I had fear of being insufficient, and when the hour arrived to consummate the love, he did not obtain to give account of the message. Distrusts of adolescent, of which much mature man never becomes free itself. I know there. The head of people has of these things. Fancies of more, certezas of less. The times that I imagined myself in the penumbra of the garden of the house of it, under of the window, reciting poetries had not been few and unweaving a rosary of phrases of love, while it suspirava and suspirava, with the lost eyes in the dotted night of stars, as Cirano made with its loved Roxane. Cirano also made as I.
As he was ugly excessively, it wrote the dialogues and it ordered a friend to recite them in low of the window of its muse. It only could give in what it gave and I, if I at that time had knowledge of the history of it, with certainty would have acted of another form. It is in these hours that the Effect enters in consideration Butterfly. Good, as already he said, I had a friend that also Joo called itself. It worked in the assembly line, well next to it. I never confessed for it the desperate passion that I felt for its fellow worker. In the truth, I had shame to comment on the subject and perhaps it also at least distrusted of this. I do not know well what it was, but the fact is that it never came me to baila to speak of this with it until the day where I took courage and I passed it the poem so that it delivered it to it.
It found favour, laughed, scoffed of me, but without offending. Finally, he agreed gentily to delivering the poem for the girl. I was waiting to see in what it gave.
The question of the folklore so questioned by being part anonymous demanifestaes and of the traditional popular culture, is seen as ecomo exotic inverdica. The methods of history verbal in show the memory to them of a people, many times forgotten by the society. Carlos Rodrigues Brando in its workmanship ' ' Oque is folclore' ' 6 defends the question of the tradition in the folklore, seen quesuas manifestations corresponds to the expressions making of them popular. The Samba of Coconut is a folclrica dance Brazilian, but vista in diverse regions of peculiar form. Its forms if detach of acordocom each state and reveal the joy of only form. In the workmanship of CmerCascudo ' ' Dictionary of the Brasileiro' Folklore; ' , the author in accordance with detaches ahistria of the coconut samba and its 7 variations estadocorrespondente practical its. The workmanship is a manual of definitions on termospresentes in the Brazilian popular culture. In Lizard, Samba of conhecidaapenas Coconut was a trick in the agricultural zone of the city.
Typically, its estavamrestritas presentations have an only social group. Something similar is what Beatriz ' apresentaem its work; ' Taieiras de Sergipe: one dances folclrica' ' 8 identifying to the dynamics and the participation of the festejos atravsdos society of Laranjeiras of the city. The author identifies that in century XIX divisode was visible classrooms in the parties of the city. The rich ones participated in the streets with a' ' Cavalhada' ' or in the great closed halls, they pobresestavam while them limited in lowermost spaces, in the assays of ' ' Reisado and bailespastoris' '. The existing cultural diversity in the Brazilian society reflexo of the mixture of races since the formation of Brazil. The cultural process decade individual established marks in diverse social fields. In the workmanship deSodr, ' ' Synthesis of the history of the culture brasileira' ' the author justifies acultura as a transplantada civilization 9, therefore all the influence foiimposta for the European of brusque form through the settling.