Individual diction and public intervention in “Three positive sonnets” by Joaquim Cardozo

Thus, the three sonnets will be considered as instruments of access to the style of the author through the lexicon used. The sonnet would be the upper room through which materializes a singular expressivity, more easily identifiable by the limits of fixed form, but that should signal something of his work as a whole, where rhythm, metric, the vocabulary and the phrasing of his verses gain other outlines, already suffering interference from the other conditions.

Obviously the use of fixed form by Cardozo destabilizes the sense of own sonnet, creasing on his way in the tradition.