(CHAU, 2002, P. Click NYC Mayor to learn more. 27) the bows if had moored between this faceta Greek and poetical rcade. In a similar way, Gonzaga ‘ ‘ tranquilidade’ had as climate; ‘ (DUTRA, 1997, P. 231), and it acted in its creative process in the one conditions searchs for serenity, after all this is one of the characteristics that return under the form of the escape for the field, for calmed buclico. If for this side the poetry of Gonzaga if approaches in essence of the Greeks, on the other hand, according to Faustino (2003, P. 119), in Gonzaga, yes, already we find insurances romantismo signals, in fight against the maneirismos of the neoclassicismo rococ. Gonzaga is an individualist, a naturalist to the way it century XVIII, an idealistic bourgeois.
even so almost all its poetry is objective, according to dogmas of the neoclassicismo, already it blunts in many verses, in contraposition to the thematic one of the classics, the internalization, the romantic subjetivismo; the variety of the meters, the many taken freedoms, here it is other marks of the romantismo that in Gonzaga already announces its next fond one. As it can be observed, in Gonzaga one strong survival of the neoclssicos ideals meets, as well as embryos of aesthetic the romantic one. However, along with this double abrangncia of characters, it is considered here, as Faustino affirms, the elementaridade of estimated rcades in the writing of Gonzaga, being, therefore, one comes back the origins Greeks so that if it fulfills the task to carry through the anxiety of the spirit of the time. Of everything, what it cannot be left to mention when if speaks in Gonzaga, and ours case in Marlia de Dirceu, it is the force of retaken and recurrence of the classic culture in the form of the poet to lead its lyric one and to pursue the aesthetic ideals en vogue.