Poet Carlos Drummond de Andrade 50 Cruzieros Brazil Authentic Banknote Money for Jewelry and Craft Making (Writing Desk) (Poetry) (1990)

Poet Carlos Drummond de Andrade 50 Cruzieros Brazil Authentic Banknote Money for Jewelry and Craft Making (Writing Desk) (Poetry) (1990)

Obverse: Portrait of Carlos Drummond de Andrade (1902-1987), with the houses and mountains of Itabira, MG appearing in the background and below an excerpt from the author's manuscript, entitled "Prece de um mineiro no Rio" (Prayer of a Mineiro in Rio).
Rectangular stamp of 50 Cruzeiros on the note.

Lettering: BANCO CENTRAL DO BRASIL 50
50 CRUZEIROS
CASA DA MOEDA DO BRASIL

Desprendido de imagens que se rompem
a um capricho dos deuses, tu regressas
ao que, fora do tempo, é tempo infindo,
no secreto semblante da verdade
Carlos Drummond de Andrade

DEUS SEJA LOUVADO
PRESIDENTE DO
CONSELHO MONETÁRIO NACIONAL
PRESIDENTE DO
BANCO CENTRAL DO BRASIL
50 CINQÜENTA
CRUZADOS NOVOS

Translation:
Brazilian Central Bank 50
50 Cruzeiros
Brazilian Mint

Detached from images that break
at a whim of the gods, you return
which, outside of time, is endless time,
in the secret countenance of truth
Carlos Drummond de Andrade

God be praised
President of the National Monetary Council
President of the Brazilian Central Bank
50 Fifty Cruzados Novos.

Reverse:A picture depicts the poet at his desk, in the office of writing. To the right of the engraving, the verses of the poem Canção Amiga are reproduced.

Lettering: 50

Eu preparo uma canção
em que minha mãe se reconheça,
todas as mães se reconheçam,
e que fale como dois olhos.

Caminho por uma rua
que passa em muitos países.
Se não me vêem, eu vejo
e saúdo velhos amigos.

Eu distribuo um segredo
como quem ama ou sorri.
No jeito mais natural
dois carinhos se procuram.

Minha vida, nossas vidas
formam um só diamante.
Aprendi novas palavras
e tornei outras mais belas.

Eu preparo uma canção
que faça acordar os homens
e adormecer as crianças.

50 CINQÜENTA CRUZADOS NOVOS

Translation:
50

I prepare a song
in which my mother recognizes herself,
all mothers recognize each other,
and speak like two eyes.

Way down a street
that happens in many countries.
If they don't see me, I see
and greet old friends.

I distribute a secret
like someone who loves or smiles.
In the most natural way
two cuddles are looking for each other.

My life, our lives
form a single diamond.
I learned new words
and made others more beautiful.

I prepare a song
that makes men wake up
and put the kids to sleep.

50 Fifty Cruzados Novos

Watermark
Effigy of the Republic

50 Cruzeiros (3rd edition; overprint on 50 Cruzados Novos i.e. P# 219) - obverse

Signatures
Maílson Ferreira da Nóbrega (MFNᴾ) President of the National Monetary Council
Wadico Waldir Bucchi (WWB) President of the Central Bank of Brazil

Features
Issuer Brazil
Period Federative Republic of Brazil (1967-date)
Type Standard banknote
Year 1990
Value 50 Cruzeiros (50.00 BRE)
Currency Cruzeiro (1990-1993)
Composition Paper
Size 140 × 65 mm
Shape Rectangular
Demonetized 07-31-1993
Number N# 202120
References P# 223

Wikipedia:
Carlos Drummond de Andrade (Portuguese pronunciation: [ˈkaɾlus dɾuˈmõ d͡ʒi ɐ̃ˈdɾad͡ʒi]) (October 31, 1902 – August 17, 1987) was a Brazilian poet and writer, considered by some as the greatest Brazilian poet of all time.

He has become something of a national cultural symbol in Brazil, where his widely influential poem "Canção Amiga" ("Friendly Song") has been featured on the 50-cruzado novo bill.

Drummond was born in Itabira, a mining village in Minas Gerais in the southeastern region of Brazil. His parents were farmers belonging to old Brazilian families of mainly Portuguese origin. He went to a school of pharmacy in Belo Horizonte, but never worked as a pharmacist after graduation, as he did not enjoy the career he chose. He worked as a civil servant for most of his life, eventually becoming director of the history for the National Historical and Artistic Heritage Service of Brazil. Though his earliest poems are formal and satirical, Drummond quickly adopted the new forms of Brazilian modernism that were evolving in the 1920s, incited by the work of Mário de Andrade (to whom he was not related). He would mingle speech fluent in elegance and derive truth about his surroundings, many times describing quotidian, normal aspects of life while achieving a fluidity of thought and speech. Drummond drifted towards communism at the start of World War II and took up the editorship of the Brazilian Communist Party's official newspaper, Tribuna Popular, but later abandoned the post due to disagreements over censorship, which Drummond staunchly opposed.

Drummond's work is generally divided into several segments, which appear very markedly in each of his books.

The most prominent of the later metaphysical poems is A Máquina do Mundo (The World's Machine). The poem deals with an anti-Faust referred to in the first person, who receives the visit of the aforementioned Machine, which stands for all possible knowledge, and the sum of the answers for all the questions which afflict men; in highly dramatic and baroque versification, the poem develops only for the anonymous subject to decline the offer of endless knowledge and proceed his gloomy path in the solitary road. It takes the renaissance allegory of the Machine of the World from Portugal's most esteemed poet, Luís de Camões, more precisely, from a canto at the end of his epic masterpiece Os Lusíadas.

One of those said segments have been found only after his death: deliberately erotic poetry. That type of poetry has been published in only one book, "Moça deitada na grama" (woman laid down in the grass) with the authorization and actual intervention by his son-in-law.[citation needed]

Statue of Carlos Drummond de Andrade by Copacabana Beach
Drummond is a favorite of American poets, a number of whom, including Mark Strand and Lloyd Schwartz, have translated his work. Later writers and critics have sometimes credited his relationship with Elizabeth Bishop, his first English language translator, as influential for his American reception, but though she admired him, Bishop claimed she barely even knew him. In an interview with George Starbuck in 1977, she said, "I didn't know him at all. He's supposed to be very shy. I'm supposed to be very shy. We've met once — on the sidewalk at night. We had just come out of the same restaurant, and he kissed my hand politely when we were introduced."[6]