Aula
A POESIA BRASILEIRA
PARNASIANA: /(,785$&5Ë7,&$
9
META
5HDOL]DUOHLWXUDFUtWLFDGHXPDPRVWUDGHSRHVLDEUDVLOHLUDSDUQDVLDQD
OBJETIVOS
$R¿QDOGHVWDDXODRDOXQRGHYHUi
SURGX]LUXPDOHLWXUDFUtWLFDGDSRHVLDEUDVLOHLUDSDUQDVLDQD
GLVFXWLURVDVSHFWRVHVWpWLFRHpWLFRGDSRHVLDEUDVLOHLUDSDUQDVLDQD
UHFRQKHFHUDVSHFXOLDULGDGHVGDSRHVLDEUDVLOHLUDSDUQDVLDQDHVXDLPSRUWkQFLDSDUDD
FRQVWLWXLomRGRFkQRQHOLWHUiULR
35e5(48,6,726
Leitura da aula 1, 2, 3, 4, 5 e 8.
/HLWXUDGRFXUVRGH7HRULD/LWHUiULD±OLYURGR&HVDG±SURI$QWRQLR&DUGRVR)LOKR
$OEHUWRGH2OLYHLUD5DLPXQGR&RUUHLD9LFHQWHGH&DUYDOKR)UDQFLVFD-~OLDH[SRHQWHVGDSRHVLDSDUQDVLDQDEUDVLOHLUD
)RQWHVKWWSSHUHJULQDFXOWXUDOÀOHVZRUGSUHVVFRPHKWWSXSORDGZLNLPHGLDRUJKWWSESEORJVSRWFRP
Literatura brasileira II
,1752'8d®2
Prezado aluno, vamos estudar a poesia brasileira parnasiana que
RSWRX SHOD YHUWHQWH HVWHWLFLVWD GR 3DUQDVLDQLVPR (VSHUDPRV TXH YRFr
SRVVDDSURYHLWDUDOLQJXDJHPSRpWLFDSDUDGHOHLWDUVHFRPRVSRHPDVTXH
FXOWLYDPDIRUPD2VSRHWDVHVPHUDUDPVHQDEXVFDGDSHUIHLomRIRUPDO
SDUDDWLQJLURLGHDOPDLRUGRHVWLORDFRQTXLVWDGDEHOH]D,VWRQmRLPSHGLX
TXHFDGDXPGHOHVHQFRQWUDVVHVXDVROXomRSRpWLFD&RQVWLWXLUXPHVWLOR
SHVVRDO H FDUDFWHUtVWLFR GH DFRUGR FRP VXD H[SHULrQFLD GH YLGD $VVLP
HQTXDQWRGHVHQYROYLDPXPDSRHVLDSUySULDFRQWULEXtDPSDUDFRQVWLWXLUH
consolidar o Parnasianismo no Brasil.
(VVHVSRHWDVUHFHEHUDPRLPSXOVRGDSRHVLDIUDQFHVDPDVQmRR
DFROKHUDPHPVXDWRWDOLGDGHHVWpWLFD'RSRQWRGHYLVWDIRUPDOPDQWLYHUDP
VHGHQWURGRLGHiULRPDVHPUHODomRjWHPiWLFDHDOJXQVDVSHFWRVGDOLQ
JXDJHPDIDVWDUDPVHGDRULHQWDomRRULJLQDOGH%DXGHODLUHHGRHQIRTXH
GRVSUREOHPDVFROHWLYRVGDVRFLHGDGHHFRQFHQWUDUDPVHHPH[SHULrQFLDV
LQGLYLGXDLVÀHLVDLQGDDRSDVVDGRHVWLORURPkQWLFR3RUHVVDDWLWXGHFREUD
VHKRMHGHVVHVSRHWDVXPFRPSURPLVVRFLGDGmRREULJDomRGHFRORFDU
VXDDUWHDVHUYLoRGRPHOKRUDPHQWRGDVRFLHGDGHSHODFUtWLFDGRH[LVWHQWH
$SHVDUGHVVDFRQVFLrQFLDGDFUtWLFDOLWHUiULDDWXDOSRGHVHYHUTXHRHVWLOR
SDUQDVLDQRDLQGDLQVSLURXPXLWRVSRHWDVGRVpFXOR;;JDUDQWLQGRTXDOLGDGH
HVWpWLFDDVXDSRHVLDVHPDSHUGDGRUHVJDWHVRFLDO
(Fonte: http://www.informenews.com)
122
$SRHVLDEUDVLOHLUDSDUQDVLDQDOHLWXUDFUtWLFD
/(,785$&5Ì7,&$'$32(6,$%5$6,/(,5$
PARNASIANA
Aula
9
$SyVHVVDPRVWUDSDUFLDOGDSRHVLDGH%LODFYHUHPRVRXWUDSHTXHQD
mostra de poesia parnasiana brasileira. Estudaremos os poetas Alberto
Oliveira5DLPXQGR&RUUHLD9LFHQWH&DUYDOKRHDSRHWLVD)UDQFLVFD-~OLD
$OEHUWRGH2OLYHLUDpXPGRVIXQGDGRUHVGRPRYLPHQWRSDUQDVLDQRQR
%UDVLO7HYHIRUPDomRURPkQWLFDPDVDVVXPLXRVSURSyVLWRVSDUQDVLDQRV
FRPRPDLRUHPSHQKRQDSHUIHLomRIRUPDO
Agora faremos a leitura do poema Vaso Grego:
Vaso grego
(VWDGHiXUHRVUHOHYRVWUDEDOKDGD
'HGLYDVPmRVEULOKDQWHFRSDXPGLD
-iGHDRVGHXVHVVHUYLUFRPRFDQVDGD
Vinda do Olimpo, a um novo deus servia.
Era o poeta de Teos que a suspendia
(QWmRHRUDUHSOHWDRUDHVYD]DGD
$WDoDDPLJDDRVGHGRVVHXVWLQLD
7RGDGHUR[DVSpWDODVFROPDGD
'HSRLV0DVRODYRUGDWDoDDGPLUD
7RFDDHGRRXYLGRDSUR[LPDQGRDjVERUGDV
)LQDVKiVGHOKHRXYLUFDQRUDHGRFH
Ignota voz, qual se da antiga lira
Fosse a encantada musica das cordas,
Qual se essa a voz de Anacreonte fosse.
(OLIVEIRA, Alberto de. Poesia. 2 ed. Rio de
Janeiro: Agir, 1969).
Capa do livro
Alberto de Oliveira
(Fonte: httpwww.sebodomessias.com.br).
Leitura do poema:
&RPHFHPRVSHODIRUPDSRUTXHpRTXHQRVDSDUHFHGHLPHGLDWReR
que os olhos procuram, ansiosos por ver.
Estrutura (forma):
O poema Vaso GregoVHJXHRVSULQFtSLRVGRSDUQDVLDQLVPRDOLDQGRD
WpFQLFDGDGHVFULomRPLQXFLRVDHDREMHWLYLGDGHGRUHDOLVPReXPVRQHWR
FRPVHXVYHUVRVGLVWULEXtGRVHPTXDUWHWRVHWHUFHWRV&DGDYHUVR
PHGHVtODEDVSRpWLFDVVmRYHUVRVGHFDVVtODERV2HVTXHPDUtPLFRVH
organiza assim:
HVWURIHDFHQWRVQDVHVLODEDVQRVžHžYHUVRVHDFHQWRQD
HQRVžHžYHUVRV
Alberto de Oliveira
(1857-1937) Nasceu
no Rio de Janeiro,
foi professor e poeta.
Suas principais obras foram: &DQo}HV
URPkQWLFDV (1878);
Meridionais, com
LQWURGXomRGH0DFK
ado de Assis (1884);
Sonetos e poemas
(1885); Versos e
rimas (1895): Poesias completas, 1a
VpULH
123
Literatura brasileira II
Raimundo
Correia
(1859-1911) Poeta,
magistrado e professor, nasceu no MaraQKmRIRLRIXQGDGRU
da Cadeira n.5 da
Academia Brasileira
de Letras. Escreveu:
Primeiros sonhos
(1879); Sinfonias
( 18 83 ) ; Ver so s e
YHUV}HV (1887); Aleluias (1891); Poesias
(1898, 1906, 1910,
1916).
HVWURIHDFHQWRVQDVHQRVžHžHžYHUVRVHDFHQWRQD
HQRžYHUVR
HVWURIHDFHQWRVQDVHQRVžHžYHUVRVHDFHQWRQDH
QRžYHUVR
HVWURIHDFHQWRVQDVHQRVžHžYHUVRVHDFHQWRQDH
QRžYHUVR
2SURFHGLPHQWRGHVHSDUDUHVFDQGLUHFRQWDUDVVtODEDVSRpWLFDVVHUYH
SDUD FRPSUHHQGHU D IRUPD HVTXHPiWLFD GR SRHPD H VXD UHODomR FRP D
WUDGLomRFOiVVLFDGHSRHVLD&RPRVHYLXRULWPRVHRUJDQL]DGHPRGRHV
TXHPiWLFRSULYLOHJLDQGRDUHJXODULGDGHHDVLPHWULDGRVYHUVRVGDVHVWURIHV
GRULWPRHGDVULPDV2EVHUYHRHVTXHPDUtPLFR
HVWURIH$%$%
HVWURIH$%$%
HVWURIH&'(
HVWURIH&'(
&RPRVHYrpXPH[HUFtFLRDUWHVDQDOGHWpFQLFDSDFLrQFLDHWUDEDOKR
0DVWXGRLVVRSDUDTXr"9HMDPRVDWHPiWLFDGHTXHIDODRSRHPD"'DIRUPD
SHUIHLWDGHXPYDVRJUHJRHIDODGLVVRGHPRGR´SHUIHLWRµ$SHUIHLomR
IRUPDOpRLGHDOPDLRUGRSRHWD
0DVDSRHVLDQmRSRGHYLUDUDVFRVWDVSDUDDYLGDUHDOVRFLDOHKXPDQD(OD
SUHFLVDSUHRFXSDUVHFRPDVGRUHVGRPXQGR&RPRVSUREOHPDVGHVREUHYLYrQFLD
FRPREHPHVWDUGRRXWURFRPDTXDOLGDGHGHYLGDGRVHUKXPDQR1DpSRFDHP
TXHIRLSURGX]LGRHVWHSRHPDQR%UDVLOHVWDYDPDFRQWHFHQGRDVOXWDVSHOD$EROLomR
HSHOD5HS~EOLFDH$OEHUWRGH2OLYHLUDDÀUPDYDTXHQmRHVWDYDLQWHUHVVDGRQHPQD
SD]QHPQDJXHUUD)XJLXGDVTXHVW}HVLPSRUWDQWHVGRSDtV4XHFRQWULEXLomRSRGH
XPDSRHVLDGHVVDWUD]HUSDUDDVRFLHGDGH"4XHWUDQVIRUPDomRSRGHHODRSHUDUQDV
FRQVFLrQFLDVSDUDTXHSRVVDKDYHUXPDPXGDQoDSDUDDOJRPHOKRU"$SRHVLDQmR
WHPRGLUHLWRGHÀFDUDSHQDVFXOWLYDQGRXPEHORLGHiULR
9HUHPRVDJRUDRXWURQRPHXPSRHWDTXHIRUPDDWUtDGHSDUQDVLDQD
EUDVLOHLUDeRaimundo Correia que estreou com a obra Primeiros Sonhos.
Dele vamos fazer a leitura do poema As Pombas, soneto muito conhecido
HTXHDFUtWLFDFRQVLGHUDXPGRVPDLVEHORVGRDXWRU
As pombas
Vai-se a primeira pomba despertada...
9DLVHRXWUDPDLVPDLVRXWUDHQÀPGH]HQDV
'HSRPEDVYmRVHGRVSRPEDLVDSHQDV
5DLDDVDQJtQHDHIUHVFDPDGUXJDGD
(jWDUGHTXDQGRDUtJLGDQRUWDGD
Sopra, aos pombais de novo elas, serenas,
5XÁDQGRDVDVDVVDFXGLQGRDVSHQDV
124
$SRHVLDEUDVLOHLUDSDUQDVLDQDOHLWXUDFUtWLFD
Voltam todas em bando e em revoada...
7DPEpPGRVFRUDo}HVRQGHDERWRDP
2VVRQKRVXPSRUXPFpOHUHVYRDP
Como voam as pombas dos pombais;
Aula
9
1RD]XOGDDGROHVFrQFLDDVDVDVVROWDP
Fogem... Mas aos pombais as pombas voltam,
(HOHVDRVFRUDo}HVQmRYROWDPPDLV
(CORREIA, Raimundo. Poesia. Rio de
Janeiro: Agir, 1958).
'RSRQWRGHYLVWDWHPiWLFRRSRHPDGHVFUHYH
o revoar das pombas nos dois quartetos e faz uma
FRPSDUDomRQRVGRLVWHUFHWRVSDUDHVWDEHOHFHUXPD
FRUUHVSRQGrQFLDQRSODQRGDYLGDPDGUXJDGDHWDUGH (Fonte: http://2.bp.blogspot.com
correspondem a juventude e a velhice respectivaPHQWHHDQRUWDGDTXHDVSRPEDVHQFRQWUDPjWDUGHHIRUDGRVSRPEDLV
correspondem aos problemas que fazem os sonhos se perderem, na velhice.
4XDQWRjHVWUXWXUDIRUPDOSRGHPRVYHUTXHRSRHPDpXPVRQHWRIRUPD
À[DGHSRHVLD7HPYHUVRVGHFDVVtODERVKHUyLFRVW{QLFRVQRVHVLODEDVGRV
žHžYHUVRVGDHVWURIHžHžHžYHUVRVGDHVWURIHžHžHžYHUVRVGD
HVWURIHHžHžHžYHUVRVGDHVWURIHHWHPWDPEpPGHFDVVtODERVViÀFRV
FRP,{QLFRVQRVžHžYHUVRVGDHVWURIHHQRžYHUVRVGDHVWURIHRVLVWHPD
UtPLFRGRSRHPDVHJXHRHVTXHPD$%%$QRVTXDUWHWRVH&&'QRVWHUFHWRV
A LINGUAGEM
8PSRQWRDOWRGDRUJDQL]DomRVLQWiWLFDGRSRHPDpRHQFDGHDPHQWR
(enjambement), procedimento em que o sentido do verso se completa no
verso imediato:
[...]
9DLVHRXWUDPDLVPDLVRXWUDHQÀPGH]HQDV
'HSRPEDVYmRVHGRVSRPEDLVDSHQDV
5DLDVDQJXtQHDHIUHVFDPDGUXJDGD
(jWDUGHTXDQGRDUtJLGDQRUWDGD
Sopra, aos pombais de novo elas, serenas,
5XÁDQGRDVDVDVVDFXGLQGRDVSHQDV
Voltam todas em bando e em revoada...
125
Literatura brasileira II
7DPEpPGRVFRUDo}HVRQGHDERWRDP
2VVRQKRVXPSRUXPFpOHUHVYRDP
[...]
O trabalho com os sons das palavras contribui para a sonoridade do poHPD$XWLOL]DomRGHSDODYUDVQRSOXUDOIRUPDQGRXPDFDGHLDVRQRUDGH66
´YDLVHRXWUDPDLVPDLVRXWUDHQÀPGH]HQDV
'HSRPEDVYmRVHGRVSRPEDLVDSHQDVµ
(GDUHSHWLomRGHDGYpUELRVPDLVPDLVDSHQDV2HVTXHPDSDUD
OHOtVWLFRGDVULPDVULPDVSDUDOHODVWDPEpPFRQWULEXLSDUDDPXVLFDOLGDGH
do poema:
HVWURIHBBBBBBBBBBBBBBGH]HQDV
______________apenas
HVWURIHBBBBBBBBBBBBBBVHUHQDV
______________apenas
HVWURIHBBBBBBBBBBBBBBDERWRDP
______________voam
HVWURIHBBBBBBBBBBBBBBVROWDP
______________voltam
3RGHPRVREVHUYDUTXHDFRQWHQomRGDOLQJXDJHPPDUFDGDSHODULJLGH]
VLQWiWLFDQmRLPSHGHTXHDVXEMHWLYLGDGHFRQWDPLQHRSRHPDSHODH[SOR
UDomRGDVVRQRULGDGHVGDVSDODYUDVSHODIRUPDGHDUWLFXODURVHQWLGRGHODV
Saudade
Aqui outrora retumbaram hinos;
0XLWRFRFKHUHDOQHVWDVFDOoDGDV
(QHVWDVSUDoDVKRMHDEDQGRQDGDV
5RGRXSRUHQWUHRVRURSpLVPDLVÀQRV
$UFRVGHÁRUHVIDFKRVSXUSXULQRV
Trons festivais, bandeiras desfraldadas,
*LUkQGRODVFODULQVDWURSHODGDV
/HJL}HVGHSRYRELPEDOKDUGHVLQRV
Tudo passou! Mas dessas arcarias
1HJUDVHGHVVHVWRUUH}HVPHGRQKRV
$OJXpPVHDVVHQWDVREUHDVOiJHDVIULDV
126
$SRHVLDEUDVLOHLUDSDUQDVLDQDOHLWXUDFUtWLFD
(HPWRUQRRVROKRV~PLGRVWULVWRQKRV
Espraia, e chora, como Jeremias,
Aula
9
6REUHD-HUXVDOpPGHWDQWRVVRQKRV
&287,1+2$IUkQLR&287,1+2(GXDUGRGH)DULDGLUA literatura
no BrasilHG96mR3DXOR*OREDOS
ATIVIDADES
Leia o poema Saudade, acima, e:
D2EVHUYHVHXVDVSHFWRVVRQRURVULPDVDOLWHUDo}HV
E2EVHUYHVHXVDVSHFWRVWHPiWLFRVSDODYUDVHLGpLDVFKDYH
&20(17É5,262%5($6$7,9,'$'(6
$SRHVLDSDUQDVLDQDDGRWDRFyGLJRSRpWLFRGDWUDGLomROLWHUiULDTXH
associa poesia e musicalidade. Assim o poema adota procedimentos
VRQRURV TXH RDSUR[LPD GD P~VLFDe QHFHVViULR ÀFDU DWHQWRD jV
palavras-chave em torno das quais circulam as ideias principais do texto.
&RPRGL]:HUQHFN6RGUpDSRHVLDGH5DLPXQGR&RUUHLDWHP´DTXHOH
ULJRUTXHQmRDEDIDDSHUIHLomRµHUHDOPHQWHVHXVYHUVRVFDSWDPD
beleza interior e a harmonia da paisagem.
$OpPGHVVHVWUrVDXWRUHVFRQVDJUDGRVSHORFkQRQHOLWHUiULREUDVLOHLUR
DOJXQVRXWURVSRHWDVSURGX]LUDPSRHVLDSDUQDVLDQDQRSHUtRGRHGHSRLV
GHOH$WpQRVpFXOR;;VHSRGHYHUXPDSRHVLDFRPPDUFDVGRHVWLORSDU
QDVLDQRUtJLGRDOLDGRDXPOLULVPRVHQWLPHQWDOKHUGDGRGRURPDQWLVPR
8PGRV SRHWDV PDLVUHSUHVHQWDWLYRV GDOLQKDSDUQDVLDQD GHSRHVLD p
Vicente de Carvalho.3RHWDFRQWHPSRUkQHRGH%LODFDGHSWRGR3DUQDVLDQ
LVPRPDVFRPXPWUDoRGHÀQLGRUQDVXDSRHVLDDSUHVHQoDGDQDWXUH]D$
PRQWDQKDRRFHDQRDPDWDDIRQWHHRVHQFDQWRVGDPXOKHU1RH[HUFtFLR
SRpWLFREXVFDDREMHWLYLGDGHSDUQDVLDQDPDVDFDEDIXQGLQGRRVHQVRULDOH
RHPRWLYRHODERUDQGRXPDOLQJXDJHPSRpWLFD´QRYDULFDHPLPDJHQVGD
QDWXUH]DHHPUHVVRQkQFLDVSVLFROyJLFDVµ
(BOSI. Alfredo. +LVWyULDFRQFLVDGDOLWHUDWXUDEUDVLOHLUD. p. 232.)
Mar, belo mar selvagem
'DVQRVVDVSUDLDVVROLWiULDV7LJUH
A que as brisas da terra o sono embalam,
$TXHRYHQWRGRODUJRHULoDRSrOR
Vicente de
Carvalho
(1866-1924),
nasceu em Santos,
63 3RHWD OtULFR
ligou-se desde o
LQtFLRDRJUXSRGH
jovens poetas de
WHQGrQFLD SDUQD
siana, escreveu os
poemas: ³3DODYUDV
DR PDU´ ³&DQWL
JDVSUDLDQDV´³$
WHUQXUD GR PDU´
³)XJLQGR DR FDW
LYHLUR´ ³5RVD
URVD GH DPRU´
³9HOKRWHPD´³2
SHTXHQLQRPRUWR´.
127
Literatura brasileira II
Unto da espuma com que as praias bordas,
3HORPDUXOKRDFDOHQWDGDjVRPEUD
'DVSDOPHLUDVTXHDUIDQGRVHGHEUXoDP
1DEHLUDGDGDVRQGDV²DPLQKDDOPD
Abriu-se para a vida como se abre
$ÁRUGDPXUWDSDUDRVROGRHVWLR
Quando eu nasci, raiava
2FODURPrVGDVJUDoDVIRUDVWHLUDV
1DGDQGRHPOX]QDRVFLODomRGDVRQGDV
Desenrolava a primavera de ouro:
(DVOHYHVJUDoDVFRPRIROKDVVROWDV
Num leve sopro de aura dispersadas,
9LQKDPGRD]XOGRFpXWXUELOKRQDGR
3RXVDURY{RDWRQDGDVHVSXPDV
(CARVALHO, Vicente. Palavras ao mar).
)UDQFLVFD-~OLD
Escritora parnasiana. Seu primeiro
livro 0iUPRUHV
foi publicado em
1895, e o segundo livro Esfinges
foi publicado em
1903.
6mRGXDVHVWURIHVGRSRHPDPalavras ao Mar, de Vicente de Carvalho.
(PWRGDVDVHVWURIHVGRSRHPDRžYHUVRWHPVtODEDVSRpWLFDVQHVVDV
GXDVDHVWURIHpFRPSRVWDGHYHUVRVRžYHUVRpGHVtODEDVHRV
GHPDLVYHUVRVVmRGHFDVVtODERV$HVWURIHWHPYHUVRVRžYHUVRWHP
VtODEDVHRVGHPDLVVmRGHFDVVtODERVVHJXHPDVVLPDVGHPDLVHVWURIHV
do poema.
(VVHDSXUR IRUPDO p EHP GRHVWLORSDUQDVLDQR PDVD SUHVHQoD GD
QDWXUH]DPDUWLJUHEULVDVSDOPHLUDVÁRUDVVRFLDGDjHPRomROtULFDGH
XPHXPRVWUDDÀOLDomRGRSRHPDDRHVWLORURPkQWLFR
$VHJXLUWHPRVXPDH[SUHVVmRSRpWLFDGDHVFULWRUD)UDQFLVFD-~OLD, em
TXHSRGHPRVREVHUYDUDUHDOL]DomRSOHQDGRVLGHDLVSDUQDVLDQRV3pULFOHV
(XJrQLRGD6LOYD5DPRVFRQVLGHUDTXHDSRHWLVDWHQKDFRQVHJXLGRDLP
SDVVLELOLGDGHTXHRHVWLORSDUQDVLDQRH[LJLD8PH[HPSORGLVVRVHYHULÀFD
QHVVHWUHFKRGHSRHPDGDREUD0XVD,PSDVVtYHO
Musa! Um gesto sequer de dor ou de sincero
/XWRMDPDLVWHDIHLHRFkQGLGRVHPEODQWH
'LDQWHGH-yFRQVHUYDRPHVPRRUJXOKRHGLDQWH
De um morto, o mesmo olhar e sobrecenho austero.
(PWHXVROKRVQmRTXHURDOiJULPDQmRTXHUR
(PWXDERFDRVXDYHHLGtOLFRGHVFDQWH
Celebra ora um fantasma Anguiforme de Dante,
Ora o vulto marcial de um guerreiro de Homero.
$VGXDVTXDGUDVDVHVWURIHVVmRFRPSRVWDVGHYHUVRVGHVtODEDV
128
$SRHVLDEUDVLOHLUDSDUQDVLDQDOHLWXUDFUtWLFD
SRpWLFDVRXDOH[DQGULQRV8WLOL]DVHRSRHPDGHUHFXUVRVGHFRQVWUXomR
GR YHUVR XWLOL]DGRV SHOD SRHVLD FOiVVLFD SDUD FRQVHJXLU HIHLWRV SRpWLFRV
propostos pelo estilo parnasiano.
2VYHUVRVGHVtODEDVSRpWLFDVGLYLGHPVHHPSDUWHVRXKHPLVWtTXLRV
FDGDXPGHOHVFRPVtODEDVSRpWLFDV1DVtODEDQRPHLRGRYHUVRKi
XPDSDXVDRXFHVXUDTXHGHÀQHRULWPRGRSRHPD
2 SRHPD p HVWUXWXUDGR QR HVTXHPD GH ULPDV $%%$ RSRVWDV QDV
duas quadras e CDC nos tercetos. Sintaticamente, o procedimento mais
H[SUHVVLYRpRXVRGRHQMDPEHPHQWRHQFDGHDPHQWRGRVYHUVRVRVHQWLGR
GRžYHUVRHVWURIHpFRPSOHWDGRFRPDSDODYUD/XWRGRžYHUVR
HVWURIHFRPDH[SUHVVmR'HXPPRUWRGRžYHUVRHVWURIH
1DHVWURIHRVHQWLGRGRžYHUVRpFRPSOHWDGRFRPRREMHWRGLUHWR
RVXDYHHLGtOLFRGHVFDQWHQRž9HUVR
$RQRVVRYHUVHDSRHWLVDQmRpDTXHPHOKRUFXOWLYRXHFXPSULXRVLGHDLV
GR3DUQDVLDQLVPRpSHORPHQRVPDLVXPDVLQFHUDSDUQDVLDQDQR%UDVLO
Aula
9
ATIVIDADES
$SyV HVVD H[SHULrQFLD GH OHLWXUD GD SRHVLD SDUQDVLDQD EUDVLOHLUD
escolha cinco poemas de Olavo Bilac, cinco de Raimundo Correia, cinco
GH$OEHUWRGH2OLYHLUDTXHQmRIRUDPXWLOL]DGRVQHVVDVDXODVDQDOLVHVHXV
DVSHFWRVIRUPDLVHVWUXWXUDHOLQJXDJHPHWHPiWLFRVHPVHJXLGDGLVFXWD
FRPVHXVFROHJDVQXPFKDWDFRQWULEXLomRGHVVDSRHVLDSDUDDIRUPDomR
GRFkQRQHOLWHUiULREUDVLOHLUR(PVHJXLGDHVFUHYDXPWH[WRGHYLQWH
OLQKDVH[SRQGRVHXVFRPHQWiULRV
&20(17É5,262%5($6$7,9,'$'(6
2EVHUYHTXHFDGDSRHWDWHPHVWLORSUySULRHPERUDWRGRVFXOWLYHPR
ideal Parnasiano, pois todos eles tinham apresso pelo culto da forma, e
GHVSUHRFXSDomRFRPRVSUREOHPDVGDYLGDVRFLDO(VVDSRHVLDpSDUWH
GRFkQRQHOLWHUiULRGRVpFXOR;,;
129
Literatura brasileira II
&21&/86®2
)LQDOPHQWHGL]HPRV TXH p GD PDLRU LPSRUWkQFLD H[SOLFDUD UHODomR
H[LVWHQWHHQWUHDOLWHUDWXUDHRVHXFRQWH[WRKLVWyULFRVRFLDO$VVLPSRGHPRV
YHUTXHDOLWHUDWXUDSRHVLDpH[SUHVVmRGHYLGDHVRPHQWHVHMXVWLÀFDR
seu estudo na escola se ela for lida e compreendida como tal. Analisar
DVSHFWRVIRUPDLVH D OLQJXDJHP GR WH[WROLWHUiULR WHPWRGD LPSRUWkQFLD
SDUDVHFRPSUHHQGHUDYLGDQRWH[WROLWHUiULRHSDUDFRPSUHHQGHUDREUD
na vida (mundo). A literatura (poesia) precisa ser estudada nos aspectos
pWLFRVHHVWpWLFRVQRFRPSURPLVVRTXHGHYHWHUFRPRVHUKXPDQRHVXD
H[SHULrQFLDKLVWyULFD
$OLWHUDWXUDSRHVLDSUHFLVDVHUHVWXGDGDQRVVHXV DVSHFWRVpWLFRVH
HVWpWLFRV QR FRPSURPLVVR TXH HOD GHYH WHU FRP R VHU KXPDQR QD VXD
H[SHULrQFLDKLVWyULFD
RESUMO
Os poetas que no Brasil aderiram ao estilo parnasiano permaneceram
GXUDQWH D VHJXQGD PHWDGH GR VpFXOR ;,; H HQWUDUDP SHOR VpFXOR ;;
3RGHPRV REVHUYDU TXH FRQYLYHUDP FRP R 6LPEROLVPR WDPEpP GD VH
JXQGDPHWDGHGRVpFXOR;,;HTXHVXDLQÁXrQFLDVREUHDSRHVLDEUDVLOHLUD
SHUPDQHFHDWpKRMH2ODYR%LODF$OEHUWRGH2OLYHLUD5DLPXQGR&RUUHLD
9LFHQWH&DUYDOKR)UDQFLVFD-~OLDVmR´PRGHORVµGRHVWLORSDUQDVLDQRTXH
ainda hoje encontram seguidores.
$GRWDQGRDLPSDVVLELOLGDGHGRHVWLORGH)UDQFLVFD-~OLDGH$OEHUWR
GH 2OLYHLUD H GH %LODF FRPH[FHomR GD VXDSRHVLD HUyWLFD RX XPWRP
PHODQFyOLFRWULVWHFRPRHP9LFHQWHGH&DUYDOKRH5DLPXQGR&RUUHLDD
SRHVLDFXPSUHVXDIXQomRHVWpWLFDHVRFLDO1DYHUGDGHFXOWLYDUDIRUPDp
SUHUURJDWLYDGHTXDOTXHUH[SUHVVmRDUWtVWLFDPDVID]HURFXOWRGDIRUPDp
XPDH[SHULrQFLDGR3DUQDVLDQLVPRHQHPVHPSUHÀFDVRPHQWHQLVVRKiXPD
SRHVLDSDUQDVLDQDTXHUHWRPRXHDWXDOL]RXHOHPHQWRVGRHVWLORURPkQWLFR
HDWpPHVPRGRHVWLORVLPEROLVWDHPFXUVRHVHXFRQWHPSRUkQHRDTXHP
UHVLVWLXHXOWUDSDVVRXQRWHPSR7RGRVHVVHVSRHWDVFRQFHQWUDUDPHVIRUoRV
QD EXVFD GRTXHFKDPDUDP´DUWH SXUDµ HGHVSUH]DUDP RV SUREOHPDVH
FRQÁLWRVVRFLDLVGRVHXSDtV
35Ð;,0$$8/$
A poesia brasileira simbolista.
130
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$872$9$/,$d®2
$SyVDDQiOLVHGDSRHVLDEUDVLOHLUDSDUQDVLDQDFRPSUHHQGLVHXLGHDO
GHSHUIHLomRIRUPDO"
$SHVDUGHWRGDSUHRFXSDomRFRPDIRUPDDSRHVLDS{GHGHVSUH]DURV
aspectos da vida humana?
'HSRLVGHVVHHVWXGRSXGHYHUTXHKiQHVVDSRHVLDXPDFRQÁXrQFLD
GRHVWLORURPkQWLFRHGRSDUQDVLDQR"
Posso explicar isso num texto?
Aula
9
5()(5È1&,$
BOSI, Alfredo. +LVWyULDFRQFLVDGDOLWHUDWXUDEUDVLOHLUDHG6mR3DXOR
Cultrix, 1980. p. 219.
CARDOSO FILHO, Antonio. Teoria da Literatura I. 6mR &ULVWRYmR
CESAD/ UFS, 2007.
352(1d$),/+2'RPtFLR(VWLORSDUQDVLDQRHGDWHRULDGD´DUWHSHOD
DUWHµ,1(VWLORVGHpSRFDQDOLWHUDWXUD6mRSDXOR(GLWRUDÉWLFD
&287,1+2$IUkQLR23DUQDVLDQLVPR,QA literatura no Brasil. vol.
3. Editora Global, 1999.
&287,1+2$IUkQLR&287,1+2(GXDUGRGH)DULDGLUA literatura
no BrasilHG96mR3DXOR*OREDO
131