Aula
A POESIA BRASILEIRA
SIMBOLISTA
10
META
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OBJETIVOS
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Releitura das aulas 7, 8 e 9.
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Caricatura representando Cruz e Souza, poeta simbolista brasileiro.
(Fonte: http://3.bp.blogspot.com)
Literatrura Brasileira II
,1752'8d®2
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representar a realidade, buscavam outra maneira de compreender e exprimir
o mundo, mais especialmente, o mundo interior, aquilo que os interesses
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negavam os valores da sociedade burguesa.
Os poetas simbolistas desejavam que a arte fosse um modelo para a vida
(idealismo). Queriam uma arte universal, capaz de transcender a realidade
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fugiram a essa regra: partiam de uma realidade particular que transformavam em
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GHFXOWLYDUDIRUPDHWHPiWLFDURPkQWLFDGDH[SUHVVLYLGDGHGRHX
Capa da obra $VÁRUHVGRPDO, de Baudelaire.
(Fonte: http://www.critique-livre.fr)
134
A poesia brasileira simbolista
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PARA A CULTURA BRASILEIRA
Aula
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GHVtPEROR
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Brasileira, 1979, p. 2007.)
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SIMBOLISMO E DECADENTISMO
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da natureza [...].
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6LPEROLVPRSURFXURXLQVWDODUXPFUHGRHVWpWLFREDVHDGRQRVXEMHWLYR
135
Literatrura Brasileira II
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Observado por olhos ali familiares.
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Dentro de tenebrosa e profunda unidade
Imensa como a noite e como a claridade,
Os perfumes, as cores e os sons se transfundem,
Perfumes de frescor tal a carne de infantes,
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- Mais outros, corrompidos, ricos, triunfantes,
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Que cantam o enlevar dos sentidos e o senso.
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136
A poesia brasileira simbolista
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diz o poema.
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j DUWH OLWHUiULD FRP DV H[SUHVV}HV ´ÁRUHVWD GH VtPERORVµ ´DOJR
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adjetivos (vivos, imensa, corrompidos, verdes, inacabado) contribuem
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entre o mundo real e o que transcende o real, por meio de termos
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GDVSDODYUDVSHUIXPHVHQOHYDUYLYRVVtPERORVFRQIXVRVWULXQIDQWHV
FRUHV VRQV H[SDQVmR e XPD SRHVLD VXEMHWLYD SRUTXH LPS}HP
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tenebrosa, profunda, corrompidos promovem a subjetividade, pois
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Aula
10
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IRUPDGHH[SUHVVDUVHQVDo}HVLQWHULRUHVSRUPHLRGDOLQJXDJHPYHUEDO$
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FDPSRVVHQVRULDLVGLIHUHQWHVSHUIXPHVROIDWRFRUHVYLVmRVRQVDXGLomR
eXPDIRUPDGHVXJHULUHVWDGRVGHDOPDGRVXMHLWRQmRGL]H[DWDPHQWHR
que sente, a penas sugere que sente.
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PDGRDHPOHWUDVLJQLÀFDWLYDSDUDRVHQWLGRGRSRHPDHRSRHWDRimbaud
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no poema Voyelles.
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2SRHWD9HUODLQHQRSRHPD$UWH3RpWLFDGHIHQGHTXHHPSRHVLDD
137
Literatrura Brasileira II
P~VLFDpIXQGDPHQWDO
$P~VLFDDQWHVGHTXDOTXHUFRLVD
(SDUDLVVRSUHIHUHRtPSDU
0DLVYDJRHPDLVVRO~YHOQRDU
Sem nada nele que pese ou que pouse.
(Paul Verlaine)
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- Subjetivismo: busca de um eu subconsciente e inconsciente e dos estados
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- Culto da forma: como no Parnasianismo, o poeta simbolista apresenta
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real (no sonho, por exemplo).
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quartos de prazer do poema. Tudo deve ser sugerido no poema, para se
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$WpFQLFDGHID]HUSRHVLDVLPEROLVWDDSUHVHQWDDOWDHODERUDomRHVWpWLFD
FULDQGRXPDIRUPDSRpWLFDHOLWL]DGDTXHFKHJRXDDIDVWDUROHLWRUFRPXP
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WpFQLFDVLPEROLVWDSDUDOHUEHPHVVDSRHVLDTXHVHDIDVWRXGRFRWLGLDQRSRSXODU
HGHIHQGHXRLGHDOHVWHWLFLVWDGD´DUWHSHODDUWHµFRPRIH]R3DUQDVLDQLVPR
2V6LPEROLVWDVSURSXQKDPXPDDUWHEDVHDGDQDH[SUHVVmRGHHV
138
A poesia brasileira simbolista
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OyJLFDDGRWDGDSHORHVWLORSDUQDVLDQRHDGRWDUDPHPVHXOXJDUDLQWXLomR
Para os parnasianos os poetas simbolistas eram nefelibatas (aqueles que
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Aula
10
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(BOSI, Alfredo; +LVWyULD FRQFLVD GD OLWHUDWXUD EUDVLOHLUD. 34
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experimentais e Arthur Schopenhauer desenvolve um irracionalismo pesVLPLVWD&RQVLGHUDYDSRVVtYHODOLEHUWDomRGDYRQWDGHKXPDQDDWUDYpVGH
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e defendeu que a humanidade cansou de querer, e agora deseja voltar ao
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mais interessante; alguns poetas, experimentando conhecidas ou
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UDFLRQDOWHPRXWURVVLPRSRGHUGHHYRFDUVHQVDo}HV
(ULFK$XHUEDFK,QWURGXomRDRVHVWXGRVOLWHUiULRVHG6mR3DXOR
Cultrix, 1972. p. 240-241.)
139
Literatrura Brasileira II
Charles Baudelaire
SRHWD IUDQFrV GH
atitudes rebeldes
H WHPDV IUtYRORV
Fundiu opostos
existenciais como
o sublime e o grotesco. Em 1847,
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Em seguida publicou: As Flores do
Mal; Pequenos Poemas em Prosa; O
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Cruz e Souza
(1861-1898) Nasceu
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estudou no Liceu
Provincial de Santa
&DWDULQD6XDV~QLFDV
obras publicadas em
vida foram Missal e
%URTXpLV
140
o Simbolismo expressa o sentimento geral de desencantamento do homem
da modernidade.
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du Mal) tanto exprime o aspectos do estilo parnasiano como do SimboOLVPRHLQÁXHQFLRXDSRHVLDIUDQFHVDGRSHUtRGR1R%UDVLOHVVDLQÁXrQFLD
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e o Parnasianismo.
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Verlaine e Rimbaud, junto com
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O SIMBOLISMO NO BRASIL
,QLFLDVHRVLPEROLVPRQR%UDVLOFRPDSXEOLFDomRGH%URTXpLV (poesia)
e Missal (prosa) de Cruz e SousaHPHVHJXHWUrVRULHQWDo}HV
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E$PtVWLFRUHOLJLRVDFRP$OSKRQVXVGH*XLPDUmHV&HQWUDGRQRFDWROL
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c) A intimista-crepuscular: intimismo, temas do cotidiano, sentimentos
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Os poetas brasileiros simbolistas observaram o mal-estar europeu do
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FRV (P FRP D SXEOLFDomR GD REUD %URTXpLV GH &UX] H 6RXVD D
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segundo era mineiro e produziu uma poesia voltada para o misticismo e a
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poeta paraibano Augusto dos Anjos. Este poeta fez uma poesia diferente de
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A poesia brasileira simbolista
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FRQIXQGtYHOHTXDVHVHPSUHpLQWHJUDGRSHODKLVWyULDGDOLWHUDWXUDEUDVLOHLUD
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GDVFRUHVEUDQFRȺOtULRSXUH]DD]XOȺVRQKRDOHJULDPtVWLFDYHUPHOKR
ȺOX[~ULDSUD]HUOXWDDPDUHORȺDQJ~VWLDWpGLRUR[RȺWULVWH]DHQHJUR
SUHWRȺGRUVRIULPHQWR
$JRUDREVHUYHPRVDOJXQVH[HPSORVGDOLQJXDJHPSRpWLFDGH&UX]H
Sousa:
´9RO~SLDEUDQFDGRVFDPSRVµ´$VDVEUDQFDVGHFOHPrQFLDµ´9HUPHOKDV
RUJLDVµ´3DL[mRSXUS~UHDµ´7pGLRDPDUHORµ´2ULRUR[RHWULVWHyULRPRUWRµ
´&UX]HVQHJUDVGRWpGLRµ´2YLQKRQHJURGRLPRUWDOSHFDGRµ´eVFKDPDGR
DPRUQHJURYHUPHOKDµ
Aula
10
$1É/,6('(32(0$6
)DUHPRVXPDEUHYHDSUHVHQWDomRGDSRHVLDGHVVHVSRHWDVFRPHoDQGR
SRU&UX]H6RXVDTXHQR%UDVLOWUDQVIRUPRXVHHPVtPERORGDSRHVLD
VLPEROLVWDFRQVDJUDGRSHORVGHVXDpSRFDHSRVWHULRUHVEm geral, a obra
GH&UX]H6RXVDFDUDFWHUL]DVHSRUVXJHULUDUHDOLGDGHHPYH]GHQDUUiOD
RXGHVFUHYrOD8WLOL]DIUDVHVDSDUHQWHPHQWHGHVDUWLFXODGDVPDVIRUPDXP
QH[RXPVHQWLGR6mRVXSHUSRVWDVVXDSRHVLDFULDPXQGRVLQGHÀQLGRV
RQGHROHLWRUQmRVHUHFRQKHFHSRUTXHpWXGRPXLWRYDJRHHVWUDQKR/LQ
JXDJHPÁXLGDVLQHVWpVLFDLPDJpWLFD
6mRFDUDFWHUtVWLFDVGHVXDSRHVLDHPYHUVRRXHPSURVD
/LQJXDJHPÁXLGDVLQHVWpVLFD
- Imagens originais nas quais se mesclam o claro e o escuro
- O trabalho com os sons
- Efeitos sensoriais (sinestesias)
- Culto do vago, do sonho e da loucura
&XOWRGDVXJHVWmR
141
Literatrura Brasileira II
8WLOL]DomRSRpWLFDGRVtPEROR
- Musicalidade
5HIHUrQFLDjVH[XDOLGDGH
&DSDGH%URTXpLVH)DUyLV
$REUD)DUyLVLQ
WHQVLÀFD R WUDEDOKR FRP
DFRUHFRPRWRPPXVLFDOVROHQHHWULVWHDRODGRGHFDQWRVQRVWiOJLFRV
2EVHUYHPRVRSRHPD9LRO}HVTXHFKRUDPHVHXVUHFXUVRVIRUPDLV
DVVRQkQFLDVUHSHWLo}HVDOLWHUDo}HVDOLDGRVDRDOWROLULVPR²SURFHGLPHQWR
GHVXEMHWLYDomRGDUHDOLGDGH
9LRO}HVTXHFKRUDP
$K3ODQJHQWHVYLRO}HVGRUPHQWHVPRUQRV
6ROXoRVDROXDUFKRURVDRYHQWR
7ULVWHVSHUÀVRVPDLVYDJRVFRQWRUQRV
Bocas murmurejantes de lamento.
1RLWHVGHDOpPUHPRWDVTXHHXUHFRUGR
1RLWHVGDVROLGmRQRLWHVUHPRWDV
Que nos azuis da Fantasia bordo,
9RXFRQVWHODQGRGHYLV}HVLJQRWDV
6XWLVSDOSLWDo}HVjOX]GDOXD
Anseios dos momentos mais saudosos,
4XDQGROiFKRUDPQDGHVHUWDUXD
$VFRUGDVYLYDVGRVYLO}HVFKRURVRV
4XDQGRRVVRQVGRVYLRO}HVYmRVROXoDQGR
142
A poesia brasileira simbolista
4XDQGRRVVRQVGRVYLRO}HVQDVFRUGDVJHPHP
(YmRGLODFHUDQGRHGHOLFLDQGR
Rasgando as almas que nas sombras tremem,
Aula
10
Harmonias que pungem, que laceram,
'HGRVQHUYRVRVHiJHLVTXHSHUFRUUHP
&RUGDVHXPPXQGRGHGROrQFLDVJHUDP
*HPLGRVSUDQWRVTXHQRHVSDoRPRUUHP
(VRQVVRWXUQRVVXVSLUDGDVPiJRDV
0iJRDVDPDUJDVHPHODQFROLDV
1RVXVVXUURPRQyWRQRGDViJXDV
Noturnamente, entre ramagens frias.
Vozes veladas, veludosas vozes,
9RO~SLDVGRVYLRO}HVYR]HVYHODGDV
9DJDPQRVYHOKRVYyUWLFHVYHOR]HV
'RVYHQWRVYLYDVYmVYXOFDQL]DGDV
7XGRQDVFRUGDVGRVYLRO}HVHFRD
E vibra e se contorce no ar, convulso...
Tudo na noite, tudo clama e voa
6REDIHEULODJLWDomRGHXPSXOVR
4XHHVVHVYLRO}HVQHYRHQWRVHWULVWRQKRV
6mRLOKDVGHGHJUHGRDWUR]IXQpUHR
3DUDRQGHYmRIDWLJDGDVGRVRQKR
$OPDVTXHVHDELVPDUDPQRPLVWpULR
(CRUZ E SOUZA. Poesias completas. Rio de Janeiro: Ediouro, s.d.
p. 50-51.)
$WUDYpVGRXVRGHYRFiEXORVHH[SUHVV}HVFRPRQRLWHVGDVROLGmRD]XLV
GDIDQWDVLDVRQKRYHQWRVQRWXUQRVSDOSLWDo}HVUHJLVWUDVHRFXOWRGRYDJR
e por meio das palavras dormentes, chorosos, tristonhos, por exemplo, criaVHXPDLPDJHPPHODQFyOLFDSHODSURVRSRSpLDRXSHUVRQLÀFDomR
$SRHVLDH[SORUDRVVRQVGDVSDODYUDVTXHSHORWUDEDOKRSRpWLFRJDQKDP
SRHWLFLGDGH2VVRQVGRVYLRO}HVVmRVXJHULGRVSHODDOLWHUDomRGRIRQHPD
9QDHVWURIH´9R]HVYHODGDVYHOXGRVDVYR]HVµ
$YLVmRSHVVLPLVWDTXHRSRHPDGHVHQYROYHÀFDPDLVH[SOtFLWDQD~OWLPD
HVWURIHHRVVRQVGRVYLRO}HVVmRUHI~JLRGDVDOPDVIDWLJDGDV2WtWXORGR
SRHPD´9LRO}HVTXHFKRUDPµH[SULPHD´GRUGRPXQGRµDGRUGHH[LVWLU
DVVRFLDGDDRVVRQVGRVYLRO}HV
143
Literatrura Brasileira II
$SRHVLDGH&UX]H6RXVDQmRID]DSHQDVRFXOWRGDVVRQRULGDGHVHODp
WDPEpPXPJULWRGHGRUGHXPHXLQGLYLGXDOTXHVRIUHHGHXPHXFROHWLYR
que exprime as dores do mundo. Vamos ver como isso ocorre no poema
Acrobata da dor.
Acrobata da dor
Gargalha, ri, num riso de tormenta, (6-10)
&RPRXPSDOKDoRTXHGHVHQJRQoDGR
1HUYRVRULQXPULVRDEVXUGRLQÁDGR
De uma ironia e de uma dor violenta. (4-8-10)
Da gargalhada atroz, sanguinolenta, (6-10)
Agita os guizos, e convulsionado (4-8-10)
Salta, gavroche, salta clown, varado (4-8-10)
Pelo estertor dessa agonia lenta... (4-8-10)
3HGHPVHELVHXPELVQmRVHGHVSUH]D
9DPRV5HWHVDRVP~VFXORVUHWHVD
1HVVDVPDFDEUDVSLUXHWDVG·DoR
(HPERUDFDLDVVREUHRFKmRIUHPHQWH
Afogado em teu sangue estuoso e quente (6-10)
5L&RUDomRWULVWtVVLPRSDOKDoR
(CRUZ E SOUZA. Obra completa5LRGHMDQHLUR-RVp$JXLODU
$ VHOHomR YRFDEXODU SULYLOHJLDQGR SDODYUDV FRPR H[WHUWRU DJRQLD
sanguinolenta, dor, nervoso, fremente, sangue, afogado, convulsionado,
IRUPDPXPFDPSRVHPkQWLFRUHODWLYRDRVRIULPHQWRjDQJXVWLD
O poema tem a forma do soneto e utilizou os mesmos procedimentos
SRpWLFRVDGRWDGRVSHOR3DUQDVLDQLVPR2FXOWRGDIRUPDSHUPDQHFHHVH
LQWHQVLÀFDWUDEDOKDQGRRVVRQVREWHQGRVRQRULGDGHVHVSHFLDLVGDVFDGHLDV
VRQRUDV²DVDOLWHUDo}HV
´9DPRV5HWHVDRVP~VFXORVUHWHVD´VVVVVV
Vejamos como se comportam poeticamente determinadas consoantes:
UHUUYLEUDPVXJHULQGRRVHQWLPHQWRGHDQJ~VWLDHVRIULPHQWR
Gargalha, ri, num riso de tormenta,
$UHSHWLomRHPFDGHLDGHJFRQVWUyLXPDVRQRULGDGHTXHVXJHUHRHQJDVJR
GRVROXoR$FDGHLDVRQRUDGRWHGRGVXJHULQGRDH[SORUDomRGDGRUHDV
VRQRULGDGHVFULDGDVSHORVVDVVRFLDQGRRSRHPDjP~VLFDHHVWDEHOHFHQGR
144
A poesia brasileira simbolista
FRUUHVSRQGrQFLDVHQWUHRVVRQVPXVLFDLVHDVH[SUHVV}HVGDDOPD
6HJXH R SRHPD D WUDGLomR FOiVVLFD GD SRHVLD HVTXHPDV HVWUyÀFRV
UtPLFRVUtWPLFRVVHPSUHRYHUVRGDHVWURIHVDSUHVHQWDULWPRTXH
DOWHUQDWRQLFLGDGHSRpWLFDHQWUHDHDVLODEDHRVGHPDLVYHUVRVHQWUH
DHVtODED$HVWURIHDSUHVHQWDWRQLFLGDGHQDHQDVtODEDV
QRVGRLVHYHUVRVHW{QLFDVQDVHQRYHUVR$HVWURIH
WHPYHUVRV2WHPW{QLFDVQDHVtODEDVHRHYHUVRV
DSUHVHQWDPW{QLFDVQDHQDVtODEDV
(VVDVDOWHUQkQFLDVVRQRUDVFRQIHUHPDRSRHPDXPFDUiWHUUtWPLFRTXH
RDSUR[LPDGDP~VLFD
'DREUD%URTXpLVHVVHVYHUVRVGRSRHPD´LQFHQVRVµSDUHFHPVRSUDGRV
SHODVHQVXDOLGDGHHPTXHDQVHLRVHVHQWLPHQWRVYDJRVQmRVHGLOXHPHP
DEVWUDo}HV
5HOHPEUDQGRWXUtEXORVGHSUDWD
,QFHQVRVDURPiWLFRVGHVDWD
7HXFRUSRHE~UQHRGHVHGRVRVÁDQFRV
´,QFHQVRVµ
Aula
10
1HVVDRXWUDHVWURIHGRSRHPD´VLQIRQLDGR2FDVRµRSRHWDH[SORUD
os sons /SS/, /S/ para construir uma alta musicalidade do poema:
Musselinosas como brumas diurnas
Descem do ocaso as sombras harmoniosas,
Sombras veladas e musselinosas
3DUDDVSURIXQGDVVROLG}HVQRWXUQDV
(Sinfonias do Ocaso)
2SRHWDYDOHVHGDVFRUUHVSRQGrQFLDVVLQHVWpVLFDVSDUDVXJHULUSRUDV
VRFLDomRRXSRUDQDORJLDSRLVDFRLVDVXJHULGDFDUUHJDXPDFDUJDVHQVRULDO
TXHRREMHWRUHSUHVHQWDGRQmRFRQVHJXH
$REUD0LVVDOpSRHPDHPSURVDRXSURVDSRpWLFDHVHJXQGRDFUtWLFD
HVSHFLDOL]DGDpRQGHRSRHWDPHOKRUHVHIHLWRVGHPXVLFDOLGDGHFRQVHJXH
REWHUGRVVRQVGDVSDODYUDVRSRHWDIDEULFDYDVHQVDo}HVVXDSRHVLDpXPD
´PDTXLQDGHVRQRULGDGHVµ
1DTXHVWmRWHPiWLFDRWHPDGRDPRUGDPRUWHHGRHPSDUHGDGRVmR
FRQVWDQWHVHPVXDSRHVLD2$PRUVHUHYHODVXJHUHHPSDODYUDVFRPR´YLGDµ
´WHUQXUDµ´SLHGDGHµ´IHFXQGLGDGHµ´VROµ´OX]µ$0RUWHpVXJHULGDHP
´VROLGmRµ´QRLWHµ´LQÀQLWRµ´OXWRµ´WUHYDµH´LQIHUQRµ
$REUD(YRFDo}HVGHVHQYROYHRWHPDGR(PSDUHGDGRHPTXHRSRHWD
VH LGHQWLÀFDFRP RHPSDUHGDGR H RQGH UHSURGX] VXDUHYROWDFRQWUD RV
FRQGLFLRQDPHQWRVVRFLDLVHVSHFLDOPHQWHRSUHFRQFHLWRGHFRUUDoDTXH
VRIUHXHTXHWHQWRXVXSHUDUFRPVXDDUWH8PDOLQKDGHFUtWLFDFRQWHP
SRUkQHDFREUDGHVXDSRHVLDXPDWDTXHGLUHWRDHVVHSUREOHPDVRFLDO0DV
RSRHWDWLQKDRSWDGRSHODWpFQLFDGDVXJHVWmR
A cor, na poesia de Cruz e Sousa, tem lugar destacado, especialmente
145
Literatrura Brasileira II
REUDQFRHVXDVJUDGDo}HV$OpPGRXVRGHOHWUDVPDL~VFXODVTXHUHDOoDP
DLQGHWHUPLQDomRGRUHDO
9HMDPRVXPDHVWURIHGRSRHPD$QWtIRQDHPTXHHVWDFDUDFWHUtVWLFD
HVWiPXLWRSUHVHQWH
Ð)RUPDVDOYDVEUDQFDV)RUPDVFODUDV
De luares, de neves, de neblinas!...
Ð)RUPDVYDJDVÁXLGDVFULVWDOLQDV
,QFHQVRVGRVWXUtEXORVGDVDUDV
$OJXQVFUtWLFRVDFKDPTXHHVVHJRVWRSHODFRUEUDQFDpXPPRGRGH
compenssar o desgosto de ter a cor escura e por isso sofrer preconceito
UDFLDO0DVVDEHPRVTXHpSUySULRGRHVWLORVLPEROLVWDRFXOWLYRGDFRU2
SRHWDSRGHWHUVHLGHQWLÀFDGRFRPRHVWLORDSRQWRGHDRPHVPRWHPSR
TXHDEVRUYHR6LPEROLVPRIUDQFrV FULDUXP6LPEROLVPR EUDVLOHLUR TXH
dialogava com o europeu sem se confundir com ele. Mais, afastando-se
GHOHHPDOJXQVFDVRVDRFULDUXPDSRpWLFDSDUWLFXODUEHPSHVVRDOEHP
SUySULDGRSRHWD&UX]H6RXVD
A POESIA DE ALPHONSUS DE GUIMARAENS
Alphonsus
Guimaraens
Nasceu em Minas
Gerais. Cursou enJHQKDULD PDV QmR
chegou a se formar.
Escreveu: 6HWHQiULR
das Dores de Nossa
Senhora (1899);
& k PD U D $UG HQ WH
(1899); 'RQD0tVWL
ca (1899);Kyriale
(1902); Pauvre Lyre
(1921); Pastoral aos
crentes do Amor e da
Morte (1923) e Mendigos (1920).
146
$JRUDIDUHPRVXPDOHLWXUDVLPSOLÀFDGDGDSRHVLDGHAlphonsus de
Guimaraens9DPRVWHURSUD]HUGHOHUHRXYLUQHOHSRHVLDpPXVLFD
versos doidos e amorosos, vindos de uma alma que encontrou sua paz
QDSRHVLD$RULHQWDomRPtVWLFRUHOLJLRVDGDSRHVLDVLPEROLVWDQR%UDVLOp
representada pelo poeta mineiro Alphonsus de Guimaraens. No aspecto
IRUPDOVXDSRHVLDPDQWHYHRVWUDoRVGRHVWLORSDUQDVLDQRHVSHFLDOPHQWH
QRVRQHWRJrQHURGHFRPSRVLomRSRpWLFDTXHUHSUHVHQWDGHVXDREUD
4XDQWRjWHPiWLFDVXDSRHVLDGHVHQYROYHDLGHLDGDPRUWHDOpPGDLGHLD
da velhice, do amor e da saudade.
([DPLQDQGR R SRHPD &DWHGUDO YHULÀFDPRV TXH p FRQVWLWXtGR GH HVWURIHVFDGDXPDGHODVVHJXLGDGRUHIUmRHVWURIHGHYHUVRVGtVWLFRTXH
VHUHSHWHDRÀQDOGDHVWURIHIRUPDGDGHYHUVRVVHVWLOKD2YHUVRGR
UHIUmR´3REUH$OSKRQVXV3REUH$OSKRQVXVµFRQFHQWUDDIRUoDOtULFDQD
SHVVRDGRSRHWDDRHYRFDUHUHSHWLUVHXSUySULRQRPH
A catedral
Entre brumas ao longe surge a aurora,
O hialino orvalho aos poucos se evapora,
Agoniza o arrebol.
$FDWHGUDOHE~UQHDGRPHXVRQKRDSDUHFH
$SDUHFHQDSD]GRFpXULVRQKR
Toda branca ao sol.
A poesia brasileira simbolista
(RVLQRFDQWDHPO~JXEUHVUHVSRQVRV
´3REUH$OSKRQVRV3REUH$OSKRQVRVµ
Aula
10
O astro glorioso segue a eterna estrada.
8PDiXUHDVHWDOKHFLQWLODHPFDGD
Refulgente raio de luz.
$FDWHGUDOHE~UQHDGRPHXVRQKR
2QGHRVPHXVROKRVWmRFDQVDGRVSRQKR
5HFHEHDEHQomRGH-HVXV
(RVLQRFODPDHPO~JXEUHVUHVSRQVRV
´3REUH$OSKRQVRV3REUH$OSKRQVRVµ
3RUHQWUHOtULRVHOLODVHVGHVFH
A tarde esquiva: amargurada prece
3}HVHDOXDDUH]DU
$FDWHGUDOHE~UQHDGRPHXVRQKR
$SDUHFHQDSD]GRFpXWULVWRQKR
Toda branca de luar.
(RVLQRFKRUDHPO~JXEUHVUHVSRQVRV
´3REUH$OSKRQVXV3REUH$OSKRQVXVµ
2FpXpWRGRWUHYDVRYHQWRXLYD
'RUHOkPSDJRDFDEHOHLUDUXLYD
9HPDoRLWDURURVWRPHX
$FDWHGUDOHE~UQHDGRPHXVRQKR
$IXQGDVHQRFDRVGRFpXPHGRQKR
&RPRXPDVWURTXHMiPRUUHX
(RVLQRJHPHHPO~JXEUHVUHVSRQVRV
´3REUH$OSKRQVXV3REUH$OSKRQVXVµ
(GUIMARAENS, Alphonsus de. Poesia. Rio de Janeiro: Agir, 1963.)
2EVHUYDQGRDWHPiWLFDSRGHPRVYHUTXHFDGDHVWURIHUHODFLRQDVH
DXPDIDVHGDYLGDHDXPDHWDSDGRGLDSRUVXJHVWmRFRQVWLWXLQGRDVVLP
XPDDOHJRULDSHODVXFHVVmRGHVtPERORV$VVLPDHVWURIHUHSUHVHQWDD
LQIkQFLDHDPDQKmDHVWURIHDPRFLGDGHHRPHLRGLDDHVWURIHD
PDWXULGDGHHRHQWDUGHFHUDHVWURIHDYHOKLFHHDQRLWH
$FDWHGUDOpÀJXUDDOHJyULFDTXHUHSUHVHQWDSRUVXJHVWmRDPRUWHTXH
147
Literatrura Brasileira II
VHJXHDYHOKLFH$LGHQWLÀFDomRGRSRHPDjYLGDGRSRHWDYHPVXJHULGRQR
UHIUmRHQDDVVRFLDomRDRVLQRTXHFDQWDFODPDFKRUDJHPHSHODIRUPD
FRPRDVSDODYUDVVHDUWLFXODPQRYHUVRDÀJXUDGDJUDGDomR
1RSRHPDDUHDOLGDGHpVXJHULGDHQmRH[SUHVVDGLUHWDPHQWH$OSKRQ
sus de Guimaraens escreveu uma poesia sombria e desolada, explorando
RVVtPERORVGHVROLGmRUHFROKLPHQWRHFRQWHPSODomR1mRVHLQWHUHVVRX
SHODFODULGDGHGRVROPDVSHODQRWXUQLGDGHGDOXDÀJXUDPDUFDQWHQDVXD
SRHVLDVtPERORWDPEpPGHHVSLULWXDOLGDGHHFRQWHPSODomR2HXSRpWLFR
VHQWHWUDQTXLOLGDGHQROXDUHDQRLWHRSDFLÀFD
´PHXVH[tOLRVGHDPRU3UHVVDJRHYDJR
Sonho de luares brancos em que vejo
2DOYRFLVQHTXHYDLEHLUDQGRXPODJRµ
´3XOFKUDXW/XQDµ,,,'RQD0tVWLFD
(HVWDTXDGUD$V&DQo}HVGDREUDPastoral
´$QRLWHpSD]pJXHUUDRGLD
Eu amo o luar, desprezo o sol...
0LQKDDOPDpFRPRDFRWRYLD
0LQKDDOPDpFRPRRURX[LQROµ
Augusto Anjos
1DVFHX QD 3DUDtED
HP 6HX ~QL
FR OLYUR ³(X´ IRL
publicado em 1912.
Augusto dos Anjos
tornou-se um dos
poetas mais lidos
GRSDtV
$WHPiWLFDGDFRUHVWiUHODFLRQDGDDRWHPDGDQRLWHHGDOXD2HIHLWR
VLQHVWpVLFRpREWLGRSHODFRQYHUJrQFLDGDVVHQVDo}HVYLVXDLVDXGLWLYDVH
WiWHLV
´(XVLQWRRWHXROKDUYHUGHHVSHUDQoD
Que tem o cheiro, o som e o tom das primaveras
1DGDPXUPXUDDTXHPGHPLUiORVHFDQVDµ
*8,0$5$(16$OSKRQVXVGH$V&DQo}HV;/,,,Pastoral)
(DVVLPYLPRVXPDSHTXHQDPRVWUDGDSURGXomRSRpWLFDGHVWHHVFULWRU
TXHH[SULPLXQDSRHVLDVLWXDo}HVGDSUySULDYLGD
A POESIA DE AUGUSTO DOS ANJOS
O nada e a Arte nutrem a obra de Augusto dos Anjos H HOD HVWi
SUHRFXSDGDFRPDOLEHUGDGHGDFULDomRSRpWLFD9HPRVHPVXDOLQJXDJHP
o desejo de questionar o processo costumeiro de fazer poesia. (uma poesia
TXHFXOWLYDRWHPDGDPRUWHHGDGRHQoD&RPXPDOLQJXDJHPFDUUHJDGDGH
YRFiEXORVFLHQWtÀFRVHSRUXPDJXGRSHVVLPLVPRTXHSRUXPODGRDJULGH
148
A poesia brasileira simbolista
DYLVmRGHPXQGRKDUPRQLRVRGDVHOLWHVGRÀQDOGRVpFXOR;,;HFRPHoR
GR ;; H SRU RXWUR DWUDL OHLWRUHV FRPR SRXFRV SRHWDV WrP FRQVHJXLGR
DWUDLU7DOYH]SHORFDUiWHUSROrPLFRGHVXDSRHVLDTXHXWLOL]DDOLQJXDJHP
GRFLHQWLÀFLVPR RSRQGRDHOHXPDDQJ~VWLDH[LVWHQFLDOTXHRGLIHUHQFLD
GDTXHOHVSULQFtSLRV
$XWLOL]DomRGHSURFHGLPHQWRVSRpWLFRVDEVRUYLGRVGR3DUQDVLDQLVPR
HGR6LPEROLVPROHYDQRVjWHQWDomRGHÀOLiORDHVVHVHVWLORVOLWHUiULRVQR
HQWDQWRVXDSRHVLDWHPXPHVWLORSUySULRTXHQmRVHLGHQWLÀFDFRPQHQKXP
GHOHV5HFHEHLQÁXrQFLDGHFLHQWLÀFLVPRGRPRPHQWRPDVQmRSDUDID]HU
RFXOWRGDFLrQFLDHVLPSDUDFRQVWUXLUXPDLPDJHPDOHJyULFD
8PDÀJXUDGHOLQJXDJHPTXHH[S}HXPDUHDOLGDGHSDUDDWUDYpVGLVVR
IDODUGHRXWUDUHDOLGDGH(QFREUHXPDUHDOLGDGHSDUDHPVHJXLGDUHYHOiOD
mais viva e verdadeira, pela poesia.
Aula
10
8WLOL]D WHUPRV FLHQWtÀFRV GR 0RQLVPR H GR (YROXFLRQLVPR SDUD
GLVFXWLURSURFHVVRFULDGRUHPDUWHSRHVLD6XEPHWHDFULDomRSRpWLFDD
XPDUHÁH[mRÀORVyÀFDDUHDOLGDGH´SUHFLVDµVHUGHVWUXtGDQDWXUDOPHQWH
e enquanto isso acontece, uma nova forma de real se constitui, pela transIRUPDomRGDUHDOLGDGHDQWHULRUUHQRYDGDSHODOX]GDHODERUDomRDUWtVWLFD
2SRHWDWRPDDÀJXUDGHXPDFLGDGH´GRHQWHµGH/i]DUROHSURVDIpWLGD
GHVWUXtGD1XPDOHLWXUDDOHJyULFDSRGHPRVYHUXPDFLGDGHGRHQWHVRFLDO
mente, politicamente, moralmente mentalmente.
Os Doentes
Como uma cascavel que se enroscava,
$FLGDGHGRV/i]DURVGRUPLD
6RPHQWHQDPHWUySROHYD]LD
0LQKDFDEHoDDXW{QRPDSHQVDYD
0RUGLDPHDREVHVVmRPiGHTXHKDYLD
6RERVPHXVSpVQDWHUUDRQGHHXSLVDYD
8PItJDGRGRHQWHTXHVDQJUDYD
(XPDJDUJDQWDGHyUImTXHJHPLD
Tentava compreender com as conceptivas
)XQo}HVGRHQFpIDORDVVXEVWDQFLDVYLYDV
Que nem Spencer, nem Haeckel compreenderam...
(YLDHPPLPFREHUWRGHGHVJUDoDV
2UHVXOWDGRGHELOK}HVGHUDoDV
4XHKiPXLWRVDQRVGHVDSDUHFHUDP
(ANJOS, Augusto dos. Eu e outras poesias6mR3DXOR0DUWLP&ODUHW
149
Literatrura Brasileira II
2004, p.65.)
$SRHVLDGH$XJXVWRGRV$QMRVVHJXHDPDWUL]WHPiWLFDGDSRHVLDGH
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operariado, o descaso com os velhos, o abandono do mendigo catador de
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Parnasianismo e Simbolismo juntam-se e se associam ao impulso criativo
e renovador que os absorve, transformando-os e construindo um novo
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ressurge um cosmo, um mundo reorganizado, trazendo nova linguagem
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IUDVHDSUHRFXSDomRFRPDYLGDVRFLDOHKLVWyULFD
O poema Os Doentes focaliza os problemas da cidade, com sua caminhaGDUXPRDRSURJUHVVRTXHGHVWUyLYDORUHVKXPDQRVHPIXQomRGDSURGXomR
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Vence o granito, deprimindo-o... O espanto
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Teu desenvolvimento continua!
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150
A poesia brasileira simbolista
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9ROYDVjDQWLJDLQH[LVWrQFLDFDOPD
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'HDWLQJLUFRPRRJpUPHQGHRXWURVVHUHV
$RVXSUHPRLQIRUW~QLRGHVHUDOPD
(ANJOS, Augusto dos. Eu e outras poesias 6mR 3DXOR (GLo}HV
Martin Claret, 2004)
Aula
10
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HQDHVWURIHVRHRYHUVRVWrPDFHQWRVSRpWLFRVQDVHVtODEDV
HRHYHUVRVVmRDFHQWXDGRVQDHVtODEDV$HVWURIHDSUH
VHQWDW{QLFRVQDVHVtODEDVGRVGRLVSULPHLURVYHUVRVHQDH
QRYHUVR1DHVWURIHRVYHUVRVWrPWRQLFLGDGHQDVHVtODEDV
$VDOWHUQkQFLDVVRQRUDVW{QLFDVHiWRQDVDVVLPDQDOLVDGDVVmRXP
IDWRUGHFRQVWUXomRGRULWPRGDIRUPDDVVLPFRPRRHVTXHPDUtPLFRH
RVSURFHGLPHQWRVVLQWiWLFRV
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$%%$HVWRIH$%%$HHVWURIHV&&'(VVDEXVFDGHUHJXODULGDGH
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FRPSURPLVVRFRPDWUDGLomRSRpWLFD3URFHGLPHQWRVVLQWiWLFRVFRPRR
HQMDPEHPHQWVmRFRPXQVQHVVHSRHPDHHOHVWDPEpPFRQWULEXHPSDUD
DFRQVWUXomRGRSRHPD9HMDPRV
´(KiVGHFUHVFHUQRWHXVLOHQFLRWDQWR
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Das tuas.....................................................
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Vence o granito,........................ o espanto
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tido) e sonoro.
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Entre os escritores do Simbolismo brasileiro ainda se destacam: EmilLDQR3HUQHWD0DULR3HGHUQHLUDVH'DULR9HORVR1R1RUGHVWHÁRUHVFHR
grupo da Padaria Espiritual, e na Bahia surgiu um nome hoje considerado
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Campos (paulista) produziu o mais importante documento sobre Kilkerry e
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151
Literatrura Brasileira II
Aqui vai um poema do poeta
baiano:
&21&/86®2
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HVWpWLFRTXHDGHÀQHFRPRWDO2WUDEDOKRFRPDIRUPDpXPH[HUFtFLRLQHU
HQWHjDUWHSRUTXHpQDIRUPDTXHVHFRQFUHWL]DRLGHDODUWtVWLFR(QWmRRV
SURFHGLPHQWRVHRVUHFXUVRVSRpWLFRVEXVFDGRVHXWLOL]DGRVSDUDHQFRQWUDU
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SHULrQFLDVGHYLGDVRFLDOHKLVWyULFDTXHVmRDUWLFXODGDVFRPDPHGLDomRGD
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&RPR GL] R ÀOyVRIR +HLGHJJHU ´R KRPHP p D VXD OLQJXDJHPµ RX ´D
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RESUMO
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LGHDOLQHYLWDYHOPHQWHUHVJDWRXDYLGDSRUTXHpGHODTXHYHPDSRHVLD2V
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IRUPDOHHPDOJXQVFDVRVFRPWUDoRVGRHVWLORURPkQWLFRPDVVHPDV
VXPLUGLUHWDPHQWHXPDDWLWXGHGHFRPEDWHjVLQMXVWLoDVHGHGHQ~QFLDGDV
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dor do mundo. Alphonsus de Guimaraens expressou seu sofrimento inGLYLGXDOSURYRFDGRSHODGRHQoDHSRUVXDVSHUGDVQDYLGD$XJXVWRGRV
$QMRVDOLRXRSURFHVVRGHFULDomRSRpWLFDHPTXHRDUWLVWDWUDQVIRUPDD
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QDSURGXomRPRGHUQLVWDVHPDEDQGRQDUVHXHVWLORGHIRUPDomR
ATIVIDADES
1. Pesquise na internet e escolha um poema de Cruz e Sousa, um de AlSKRQVXVGH*XLPDUDHQVHXPGH$XJXVWRGRV$QMRVTXHQmRWHQKDPVLGR
estudados nesta aula e analise aspectos de:
a) Linguagem
b) Estrutura (forma)
152
A poesia brasileira simbolista
&20(17É5,262%5($6$7,9,'$'(6
Aula
10
Na estrutura procure observar os aspectos:
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6RQRURUHSHWLomRGHVRQVHGHUHFXUVRVVRQRURVLQFOXVLYHULPD
5tPLFRHVTXHPDVUtPLFRVGRSRHPDWLSRV
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nos versos.
1D WHPiWLFDSURFXUHYHUDVSULQFLSDLV LGHLDVH RPRGRFRPR HVVDV
LGHLDV VH RUJDQL]DP SDUD IRUPDU D WHPiWLFD GR SRHPD OHYDQWDU DV
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3DUD DQDOLVDU D OLQJXDJHP p LPSRUWDQWH ÀFDU DWHQWR DRV VHJXLQWHV
aspectos:
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5HFXUVRVHVWLOtVWLFRVSRpWLFRVHVWLOROLWHUiULR
- Figuras de linguagem
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2UJDQL]DomRGRVHVTXHPDVUtWPLFRV
3URFHGLPHQWRVVLQWiWLFRV
$872$9$/,$d®2
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estrutural (formal) e da linguagem do poema?
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brasileira?
153
Literatura Brasileira II
5()(5È1&,$6
ANJOS, Augusto dos. Eu e outras poesias6mR3DXOR(GLo}HV0DUWLQ
Claret, 2004.
AUERBACH, Eric. ,QWURGXomRDRVHVWXGRVOLWHUiULRVHG6mR3DXOR
Cultrix, 1972.
BOSI, Alfredo. O Simbolismo. In: +LVWyULDFRQFLVDGDOLWHUDWXUDEUDVLOHL
ra6mR3DXOR&XOWUL[S
&287,1+2$IUkQLR26LPEROLVPRQR%UDVLO,Q,QWURGXomRjOLWHUDWXUD
no Brasil.HG5LRGH-DQHLUR&LYLOL]DomR%UDVLOHLUDS
&287,1+2$IUkQLRCruz e Sousa.5LRGH-DQHLUR&LYLOL]DomR%UDVLOHLUD
1979.
&287,1+2$IUkQLR&287,1+2(GXDUGRGH)DULDGLUA literatura
no BrasilHG96mR3DXOR*OREDO
CARDOSO FILHO, Antonio. 7HRULD GD /LWHUDWXUD , 6mR &ULVWRYmR
CESAD/ UFS, 2007.
GOLDSTEIN, Norma. Versos, sons, ritmos. 6mR 3DXOR *581(:$/'-RVp/LQR&KDUOHV%DZGZODLUH,QPoetas franceses do
VpFXOR;,; Rio de Janeiro: Nova Fronteira, 1991.
GUIMARAENS, Alphonsus de. Poesia. Rio de Janeiro: Agir, 1963.
HELENA, Lucia. A cosmo-agonia de Augusto dos Anjos. Rio de Janeiro: Tempo Brasileiro, 1984.
LUCAS, Fabio. 2 FDUiWHU VRFLDO GD OLWHUDWXUD EUDVLOHLUD 6mR 3DXOR
(GLWRUD4XtURQ
352(1d$),/+2'RPtFLR(VWLORSDUQDVLDQRHGDWHRULDGD´DUWHSHOD
DUWHµ,Q(VWLORVGHpSRFDQDOLWHUDWXUD6mR3DXOR(GLWRUDÉWLFD
PACE, Tacito. O Simbolismo na poesia de Alphonsus de Guimaraens.
%HOR+RUL]RQWH(GLWRUD&RPXQLFDomR
6,/9$(GVRQ5RVDGD´$SRHVLDVLPEROLVWDµ,Q9$66$/2/tJLDHWDOLL
Poesia sempre. Rio de Janeiro: Tempo Brasileiro. 1985, p. 108-126.
CRUZ E SOUZA. Poesias completas. Rio de Janeiro: Ediouro, s.d
__________. Obra completa5LRGHMDQHLUR-RVp$JXLODU
ZZZSDVVHLZHEFRPVDLEDBPDLVELRJUDÀDV
http://www.mundocultural.com.br/index.asp?url=http://www.mundocultural.com.br/literatura1/simbolismo/
154
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