Documenti di Didattica
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animaria intelectuais, escritores e artistas a se envolverem com os ideais
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antenada com os movimentos culturais europeus. Pode-se, inclusive, dizer
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Alexandre Herculano e Feliciano Castilho. Em suas obras, podemos tanto
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guesa depois dos anos 60.
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a poesia de protesto nasceu em Coimbra e no Porto e se manifestou em
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portuguesa, seus autores e obras.
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por Almeida Garrett:
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meida (1799-1854), mais tarde Visconde
de Almeida Garrett, foi um dos maiores
nomes da Literatura Portuguesa, por sua
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missivista) e como intelectual engajado na
sociedade portuguesa, atuando na vida
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(1843), Viagens de minha terra (1846) e
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noscafora.be)
Romantismo e modernidade, publicado na
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Os sofrimentos pessoais e os desenganos com os sucessos portugue-
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timento religioso).
97
Literatura Portuguesa II
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VRFLiYHLV²GHYHPRIHUHFHUjVRFLHGDGHLPDJHQVTXHDUHÁLWDPHDHVWLPXOHP
ajudando-a a entender-se e a criticar-se. (p.25)
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LQVWUXPHQWRSDUDDIRUPDomRGDFRQVFLrQFLDGHQDFLRQDOLGDGHHFLGDGDQLD
HGHRXWURQDGLPHQVmRSHVVRDOWUDWRXGHSUREOHPDVGHIRURLQWLPLVWD
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comentemos um poema:
1mRWHDPR
1mRWHDPRTXHURWHRDPDUYHPG·DOPD
(HXQ·DOPDWHQKRDFDOPD
A calma - do jazigo.
$LQmRWHDPRQmR
1mRWHDPRTXHURWHRDPRUpYLGD
E a vida - nem sentida
$WUDJRHXMiFRPLJR
98
$SRHVLDURPkQWLFDSRUWXJXHVD
Aula
$LQmRWHDPRQmR
$LQmRWHDPRQmRHVyWHTXHUR
6
De um querer bruto e fero
Que o sangue me devora,
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1mRWHDPReVEHODHHXQmRWHDPRyEHOD
Quem ama a aziaga estrela
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'DVXDSHUGLomR"
(TXHURWHHQmRWHDPRTXHpIRUoDGR
'HPDXIHLWLoRD]DGR
Este indigno furor.
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UDGRUDGRGHVHMRSDUHFHLQFRPSDWtYHOFRPRVHQWLPHQWRGRDPRU/HP
EUHPRVTXHRDPRULGHDOL]DGRFRUUHVSRQGHQWHDRSDGUmRURPkQWLFRGD
PXVDLQDFHVVtYHOFRORFDYDRHURWLVPRQRSODQRLPDJLQDWLYR$PXVDQmR
poderia ser tocada, ainda que houvesse o desejo do toque. Aqui Garrett
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UHIXWDURDPRUFRPRSRVVLELOLGDGH2´TXHUHUµVHGLIHUHQFLDGR´DPDUµ
FULDQGRXPDLQFRPSDWLELOLGDGHGHÀQLWLYDHQWUHDPERVDLQGDTXHR´WRPµ
GRSRHPDSDUHoDVLPUHPHWHUQRVjLGpLDGRDPRUHPVXDVIRUPDVLQLFLDLV
Um poema da Literatura Brasileira, de Casimiro de Abreu, intitulado Amor
HPHGRWHPW{QLFDSDUHFLGDDLQGDTXHPDLVLQJrQXD9HMDXPWUHFKR
99
Literatura Portuguesa II
(VHWHIXMRpTXHWHDGRURORXFR
eVEHOD³HXPRoRWHQVDPRUHX³PHGR
$VVLP*DUUHWWHPERDSDUWHGHVXDSURGXomRGHXYR]jVTXHVW}HV
GDVXEMHWLYLGDGHURPkQWLFDFRPVHXVDQVHLRVHUHÁH[}HVVREUHRFRQÁLWR
HQWUHVHQWLPHQWRHUD]mRVHQWLPHQWRHPRUDO6XDYLGDDPRURVDVHPSUH
HVWHYH FHUFDGD GH HVFkQGDORV H H[LELFLRQLVPR PDV 6DUDLYD DSRQWD TXH
GHEDL[RGHVWD´PiVFDUDKiXPDYLGDHPRFLRQDOLQWHQVDTXHGiDSDUWHGH
VXDREUDOLWHUiULDXPDSURIXQGH]DSVLFROyJLFDHPTXHQmRVHWHPUHSDUDGR
EDVWDQWHµS
'HRXWURODGRFRPRMiGLVVHPRVHQFRQWUDPRVDSURGXomRGHFDUiWHU
PDLVFROHWLYR RXVRFLDO2IDPRVRSRHPD&DP}HVGHÀQLGRSRU
DOJXQVFRPRSRHPDQDUUDWLYRHSRURXWURVFRPRSRHPDpSLFRGLYLGHVH
HPFDQWRVFRPRQDVHSRSpLDVWUDGLFLRQDLVHpXPDREUDTXHFRORFDHP
GHVWDTXHDÀJXUDGHXP&DP}HVKHURLFRWDQWRSRUVXDWUDMHWyULDGHYLGD
como pelo legado que deixou para a cultura portuguesa e mundial. Vimos
TXHRUHVJDWHGHÀJXUDVKHUyLFDVIRLXPDGDVIRUPDVURPkQWLFDVGHUHFRQ
VWUXomRGDVLGHQWLGDGHVQDFLRQDLV1HVVHVHQWLGRDREUDGH*DUUHWWDLQGD
TXHVXVWHQWDGDHVWHWLFDPHQWHSRUFkQRQHVFOiVVLFRVHVWiLPSUHJQDGDSHOR
HVStULWRURPkQWLFR9HMDFRPR6DUDLYDGHVFUHYHRSRHPD
100
$SRHVLDURPkQWLFDSRUWXJXHVD
Aula
´4XHH[HPSORDIXWXURVHVFULWRUHVµ
2V/XVtDGDV
6
I
eIiFLOREVHUYDURVLQGtFLRVTXHOLJDPRSRHPDjWUDGLomRFOiVVLFDFRQ
WXGRDRPHVPRWHPSRWDPEpPpIiFLOSHUFHEHUVXEMHWLYLGDGHURPkQWLFD
DWULEXLQGRYDORUQHJDWLYRHGUDPiWLFRjIRUPDFRPRDFXOWXUDSRUWXJXHVD
tratou a obra e o poeta.
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SXEOLFDGRXPDQRDQWHVGHVXDPRUWHHVWiPDUFDGRSRUHVVH~OWLPRWUDoR(V
tilisticamente Garrett faz uso de linguagem coloquial, busca formas populares
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2XWUROLYURGHSRHPDV)ORUHVVHPIUXWRHVWDULDDLQGDQDYLVmRGR
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2XWUDVREUDVGH*DUUHWWWHUmRPDLVLQWHUHVVHHPUHODomRjVXDYHUWHQWH
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3DVVHPRVDEUHYHVLQIRUPDo}HVVREUHRXWURVSRHWDVGRSULPHLURPRPHQWR
ALEXANDRE HERCULANO
7DPEpPFRQVLGHUDGRIXQGDGRUGR5RPDQWLVPRHP3RUWXJDODRODGR
GH*DUUHWW$OH[DQGUH+HUFXODQRGH&DUYDOKRH$UD~MRÀFRX
mais conhecido por seu valor como historiador. Liberal, teve que fugir para
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3RUWRDWpREWHUXPFDUJRQDELEOLRWHFD3~EOLFDGR3RUWRORFDORQGHFRPHoD
DGHVHQYROYHUVHXWDOHQWRFRPRLQWHOHFWXDOHHVFULWRU$OpPGHYDVWDREUD
em prosa, publicou os libros de poesia A Voz do Profeta (1836) e A Harpa
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HSXEOLFDomRGHWH[WRVLPSUHJQDGRVSHORVLGHDLVHSHODHVWpWLFDURPkQWLFD
101
Literatura Portuguesa II
(PSXEOLFRXRSULPHLURYROXPHGH+LVWyULDGH3RUWXJDO$WpD
REUDHVWDYDFRPSOHWDWRUQDQGRRFRPRMiGLVVHPRVUHIHUrQFLDQRUROGRV
KLVWRULDGRUHVSRUWXJXHVHVSULQFLSDOPHQWHSRUVXDVLGHLDVSROrPLFDVHSRQWR
GHYLVWDKLVWyULFREDVWDQWHSHFXOLDU/HLDRWUHFKRGRSRHPD´2VROGDGRµ
para perceber, em sua poesia, um pouco do teor social, ainda que, como
vimos, muitos de seus poemas tenham teor espiritual.
O soldado (trecho)
III
3DUDRTXHDSiWULDSHUGH
eRXQLYHUVRPXGR
Nada lhe ri na vida;
Mora o fastio em tudo;
(QRHQWHVWDUF{DWHUUD
Por abrigado esteiro,
(QRSRXVDUjVRPEUD
Do tecto do estrangeiro.
IV
(HVVDVPHPyULDVWULVWHV
Minha alma laceraram,
(DVHQGDGDH[LVWrQFLD
Bem agra me tornaram:
3RUpPQHPVHPSUHIpUUHR
Foi meu destino escuro;
Sufocou de luz um raio
As trevas do futuro.
102
$SRHVLDURPkQWLFDSRUWXJXHVD
Aula
'RPHXSDtVTXHULGR
A praia ainda beijei,
E o velho e amigo cedro
6
No vale ainda abracei!
2KIRLVRQKRGDLQIkQFLD
Desse momento o sonho!
3D]HHVSHUDQoDYLQKDP
$RFRUDomRWULVWRQKR
)RLDHVSHUDQoDQXYHP
4XHRYHQWRVRPHiWDUGH
Facho de guerra aceso
Em labaredas arde!
'RIUDWULFtGLRDOXYD
,UPmRDLUPmRODQoDUD
E o grito: ai do vencido!
Nos montes retumbara.
$VDUPDVVHKmRFUX]DGR
2SyPRUGHXRIRQH
Caiu: dorme tranquilo:
Deu-lhe repouso a morte.
(OHKHUGDUiDRPHQRV
Aos seus honrado nome;
Paga de curta vida
6HUOKHiODUJRUHQRPH
103
Literatura Portuguesa II
2SRHPD&DP}HVFRQVWLWXtGRGHVHWHSDUWHVpRUHJLVWUROtULFRGHXPD
H[SHULrQFLDYLYLGDQDSUySULDSHOH2VLGHDLVTXHPRYHPMRYHQVDOXWDUHP
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YH]HVQmRUHFRQKHFLGRVRXYDORUL]DGRV
$32(6,$520Ç17,&$32578*8(6$12
SEGUNDO MOMENTO
2VHJXQGRPRPHQWRGDOLWHUDWXUDURPkQ
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caracterizou-se pelo Ultra-romantismo. Entre
RV SRHWDV FLWDGRV SRU 0RLVpV GHVWDFRXVH
principalmente, Soares de Passos (1826-1860).
Negro pessimismo e uma poesia chamada de
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SURGXomR $ PRUWH SRU WXEHUFXORVH DRV
DQRVRLQVHUHQRWHUUtYHOFRQMXQWRGHHVFULWRUHV
TXHSDGHFHQGRGRPDOGRVpFXORIDOHFHUDP
jovens, deixando uma obra ainda em estado
de amadurecimento. O poema mais famoso
p´2QRLYDGRGRVHSXOFURµTXHLOXVWUDPRV
Soares de Passos (fontes: http://
abaixo, citando um trecho:
biblio.com.br)
Balada
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-iPHLDQRLWHFRPYDJDUVRRX
4XHSD]WUDQTXLODGRVYDLYpQVGDVRUWH
6yWHPGHVFDQVRTXHPDOLEDL[RX
(UJXHXVHHUJXHXVHQDDPSOLGmRFHOHVWH
Campeia a lua com sinistra luz;
O vento geme no feral cipreste,
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104
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Aula
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$32(6,$520Ç17,&$12
TERCEIRO MOMENTO
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PHQWRRXGDDJRQLDGRHVStULWRURPkQWLFRHPSUROGHXPDYLVmRGHPXQGR
105
Literatura Portuguesa II
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medianeiras de uma ultra-sensibilidade que nos desvenda os segredos
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SRU VXD YH] QmR HVFRQGH DV QRWDV HUyWLFDV VXEWHUUkQHDV YLYDV H
escaldantes, a anular, com seu realismo, a hipocrisia da sensibilidade
URPkQWLFDS
106
$SRHVLDURPkQWLFDSRUWXJXHVD
Aula
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mais natural do erotismo. No plano formal, voltaremos a encontrar o son-
6
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)HUQDQGR3HVVRDDWUDYpVGH$OEHUWR&DHLURGLULDPXLWRVDQRVGHSRLVGR
SUySULRPHQLQR-HVXV
Hymno de Amor
Andava um dia
Em pequenino
Nos arredores
De Nazareth,
Em companhia
'H6DQ-RVp
O bom-Jesus,
O Deus-Menino.
(LVVHQmRTXDQGR
9rQXPVLOYDGR
Andar piando
Arrepiado
(HVYRDoDQGR
Um rouxinol,
Que uma serpente
De olhar de luz
Resplandecente
Como a do sol,
E penetrante
Como diamante,
Tinha attrahido,
Tinha encantado.
-HVXVGRtGR
'RGHVJUDoDGR
Do passarinho,
Sae do caminho,
107
Literatura Portuguesa II
Corre apressado,
Quebra o encanto,
Foge a serpente,
E de repente
O pobrezinho,
Salvo e contente,
5RPSHQ·XPFDQWR
7mRUHTXHEUDGR
Ou antes pranto
7mRVROXoDGR
7mRUHSDVVDGR
'HJUDWLGmR
De uma alegria,
8PDH[SDQVmR
Uma cadencia,
Que commovia
2FRUDomR
Jesus caminha
No seu passeio,
E a avesinha
Continuando
No seu gorgeio
Em quanto o via;
De vez em quando
/iOKHSDVVDYD
GLDQWHLUD
E mal poisava,
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Nem repetia,
Que redobrava
De melodia!
Assim foi indo
E foi seguindo
De tal maneira,
Que noite e dia
1·XPDSDOPHLUD
Que havia perto
'·RQGHPRUDYD
Nosso Senhor
Em pequenino,
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A pobre ave
108
$SRHVLDURPkQWLFDSRUWXJXHVD
Aula
Cantando o hymno
Terno e suave
Do seu amor
6
Ao Salvador!
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$9,'$e2',$'(+2-(
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$YLGDpDLTXHPDOVRD
$YLGDpVRPEUDTXHIRJH
$YLGDpQXYHPTXHYRD
$YLGDpVRQKRWmROHYH
Que se desfaz como a neve
E como o fumo se esvai:
A vida dura um momento,
Mais leve que o pensamento,
A vida leva-a o vento,
$YLGDpIROKDTXHFDL
$YLGDpÁRUQDFRUUHQWH
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Voa mais leve que a ave:
109
Literatura Portuguesa II
&21&/86®2
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RESUMO
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Romantismo pouco a pouco se acentuam. O segundo, com uma linguagem
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ATIVIDADES
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2. Busque em livros e/em sites de Literatura Portuguesa poemas de Feli-
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em sua poesia.
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110
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Aula
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tismo.
6
Destino (Almeida Garrett)
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A fabricar o seu ninho
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E ao mudo verme que tece
Sua mortalha de seda
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Que no prado anda a zumbir
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poetas enumerados.
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111
Literatura Portuguesa II
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valoriza aspectos da natureza local; que a subjetividade no Arcadismo
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certo modo, o menino da imagem do Cristo homem e martirizado.
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e pensa sobre o Cristo menino. Compare.
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que se estabelece entre a subjetividade e a natureza. No Romantismo,
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$872$9$/,$d®2
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cas para que o Romantismo se desenvolvesse em Portugal? Ficou clara a
diferente forma que cada um dos historiadores estudados utilizou para
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cada um para a Literatura Portuguesa? Compreendi que o Romantismo foi
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Sei quais foram os autores e as obras mais relevantes desse movimento?
35Ð;,0$$8/$
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112
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Aula
5()(5È1&,$6
AGUIAR E 6,/9$ 9tWRU 0DQXHO GH Teoria da Literatura. Coimbra:
6
Livraria Almedina, 1982.
CLAUDON, Francis. (QFLFORSpGLDGR5RPDQWLVPR. Minho: Verbo.
HAUSER, Arnold. +LVWyULDVRFLDOGDDUWHHGDOLWHUDWXUD6mR3DXOR
Martins Fontes, 1998.
JEAN, Georges. $HVFULWDPHPyULDGRVKRPHQV. Rio de Janeiro: Ob-
jetiva, 2002.
02,6e60DVVDXGA literatura portuguesa6mR3DXOR&XOWUL[
_______________. 'LFLRQiULRGHWHUPRVOLWHUiULRV6mR3DXOR&XOWUL[
6$5$,9$$QW{QLR-RVp/23(6ÐVFDU+LVWyULDGDOLWHUDWXUDSRUWX
guesa. 14 ed. Porto: Porto Editora Lda., s/a .
113