I found sometime ago a text written by Guimarães Rosa when he was young about Esperanto.
Guimarães Rosa is the most cellebrated brazilian poet of the XX century, his main work published in 1956 is probably the most impactant work in brazil since then.
The place where I found
http://www.kke.org.br/dossie/guimaraes_ ... _esperanto
It's a research about the relation of him with Esperanto, it has curious informations, like that when he worked as an ambaxatour, he decided that all the correspondence and estatistics with other countries would be made, exclusively, with Esperanto.
But the most interesting part are two articles published in 1929 in a newspaper, one two weeks before the other, written by him, where he analizes poetically the Esperanto. He had 21 years in that time, and besides being interesting in itself, it's a curious regard on esperanto of a person that would become later a great poet.
I translated(the best as I could, sorry) the first article. The full text and other things, in portuguese, are in the link I gave above.
Article of João Guimarães Rosa published by the newspaper “O Estado de Minas”, in the day 23 of July, 1929.
The language born from an instinct; handed with virtuosity, it became an art.
Neverthless, the idioms in different ways are applied to eloquency and literature.
Each language adapts to the collective characteristics of the esthetic order that the people speak.
There are- the rudes, heavies, full of consonants, abundants of monosyllables, full of consonantal choques, strong aspirations and atrits of vocals, tonalized in the anterior vocal sounds (e, o, u) by cost being sculped by the artist, like the septentrional languages of Europe, that so well consay with the cold, the tenacity and energy of the scandinavia, batavian, brittish and teutons.
Others, like the neo-latin, are light, singing, clangorous, fast, rich of matizes, ables to express all the shines of human thought, languages made for the madrigaes and love declarations, born between the roses and orange trees, between the blue sky and the plate espume of the Mediterraneo.
The bulgarian sounds tough and metallic as iron, the russian and servian are sweet; the french primes for the sobry elegancy; the high german is guttural and of energic sounds; the finnish is sweet, the italian dulcissimo.
Certainly the most sweet language spoken by men were the jonian dialect.
The dr. Zamenhof, creator of esperanto, besides polyglotte was also a poet. It wasn't sufficent for him that the new language had a robust wood and good fixed roots-it would be imperfect without the crown of flowers to change the greeness of it's front. By this, when making the basis of the internacional idiom, he acted mainly as an artist.
By this point of view, let's try to analize, superficially, the "helpa lingua"
In Esperanto, the letters appears in the proportion of 45% of vocals and 57% consonants, in medium, how it happens in the most sweet and sonore languages like Portuguese, Spanish, Italian. The languages of the germanic group exiges a much higher percentage of consonants.
In english, german and french the E predominates visibly, in the Italian the I or A; in portuguese so as in esperanto the same happens with the A; what can be seen by the exam of any written passage in those languages.
Esperanto is so, like portuguese, one language in A, what confers to it a pleasant sonority, cause A is a primitive articulation, normal and basic sound of human voice, full vocal, light and musical, predominant to the rumors and noises of the nature.
Being the penultime syllabe of the words the accentued tonic, and the last always baryphonica, results from it elegancy and rithmic cadency, which resembles the harmony of the old dialects of Hellade.
Esperanto has the endings of it's plurals in diphtongs, being much more sweet than of the european languages, with exception to the italian, that uses consonants to mark the same: english, portuguese, french and spanish: S , german: (...) r, (...)n; sweddish - (...)r; hungarian - (...) k; polish - ch, w; estonian - d, finnish - t.
Mainly sweet are the terminations of the plural accusative, that are pronnounced as ÓIN, ÁIN from the greek duals, so as the verbal endings, of great fluence.
The strong guttural aspiration HH, which in fact is rare, doesn't make the language ugly, so as the beauty of castellano isn't altered by the J.
Changed vocals (UMLANTE) doesn't exist, so as vocal nuances hard to be distinguished.
But, aren't only phonological the advantages of esperanto.
The conservation of the accusative desinence, rejected by most of the ocidental languages, is in the esperanto a factor of clarity and precision, allowing the most varied inversions, required frequently by the euphony and elegancy of the phrase. Besides that, esperanto has an accusative of direction, that avoids certains common amphibologies to many idioms.
The abudance of afixes, that is surpassed only maybe by the finnish language uralo-altaica, agglutinant permits an expression of the most sweet nuances of thought; besides that, each sufix constitues an independent radical, being able to be used alone, what gives to the language a proper characteristic colloring.
The derivated adverbs constitue in Esperanto a class of ilimited words, and in this point the idiom of Zamenhof advantages admirably to the national languages, where there is deficiences in it.
(Beaufron). It's surpreendent the artistic effect made by the breve form of them.
Another incomparable richness of esperanto is made by the 3 actives participios and 3 passives, susceptible of becoming the forms substantive, adjective and adverbial. Only by the literature of the "internacia lingua" is possible to compreend the marvellous recurse that constitues this idiomatic tresor.
Like in the german the composite words are forged ilimitadly.
The supression of the vocal of the tale of substantives is a privilege of the poetic style, in fact much used, for which doesn't falt poets that are cultors of the esperanto.
And is this language, of great simplicity and rare beauty, that is naturaly predestined to vehicule and divulge literary works in the future.
By her, we brazillians will be able to apreciate, with a natural flavour, the ukranian "dumi", the lithuanian "randa", the finnish "runol", the german "heder" and the japanese "hai-kai".