Lyrics from “Rosa de Hiroshima” by Vinicius de Moraes, music by Gérson Conrad; released by Secos & Molhados (1973)
Pensem nas criancas // Think of the children
Mudas, Telepáticas // Mute, telepathic
Pensem nas meninas // Think of the girls
Cegas, inexatas // Blind, inexact (amiss)
Pensem nas mulheres // Think of the women
Rotas, alteradas // Torn, altered
Pensem nas feridas // Think of the wounds
Como rosas cálidas // Like burning roses
Mas oh! Nao se esqueçam // But oh! Don’t forget
Da rosa da rosa // The rose of roses
Da rosa de Hiroshima // The rose of Hiroshima
A rosa hereditária // The hereditary rose
A rosa radioativa // The radioactive rose
Estúpida e inválida // Senseless and invalid
A rosa com cirrose // The rose with cirrhosis
A anti-rosa atomica // The atomic anti-rose
Sem cor, sem perfume // Without color, without fragrance
Sem rosa, sem nada // Without rose, without anything
— Commentary —
In the early morning of 6 August 1945, an American B-29 bomber, the Enola Gay, lifted off a runway on Tinian Island in the Pacific. Piloted by Colonel Paul W. Tibbets, who had named the giant Superfortress after his mother, the Enola Gay carried a ten-thousand-pound atomic bomb known as “Little Boy.” At 8:15 A.M., the crew of the Enola Gay covered their eyes with dark glasses and the bombardier, Thomas Ferebee, released the huge orange and black bomb over Hiroshima, Japan, a city of 250,000 people, many of whom were starting their last day on earth. The bomb exploded over the city with a brilliant flash of purple light, followed by a deafening blast and a powerful shock wave that heated the air as if expanded. A searing fireball eventually enveloped the area around ground zero, temperatures rose to approximate those on the surface of the sun, and a giant mushroom cloud roiled up from the city like an angry gray ghost. Within seconds Hiroshima was destroyed and half of its population was dead or dying. Three days later, a second atomic bomb destroyed the Japanese city of Nagasaki, killing more than 60,000 people. –Michael Hogan: Hiroshima in History and Memory
Vinicius de Moraes composed this poem in 1954. Nearly twenty years later, Gérson Conrad of Secos & Molhados set the poem to music. Secos & Molhados released “Rosa de Hiroshima” on their self-titled debut album, and Ney Matogrosso’s piercing rendition seared the song into popular memory across Brazil.
The horror of the atomic bomb was incomprehensible in Japan and around the world. The scale of the attack was so unfathomable that the Japanese reacted almost as if they’d been struck by a natural disaster, rather than a man-made atrocity released by bombardier Thomas Ferebee at 8:15 that morning. No prior conceptions or language existed to grapple with the scale of the attack, so reckoning largely came, when it came, through the arts.
The mushroom cloud of the bomb spread as a rose bud blooms and expands, and Vinicius de Moraes treated the bomb as the “anti-rose” in this poem.
The first verses focus on the hundreds of thousands of innocent victims of the bomb: Rollicking children were rendered mute, killed or surviving without words to express or come to terms with the experience. Girls were blinded by the searing flash; “inexact” evokes incompleteness, or something amiss. (I didn’t want to post too gruesome images here, but some of these seem representative of what Vinicius mentions.)
“Rotas, alteradas” can also be interpreted as “rotas alteradas,” or paths altered.
The second part of the lyrics discuss the “senseless” bomb. “Hereditary” rose may refer to the fact that survivors were “presumed to carry the curse of the bombs in their blood,” and were shunned in Japan. Invalid can be interpreted as not valid — out of bounds, unwarranted — or “invalid” in the sense of disabled, as the survivors were left both psychologically and physically. The Japanese government essentially ignored the bomb survivors until November 1953, when it established a research council to conduct surveys of survivors. The news surrounding this movement may have inspired the poem, written shortly thereafter. This rose is fatally flawed, sick with cirrhosis like the survivors who developed cirrhosis of the liver from radiation poisoning.
If the rose represents beauty, passion, and vigor, the bomb was the “anti-rose,” like an anti-christ.
Main source for this post: Hiroshima in History and Memory, ed. Mark Hogan
5 thoughts on “Rosa de Hiroshima”
Thanks Tory! Beautiful song, and so important for all of us to FEEL how awful is an atomic bomb.
Thanks so much, David! 🙂
Dear Victoria, how marvelous to find this page. Fico emocionada ao descobrir a sua apreciação pela musica brasileira e a sua dedicação em traduzir para o inglês a sua poesia. Cheguei à sua página por acaso, buscando pelos detentores dos direitos autorais de Rosa de Hiroshima, musica que apresentei aos musicos japones com quem canto, e com eles a gravei em abril de 2019 em Tóquio. Fiz também uma tradução para o inglês, como costumo fazer ao lançar um novo disco com músicas em português.
Na sua tradução de Rosa de Hiroshima, você se refere a uma alternativa de tradução para “rotas, alteradas” como “paths altered” but that comma between rotas and alteradas takes away that choice because rôta and rota are two different words. A palavra “Rôta”, em uma daquelas revisões ortográficas de praxe que ocorrem no Brasil, perdeu o seu acento circunflexo, mas sua pronúncia continua fechada, como se tivesse ainda o “chapeuzinho” acima do ô. Seu significado continua sendo Rompido Destruído Quebrado Transgredido. E rota (pronúncia aberta, como se tivess um acento agudo como o ó, em Dó, Mossoró, filó) é sempre o “caminho” .
From now on I will be a fan of lyricalbrazil.com and will contribute with a comment whenever I am compelled to do so. I hope you have been happy with your PhD at Georgetown University – I am also fascinated by History.
Obrigada pelo comentário Magda! Então, teria que ver a original da letra pra ver se Vinicius escreveu com ou sem virgula, eu não sei…
Cheguei à sua página por acaso, buscando pelos detentores dos direitos autorais de Rosa de Hiroshima, musica que apresentei aos musicos japoneses com quem canto e, com eles, a gravei em abril de 2019 em Tóquio. Fiz também uma tradução para o inglês, como costumo fazer ao lançar um novo disco com músicas em português.