116 



INSTITUTE OF SOCIAL ANTHROPOLOGY— PUBLICATION NO. 1 2 



Caipira 



perciso 

 porgi'esso 

 proque 1 

 prMqueJ 

 sasfi'feito 



(n) The sounds h and v are sometimes substi- 

 tuted for each other ; for example, brabo for bravo; 

 veleza for beleza; and povre for jjobre. 



{o) Other substitutions sometimes heard are an 

 um, sound for an do (for example, mmi for ndo), 

 an ao for an om {bao for &om) , a g for an s {quage 

 for quase), a i for a c {tatapora for catapora) , a ;» 

 for an / {pantasm-a for fantasma), an e for an a 

 (especially in the first person, plural of first con- 

 jugation verbs; for example, andemo for anda- 

 7nos), an e for an i (ermd for zVwia, dereito for 

 direito), and an a^■ or aw for an a {hai for Aa, cawso 

 for caso). 



(p) In the case of many words, one notes a com- 

 bination of two or more of the alterations men- 

 tioned above ; for example, 



Caipira 

 adevertimento 

 andemo 

 arfabeta 

 oprevenl 

 arreparft 

 arrepartl 

 areira 

 a visits, 

 ftamo 

 cagoemo 

 eonseia 

 corda 

 cavogwemo 

 chegiiemo 

 credits 

 cMme 

 desdeixCi. 

 desenvorve 

 dianta 

 &guemo 

 froquenta 

 tnleigao 

 juda 



iMuisiiome 

 mi6 

 mui6 

 nervargia. 

 Nlia 

 Nho 



pesg«emo 

 quarqu6 

 rancfi 



Portuguese 

 divertimento 

 andamo« 

 QJialfabeta 

 prevenir 

 reparar 

 repartir 

 beirar 

 visitar 

 vamos 

 cagoamos 

 oconselha 

 acordar 

 cavocamos 

 chegamos 

 acreditar 

 comer 

 deixar 

 desenvolver 

 odiantar 

 ficamo« 

 frequentar 

 eleigao 

 ojudar 

 lobisliomeTO 

 melhor 

 mullier 

 nevralgia 



Senhora (by way of Sinhd) 

 Senhor (by way of Sinhd) 

 pescamos 

 qualquer 

 arrancar 



Caipira Portuguese 



imsij/nificante '" 

 estando 

 e«tavam 

 benzer 



(q) Occasionally an accent is shifted; for ex- 

 ample, periodo for periodo. 



3. Variations in the use of certain words and 

 phrases. 



{a) The use of exclamatory phrases is more ex- 

 tensive; for example, Hd sete ou oito ano comego 

 a awmentd a festa de Boa Vista. E formidave, e 

 colosso! Tudos nois aqui vamo. £ coisa Undo! 

 (The festa of Boa Vista has improved in the last 

 7 or 8 years. It's wonderful, tremendoiis! All of 

 us go. It's a beautiful tiling!) There is an espe- 

 cial tendency to employ such phrases following the 

 termination of a statement so as to emphasize what 

 has just been said; for example, Ele tava embri- 

 agado, bebido! (He was drunk, drunJc!) ; Mtiie 

 sosinho e muito custoso, rnidto custoso! (For 

 a woman to live alone, it is very difficult, very 

 difficult ! ) . The exclamatory phrase is pronounced 

 with considerable stress. Moreover, several ex- 

 clamations, although common also to speech in the 

 city, are much more used by the caipiras ; for ex- 

 ample. 



Capais ! 



Ch6! 



Chiii ! 



Credo ! 



Deus me livre ! 



E-e-6 ! 

 O-S! 



Qua 



Ta sorto ! (estd solto!) 



XJai! 



TC! 



(b) There is a more decided tendency to use 

 vivid or picturesque words and phrases, expres- 

 sions like the following being relatively common : 



Num da camisa pra ninguem (It doesn't give any- 

 body a shirt.) 



Quano sae da linha, a cinta canta no lombo (When 

 he gets out of line, the strap sings on his loins). 



O boi quano ta soziuho se lambe todo e quando ele 

 ta em baixo da canga num pode se lambe (When 

 the ox is free, he can lick himself; but when he 

 is under the yoke, he cannot), used to compare 

 an unmarried, with a married, man. 



N5is num andamo na mema piuguela (We don't 

 walk on the same log [across a stream]), used 

 to signify that two individuals do not get along 

 with each other. 



"" Thus reversing the meaning of the word, insignificant becom- 

 ing significant. 



