailors: in stories that are memorable for the whole port, in songs, in the thoughts of Gumi, in the blessings of Libya. The 1st axis did the trick - Livia was left alone with a child in her arms. Aleone didn’t spend her bondage with eternal bondage until the manufacturer’s chi lord’s brothel. Livia knew her way, independent, important. The first woman in the port went to the "Crylat" by the sea with a number of people - Gumi's comrades.

Ale є y іnsha, the written-kazkova reason for the solution of Lіvії. By the deep spirit of all the people of the port, the sailor, who, having died by the storm, ryatuyuchi comrades, becomes the cohanim of Emanji. Tse vona, jealous of her dress, unleashes a storm and takes away the kokhan in the distant lands of Ayok, de vine is only to be found. I Lіvіya believe that in the sea, after having planted the place of Gumi, there was a kerma yogo bot, there was a virve of a person from the hands of the goddess, I experienced the joy of the kohanny again. And if the boat rushes along with the sailors, Livia herself gives herself to їm Emanzha, the waters of the sea.

It's a marvel, sailors check on a yak in songs and legends - it's a fight. And the skin of a merciful crotch, which evokes fear and humiliation, brings wonder. It's a wonder to crush strong, strong, garni people. Guma has become such a person for a moment. Livia is such a person. People are like gods - this is how you can recognize the idea of ​​that poetic instillation into the legend, as it appears in the novel.

Tse vtіlennya is clearly seen in my novel. Heroes think differently than they seem. In the dialogues of the characters of Amadou, there are voluminous turns and grammatical irregularities, which are typical for the common people's roman language. In the indirect transmission of the thoughts of the heroes, in that internal monologue, all the irregularities appear, there are features that are characteristic of folklore: repeat words and phrases, leitmotifs, sound quotes from folk songs. The order of the dialogue of the language of internal monologues is given by the introduction, brought closer to the verse in prose. Today's zbіy demonstrating having explored the everyday lives of heroes from imposing on them non-government, wickedness, rudeness - and in a high poetic way of their sensibilities, their spiritual abilities.

The Dead Sea, like the other novels of the first Bayan cycle, especially Zhubiaba, brought a new note to Brazilian literature. Interest in folklore has expanded among the Brazilian intelligentsia since the 20s. Winickly magazines and poetic groups (“Pau-Brazil”, “Zhovto-green”, “Revista de anthropofagia”), like they propagated Indian, native Negro folklore as a peaceful element of national culture. Were created yaskrava create (poem by Raoul Bopp "Serpent Norato", novel by Mario de Andrade "Makunaima") based on Indian myths and legends. Prote folklore, having been left behind by these writers, is special, enchanting, but a closed world, in the face of the current situation with social conflicts. That is why in their books there is a striking sight of the miluvannya with an exotic, decorative species.

Іsnuvav and іnshiy pіdkhіd to folklore. Reality writers of the 1930s, and especially José Lins do Rego in five novels of the "Cycle of the Church Reed," described the Brazilian Negroes about rich faiths, described their saints, makumbi rituals. For Lins do Rego, the recognition of that zvicha ї negro is one of the three sides of social activity (the order of practice, the lords’ lords and the hires of the same), as the wines poster that doslіdzhuє.

Amadou does not build his heroes, does not keep distance, which is the object of his success and his successor. The legend, narodzhena folk yavy, vіdkrivaєtsya like a contagion іsnuyucha іysnіst. Amadou-opovidach becomes a commentator folk legends know all the report details. Folklore is not depicted - folklore penetrates the skin of the skin, reveals the plot, composition, psychology of the characters. Feel like the heroes are stronger, enlarged, like a folk song. Amadou rozpovidaє about his heroes, like rozpovidaє song of a fairy tale, like a leader unequivocally evaluate people. At the "Dead Sea" Rosa Palmeyrao has maternal love, sacrificial love, Esmeralda - low, gracious addiction, Livia - the only kohanna that is stronger for death. The heroes of the novel, like the anonymous authors of the song of legends, know less light - or dark, pure - or low, friendship - or evil. And so without middle ground, so generously spreading the explanations of the light-receiving heroes, that the kazkova atmosphere of the novel is real, that the reader is ready to believe in the foundation of the Manji and the distant land of the sailors of Ayok. Miraculous in this sense, the scene with a candle: the friends of the bent Gumi are joking on his body, and for him they let a candle on the water to burn, - for help, the candle rattles over the drowned man, In the fire of the same likar, the people are lit, yak not to believe at the sea take a look. But it’s so innocent, self-sacrificing to pirnayut Gumi’s friends in the most secure places, it’s less than a trifle to save a candle, which the doctor begins to strenuously follow the її Rukh. Reader to follow the teeth of the candle and check that the body of Gumi will appear in the hands of his comrades. I will enchant the faith of the heroes of the novel into a fairy tale - I will paint the epistasis of their life, their nature, their stature.

"Captain Pisku" (1937) marked a new stage in Amadou's artistic explorations. It would have been better if the folklore motives here, among the "Dead Sea" folklore motives, would go into the background, go to the subtext. Natomist pilnist and merciless truthfulness, with which the share of the group of Bayan bezpritulnyh is seen in the novel, predicts the sociological protocol of Amado's first books - "Cocoa" and "Pit". The life of these zhebrakіv pіdlіtkіv stands in front of us in all the details, sometimes comedy, sometimes rudely. Amadou clearly indicates the racial and social characteristics of the skin member of the group. Vіn pragne limiting accuracy of transferring the movement of characters, not being afraid to shock the reader. Prote tsya elements zhorstskogo documentalism mіtsno fused in the novel with another sіnshієyu - folklore and poetic. Poetry is invariably present in the wretched life of the heroes Amadou. “Captains of the Piska”, “clothed in lahmittya, brudni, hungry, aggressive, hooting obscenities and spitting half-smokers, were the right masters of the place: they knew yoga to the end, they loved yoga to the end, they stank poets" - such an author's comment that plays an important role in the artistic whole of the novel.

At the first Baian cycle of novels, Amadou namats his own original artistic way - mercifulness to folklore and pobutu, victorious folklore to reveal the spiritual forces of modern Brazilians. However, the way that appeared for the writer is not easy and not direct.

In 1937, after the installation of a reactionary dictatorship in Brazil, Amadou, an active participant in the revolutionary movement, was embarrassed by emigruvati. In 1942 he turned to the Fatherland, and then in 1947 he emigrated again and until 1952 he lived on the cob in France, then in Czechoslovakia. For the emigrants, Amadou became a huge hero of international scale, which represents democratic Brazil. It was quite understandable and logical that the writer, the Fatherland, experienced painful social shocks, which caused the need for a comprehended historical process. And while in exile, Amada did not forget his beloved Bahia - he wrote a nostalgic book “Baia of All Saints. Traveler through the streets and secret places of San Salvador. Ale, the head right of yoga in the circle was the work on epic canvases, in which the share of the great edge of the protagonist of the city is laid out (“Without the edge of the earth”, 1942; “Misto Ilyus”, 1944), the share of the whole class - the villagers (“Chervoni descend”, 1946) ) i, nareshti, shares of all nations (“Pidpіllya svoboda”, 1952). For the first two books, Amadou squirmed with the memories of early childhood: aje wine was born and viris on a cocoa plantation near the town of Ilius in the state of Bahia and a child was a witness to the essence of the planters, revenge, violence, robbery (one time Amadou was wounded in the eyes of his son), , hire, servants told legends about blood-thirsty planters, zhorstok, but fair robbers - cangaceiro, the best-natured naimantsiv - zhagunso. Everything has changed the dilogy about the land of cocoa. In “Chervonih Skhodah”, the writer spires on folklore symbols: the book is divided into three parts of a story about the shares of three brothers (the same motif of a fairy tale, including the Brazilian one), which inspire three variants of a village rebellion.

In emigration, Amadou became close to the writers of different lands, reaching the European literary life, and in the creations of these rokіv clearly infusing the goodness of the form of a richly planned epic novel in the European literature. In "Pidpilli Svoboda" folklore poetics are already familiar. Having said to Amadou that his novel was written under the majestic infusion of the epic of Aragon "Komunisti". The Brazilian scribe did not change here even the malovnicha maisternist, but in general he did not know the organic (so very organic, like in his early folklore novels) artistic system for the gigantic new life material. Aje wine tried to capture the whole of Brazil with її tops and bottoms, political, social and psychological collisions in one of the most important moments in її new history. In the novel, tsі kolіzії appeared straightened and schematized. Numerical plot lines of the novel were inspired by one scheme: representatives of different classes (a peasant, a vantager, a ballerina, an architect, an officer, etc.), experiencing dramatic situations and knowing the truth of the communists, knowing the truth to whom. The national specificity of life is transformed here into a modern, decorative, low-cost, brightly painted backdrop and coulisse, and aphids are played on aphids.

Amadou in 1955-1956 experienced a profound creative crisis. Vіn pinning the work on the trilogy, the first part of which is not enough to become "Pidpіlla svoboda". A few years have passed: the writer, having thought deeply about his name, has not gone wide - at the wide expanse of that history, but deep down - at the depths of human sleep. I turned back to Bay.

Vin turned to Bay and in a literal rozumіnі words. Since 1963, I’ve lived forever in Bavaria, there are many houses here, many friends. You know everything in Baia: masters of capoeiri, merchants of Bayan malt, fishermen, chovnyariv, old priests and the priestess of makumbi. And know and love this George, come to the new one for the joy of that help.

Even earlier, Amadou’s work developed a new accordion cycle: in 1958, the novel “Gabriela, Cinnamon and Carnation” was written, in 1961 the novella “The Unexpected Death of Kinkas Zgin Voda” and the novel “Old Sailors, or Pure Truth About Summable Goods. swimming Vasco Moscoso de Aragán”, jointly called “Old Sailors”. Then came a selection of stories and short stories "Shepherd Nights" (1964), novels "Dona Flor and two її people" (1966), "Shop of Miracles" (1969), "Teresa Batista, who was tired of fighting" (1972), " Tієta z Agreste, or the Turning of the Prodigal Daughter "(1976).

Vlasne, the definition of the "new bayan cycle" is often more clever. Don't start to grow up on the streets and beaches of Bahia. The heroes of "Gabriel ..." live near that very little place of Ilyus, the center of the cocoa zone, "the land of golden fruits", which was already in the name of one of the novels of Amadou; Teresa Batista and Tieta s Agreste command different places and lands, Tieta dares to visit Sao Paulo. Ale de would not be familiar with these books, the story about them is united by a common view of life, a common human climate. І zavrіgaєetsya nastupnієєєєєє єєєєєєє єєєєє єєєєєєєєє єєєє єєєєєє іѕ іn іѕ іnѕtіnії іn іt's first cycle of novels about Bahia. Pobut to the people of Bahia, having served as a model of the mystetic world of Amad. Dosvіd povsyakdennogo splkuvannya with fishermen, sailors, porters, workers, market trades, showing Amad the very idea of ​​\u200b\u200bdependence of life and the behavior of people. Adzhe bіdnyak Baїya truly live two lives: weary in the presence of evil, humbled and tormented by the heavy everyday life, they become strong and free creators at the holy hour, carnival, dance. Here already the stench dictates the laws: those who yesterday did not care for them, in the holy day they groan and inherit their merriment.

The new books of Amadou are realistic in a direct, literal sense of the word - borderline life-like. Amadou was choked to write, because I am greedy for material details, in the reach of the effect of presence (Illya Erenburg was talking about me before moving up to one of Amadou’s novels). But it’s not real, insanely authentic, all the details of the rose, we are still aware that we know each other in a special world, where everything is remembered and thickened. Now I can, virvatisya names from the attached yoga doti everyday shell. Let's call it like a carnival hour, if it's a few days yourself wonderful people live extraordinary lives, reveal names that are not exhausted by these days of strength, temperament, energy. And here, in Bahia, the same in all of Brazil, the carnival is not the result of any research on artistic restoration. Vіn be done with your own terms.

So it is in Amadou’s books: go for a great life, swarm funny or zhalugidnі figurines (forget the captain of the distant voyage Vasco Moscoso de Aragan and other characters in the book “Old Sailors”!) - satire in Amadou’s books is enough, sometimes good-natured, sometimes not good-natured . . Egoism and dignity of power, greed and fearfulness of the townspeople, sincere and rozum routine, pretensions and concerns of pseudo-scientists and pseudo-democrats - everything is presented in grotesque zagostrennosti. Ale, satirical osmіyannyam on the right do not interfere. Appropriate term - i carnival vibukh skasovuє everyday life. Vin can be absolutely fantastic: the god Ogun is on the cross of the son of a poor black man, the heaven is resurrected, to hang out with friends. And sometimes they are not fantastic, but also naming under the name of Cook Gabriela, having become friends with the її master, having made them rich and shanovanoy in the city lady, defiantly bradzhu yoma and willingly turn to his evil colossus. Mustaches of meshkants netriv Mata-Gato join the battle with the police and the city government. Above the harbor of Belém do Gran Para, a cosmic scale rushes by spontaneously famously, roaring all the ships, the cruise ship “Ita”, moored at all anchors by the nearby captain Vasco. So what else, in the kazkovіy or the real, in the mass or in the individual psychological situation, but the essence remains. Zіtknennya between two forces. Mizh sloppiness and uncoolness, duplicity and broadness, mannerism and simplicity, friendship and hisism. Between national statements about the life and the real life of bourgeois society. And by the same token - between the national middle ground and the national spiritual stereotype, vibrated by the modern capitalist society and everywhere, including in Brazil.

For this reason, to characterize what the new antagonists have, the writer has developed an original and organic poetic system. In all the books of Amadou, beginning with "Gabriel ...", two tabori, two streams collide. Tse often guess the duality of the "Dead Sea", but in return I will try that poetry here in a richly folded way. The poetic plan of opposition has not yet been transferred to the sphere of legend, as if it were overgrown with “meat” of action, thin threads of poetry stretch into everyday life, indicative of those who stick with the deep movement of the people's knowledge.

In the creations of "Old Sailors" and especially "Don Flor" that fantasy sticks to the irreconcilable essence. The stench of a fortune teller, proliferation, and only humor can create a hit of equalness between them. So, humor encourages "happy ending" in Doni Flor.

In the creations of Amadou, the supernatural is connected with the beliefs of the Brazilian Negroes, with the rituals of their savings, and until this day, especially in Bahia - cults. Obviously, the Negro cult is gaining mitts with its not dense corruptions. Zavdyaki will please the candomblé - it saved the ancient folk art. Candomblé is sacred to folklore: the chimes of the drums of drums-atabake sound (then such a drum under the name "boosanova" is beaten on all stages of the world), the old cantigs are sung, the young priestesses are circling around the round dance, and the old priestesses are preparing for the selection. masterpieces of accordion folk cuisine, as well as art. Candomblé picks up people, helps them to grow up, feel at once from relatives for the spirit, from friends, helping important minds to save the collectiveness of that collectiveness of artistic creativity.

Candomblé loves dancing: God here shows his mercy not otherwise, as if granting his freedom that beauty of ruin; zavzyaty dance - a sign of the presence of the Deity, the favor of the Deity. The first goal is to dance like a beautiful and happy gift of farbluy in the books of Amadou's everyday life. The dance becomes a characteristic of that assessment, love and joy are expressed by the dance, relief and satisfaction - all are like people.

The same role is played by the rozpovid Amadou hedgehog. Stravi, like you can cook only in Bahia, take a part in all the plot twists and turns, in all the virish podias of the life of the heroes of Amadou. Use the dead corpse of Kіnkas Sgіn Water is gushing at that hour, if friends pull yogo to the port, schob wine, even dead, having tasted the best mokeka prepared by Manuel.

Nareshti, before the book about Don Flor, there are reports on the recipes of Bayan's passions - on an equal footing with the experiences of the unfortunate widow, more skin, the secret of Don Flor, the culinary school "Smak and Mysticism", teaching their students, guessing licorice and girski. experienced by the deceased person.

Bayan cuisine is one of the most important warehouse parts Afro-Brazilian Folk Culture Brazilian historians and ethnographers have effectively developed Afro-Brazilian culinary arts as a sphere of racial change. Vіdomy ethnographer Gilberto Freire, pointing out that the Negro strains, introduced by the slave-cooks to the diet of the colonists, helped the Portuguese to adapt to the minds of the tropics. Bayanska cuisine took the fate of such a rank in the process of formation of the Brazilian nation. Georges Amadou pays attention to the other, spiritual aspect of the problem - to the setting of the people's svedomost to the people's mind. Narodne svіdomіst how not to be ashamed of tsієї nasolodi, ale, navpaki, adore yoga, including in the ritual. She is sacred, she will enter holy at once from music, song, marvelous dance.

Thus, it is the very sight and the door of the reigning in the mystic world of Amad, the feeling of malt. Some critics appreciate the unturbulent sensitivity, as it is spilled in the behavior of the heroes, in the details of the woman's portrait, in the language of speech. In the novels and short stories of Amadou, there is no deliberate deliberate “bare mystery”, which everyone knows from foreign literature called out. Sexual salting for the heroes of Amadou, the floorings are natural and necessary, like salting in the air, in the form of physical movement.

Nayvischa, the most beautiful and painful point of telling Doni Flor about її first kohannya - evening at the restaurant, if the Reveler is a hero, її, rubbish and rubbish, dancing and resentment dance so choked up, that you should darken you, and the couple should follow the couple mist. .

Dance expresses love and joy, relief and satisfaction of all the feelings of the people.

Right up to the cells of image creation, the links of the fleshly malt penetrate. Dance, hedgehog, love are poured into a single image of a cheerful free body.

In the books of Georges Amadou, the folk element, an attribute of which is a free spirit of the flesh and a free flight of fantasy, sticks with the irreconcilable essence of the bourgeois middle ground and the bourgeois light of mind. Tse zіtknennya brought to vydkritoy that program typing in the novel "Shop miracles". It seems that Amadou, having written this whole book, to the one who, having spoken to the point, frankly. There is no fantasy here, there is no duality of motivation, everything is entirely real, and for greater reliability, the correct names of the co-workers and the spivvets of Amadou are given. Zvichayno, Pedro Archanzho, the protagonist of the "Shop of Miracles", - post vigadan, and vigadan the whole history of the late recognition of yoga ethnographic practices. Strokes of authenticity, chronicleness are needed only in order to slander on the real importance of the super girl, as Pedro Archenjo knew.

Pedro Archanjo is the author's twin. Well, not biographically. The life of Arshanzho is dedicated to the first ten years of our century: on the cob of the 40s of the 40s, dying like a marriage on Bayansky Street. The twin of the author is in the head of the head - in the age to life, in the life position. Vchenie for poklikannyam and gifted, Arshanzho to rob her own life with an argument from a scientific superechtsi. And the super girl naturally grows out of this life, becomes a defender of everything worthy, inexorably dear to Master Pedro. So in Georges Amado himself: his books grow from his life, from his endless love to his fellow countrymen, to ancient mysticism, until їhnoy naїvnoy and wise pobutu, in which the writer takes the fate of being equal, like a ussima shanovny maister . Books grow out of whimsicality, but are transformed into a reconciliation, into a position in the same superecho, as in the novel of Pedro Archangelo, but in fact, the writer of Georges Amadou has already been rich for ten years.

Pedro Arshanzho affirms one thought: the Brazilian people, having created and shochvilini, create their own culture. It's time to start talking about lack of self-reliance, more or less in the distance inheriting "the civilizations of the greater." Negri, Indians and whites (a bunch of Portuguese, and then immigrants from the rich lands of the Old World) brought a burning crucible new nation its traditions. Having been melted down at this crucible, the stench gave rise to a new, yakravіy and supra-divine culture. The Alethesis of Pedro Archangeo is both anthropological and social. The ideal of Pedro Archanjo, that ideal, which is worthy of both his achievements and his life, not being afraid of humiliation, malice, threats, is a democratic ideal in the sense of the word. National and class in yogo rozumіnі do not supersede one to one: the workers of Brazil themselves save and develop national culture, they themselves form the best qualities of the national character.

Georges Amadou can’t even lie down to the quiet, who’s smart and idealistic people will try and bachiti in a new self-sufficiency: having moved, the people live with their eternal values ​​and nothing more is needed for you. Amada and Yogo hero to know that the people need more richly, that the people can change and change their language. It is worth asking us before the social minds, as well as evidence: believe, understand, see. In one of the scenes of the novel by Pedro Archenjo, I explain the colise, to Professor Fraga, as if it were possible, Archenjo, the materialist’s perekovaniya, tsikavitisa candomblé and the dance of the Negroes, as if to believe that the deities-orisha have settled in them. Fraga - TER vcheny-materіalіst, ale pozitivіstskogo shtibu scho obmezhuє currently vuzko zrozumіloyu NAUKOVO areas not zamislyuєtsya over dіalektichnoyu skladnіstyu suspіlnogo rozvitku, the I Archanjo poyasnyuє: stolіttyami zberіgavsya pid whip rabovlasnika, pid polіtseyskimi kulyami dance bogіv-orіsha, dwellers in maybutnomu Why Nagybanya art from the theatrical stage to make people cry with marvelous beauty. Help the people to save this mysticism, life and love - it means to increase this day’s pobut to the people, ale, now, “help to change the soul, to accept the transformed world.”

The stars and stars of Pedro Archangeo have її friends, like the stars and stars of the heroes of other works of Amadou, we are so doubtful. But on the right, in the fact that between heroes and readers, there is always an author-reporter, not a faceless advocacy, but a person who appreciates the image of life. Mova opovіda spovnena humor, good-natured irony. Irony becomes a prevention of this direct, primitive-literal reasoning. Do not fight to laugh at the superciliousness, divacities, weaknesses of the heroes, but give more diligently to their breadth and honesty, generosity and lack of rudeness, their natural kindness, it seems to us the author of the most ironic intonation of the mov.

The skazova manner developed in Amada step by step. In “Gabriel...” the apology is more pronounced in the voice, either passing to a faceless denunciation, or igniting emotion. Ale with the rocks came virtuoso volodnya in all registers of mystetsky mov. "Maybe it's just love to the point of confession?" - slyly, as if written by a kazci for grown-ups, “History of the Kohanna of the Smugasty Cat and Seniority of Lastivka.” Tsya kazka, having folded like Amada, turning and turning, sprat of fate, to fill her all-powerful, truly enchanting promo. No vigilant plot, no bright fantasy, no inconsistent rozvyazki, and the reader laughs, then sumuє. Nespodіvanka, fantasy, quick-wittedness and simplicity - all these things are only in the manner of rozpovidat (ale, later, in the manner of bachiti svіt), turn the eloquent speech either one way or the other side, zmushuyuchi chichacha guess behind the humorous buffoonery of the turmoil of the old times.

Skazovyi sposіb opovіdі genetically connected with oral literature, with folklore. In Brazil, at the same time, popular books are sold at any provincial fair. At these fairs, they choose for themselves natovp pіpі kazkarі, who tell legendary and inspiring stories about famous robbers, zhorstok planters, rebellious slaves. The ornateness of the names of the rest of Amada's works, which they imitate the names of the popular stories, as if they made us up to the turn, guessing about the controversy with folklore legends. However, Amadou zovsіm does not inherit just folklore opovіdі. Some readers and critics are so unimpressed by the manner of opposing, robbing, that they are merrily flying, they are given by the deed of the cuckoo, like a bi-brand of "royal literature". It turns out that this is a short-sighted look. The grieving lightness of Amadou-opovіdach not only has its own system, but also its own great mystetsky meta. The first word "gra" is used here for good reason. The playful cob in Amadou's books is really stronger: the heroes play, they tell stories about whom they tell the blame, and with us, the readers, teasing us with a shattered seriousness of the guise. Ale gra maє svіy spiritual zmіst, and vіn zovsіm not to start until the rose and vіdpochinku. Sens, spiritual metagris and the core of Amadou's mature creativity.

Our entry rose from rozpovidi about Bahia. Leaving the portrait painter in his native patch of land, Amadou zooms to look at the new and middle of the call, from the thousand-year-old tradition of folk art, from the troubled complex and intellectual problems of modernity. What did you see in the Bayansky people like a utopian folk dream, an impoverished age-old ideal ear of what did you bring into the image of the one who was inspired by the inspiration of the contemporary artist and gave it universality? It is hardly possible to unequivocally vodpovist tse pitanya. Those who are familiar with Bayan and the bayan carnival natovp in the books of Georges Amado are one of the greatest wonders of the shop of art.

The folk element in Amadou's books is both utopically ideal and at the same time nationally specific. Amada is not afraid to love his fellow countrymen, to be merciful to their self-confidence - and I want to infect us all with this love. And yet, because of this, there are new discoveries that are poured into the present-day reader, revealing self-confidence, which are significant. modern people. Amadou wants to indulge in the power of the national character, as it is necessary to save, shaping our statements about the true people's welfare. Let us explain historically, the national self-sufficiency of the Brazilian people - like a theme in a common symphony of humankind, it is de important to spend every note. Infused into the arts more plastically and supernaturally addictive, the Brazilian self-confidence significantly adds to the spiritual life of the 20th century. Mysticism is becoming wiser to guess about those, like boundless wealth, to lie in a posture of inharmonious social everyday life.