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2011 Alipiocorreiafrancaneto.Pdf 1 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURA COMPARADA PROGRAMA DE PÓS-GRADUAÇÃO EM TEORIA LITERÁRIA E LITERATURA COMPARADA “A Balada do Velho Marinheiro” como representação do devaneio dos românticos Alípio Correia de Franca Neto Tese apresentada ao Programa de Pós-Graduação em Teoria Literário do Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de Doutor em Letras. Orientador: Profa. Dra. Viviana Bosi v.1 São Paulo 2011 2 Esta tese é dedicada à memória de minha mãe, Eunice Dias Ribeiro, por seu amor e estímulo de toda uma vida. 3 4 Agradecimentos Gostaria de deixar consignados aqui meus agradecimentos a pessoas que de uma forma ou de outra deram sua contribuição a este trabalho. São elas: À professora Viviana Bosi, por sua orientação segura, paciência e amabilidade em me facultar o acesso a um sem-número de referências bibliográficas importantes para esta tese; Ao professor John Milton, por algumas sugestões pertinentes acerca de focos para abordagem; Às professoras Moira Andrade e Thaís Giammarco, por sua ajuda na revisão da tese, tornada tanto mais valorosa pelas circuntâncias adversas; E a Raphael Nunes e a Márcia Frai, por sua solicitude na aquisição de material para pesquisa. A FAPESP, sem cujo apoio não teria sido possível realizar esta pesquisa. 5 RESUMO A pesquisa procurará demonstrar que o poema “A Balada do Velho Marinheiro” (1798, primeira versão publicada), do poeta inglês Samuel Taylor Coleridge (1772-1834), é uma representação artística do conceito de “devaneio” [revery ] dos românticos. Partindo do subtítulo do poema “A poet’s revery” [Devaneio de um poeta], acrescentado à Balada por Coleridge em uma de suas sucessivas edições, o projeto intentará mostrar que o conceito de “devaneio”, no caso, corresponde a uma visão partilhada por vários autores da época, qual seja um estado intermediário entre o sono e a vigília, como o próprio poeta a definiu. Para tanto, a pesquisa procederá a uma identificação de fontes de que Coleridge se serviu para elaborar sua própria teoria da “imaginação”, palavra que, para ele, apresentava um verdadeiro fardo de especulação e sentido técnico, e que funciona como um eixo em torno do qual giram, de modo geral, seus escritos sobre arte e filosofia, além de ser para o poeta, em nível pessoal, uma “defesa de dada atitude para com a vida e a realidade”. Tal abordagem pode se mostrar proveitosa quando nos propomos a fazer uma leitura da “Balada do Velho Marinheiro”, não só pelo fato de a poética de Coleridge andar a par e passo com seus escritos teóricos, mas também, como haveria de demonstrar a longa tradição de exegeses da Balada , sobretudo em razão de o próprio Coleridge referir-se ao poema como sendo uma obra de “pura imaginação” 1, por apontar diretamente para a necessidade de tentar explicar-lhe aspectos formais e temáticos a partir do contexto dessa teoria. Além disso, serão rastreadas as influências que Coleridge recebeu de seus contemporâneos e do ambiente literário de que fazia parte na Inglaterra do começo do século XIX, bem como se procederá a um estudo das influências sofridas por ele da filosofia idealista em sua vertente organicista, para elaborar sua própria teoria da imaginação. Como na verdade essa teoria se liga estritamente à concepção então em voga de obra “orgânica” – uma estrutura fechada em que o todo e as partes se explicam mutuamente –, o projeto terá como ponto central a análise da Balada em que se procurará demonstrar que estas concepções, amplamente desenvolvidas na 6 obra teórica de Coleridge, são a razão do jogo de simetrias presentes no poema, e que seu imaginário e simbolismo radical – aspecto que se aplica a muitos de seus poemas – estão a serviço do que se pode chamar de técnica do devaneio ou do “sonho acordado”. Um capítulo final levará a efeito um levantamento do legado da obra poética e dos escritos críticos de Coleridge e de sua influência sobre os poetas e críticos que lhe sucederam. 1 Essa referência, contextualizada, será comentada adiante. 7 ABSTRACT This study aims to show that the poem "The Rime of the Ancient Mariner", first published in 1798 by English poet Samuel Taylor Coleridge (1772-1834), is an artistic representation of the concept of romantic reverie. Starting with the subtitle of the poem, "A poet's reverie", added to The Rime by Coleridge in one of its subsequent editions, the study will attempt to show that the concept of "reverie", in this case, corresponds to a shared general vision held by several authors of the time, who considered the "reverie" a type of "disturbance of the imagination", or an intermediate state between sleep and wakefulness, as the poet himself described it. Accordingly, the study will go on to identify the subjective modes and concepts around romantic imagination by touching on some sources that Coleridge used in the creation of his own theory of "imagination", a word that, for him, was a real burden in terms of both speculation and technical meaning, and which serves as an axis around which the general method of his writing on art and philosophy revolves, in addition to being the "defense of a given attitude of life and reality" for the poet on a personal level. This approach may be helpful examining the "The Rime of the Ancient Mariner", not just for the fact that Coleridge's poetry goes hand-in-hand with his theoretical writings, but, as the long tradition of the Rime's exegeses would demonstrate, especially because of the fact that Coleridge's own reference to the poem as being a work of "pure imagination" directly highlights the necessity to try and explain its formal and thematic aspects from the context of this theory. Besides this, the influences that Coleridge received from his contemporaries and the literary scene at the beginning of 19 th Century England, of which he was a part, will be traced, along with the aspects of idealist philosophy and the organist leaning in the creation of his imagination theory that also influenced him. As this theory is in fact closely related to the concept of the "organic" work that was in fashion - a closed structure in which all the parts are mutually explained - the study will have as its main theme an analysis of The Rime, where the concepts thoroughly developed in Coleridge's theoretical work will be used to make sense of the symmetrical strategy present in the poem, and it will be shown that his imagination, metaphoric and radical symbolism – an aspect that applies to many of 8 his poems - are at the service of what could be called the reverie technique, or the "waking dream". The final chapter will draw on research concerning the legacy of Coleridge's poetic work and critical writings, and his influence on subsequent generations of poets and critics. 9 SUMÁRIO INTRODUÇÃO O Ecletismo de Coleridge Interpretações de “A Balada do Velho Marinheiro” Nossa Proposta PRIMEIRA PARTE : PURA IMAGINAÇÃO A Revolução Industrial Ecos da Revolução Francesa na Inglaterra Conceito de Romantismo A Crítica Romântica da Sociedade Burguesa O Declínio do Racionalismo Filosófico e Científico O Gênio Romântico A Poesia se torna “Ideal” A Ascensão da “Imaginação” Aspectos da Filosofia Organicista A Adesão de Coleridge ao Pensamento Organicista A “Coalescência do Objeto e do Sujeito” I Conceitos de Imaginação e Fantasia em Coleridge SEGUNDA PARTE : ÓPIO, SONHOS E DEVANEIOS O Culto Romântico do Sonho e o Ópio A Flor de Coleridge O Devaneio Romântico A “Coalescência do Objeto e do Sujeito” II Coleridge e sua Teoria dos Sonhos, do Devaneio e da Ilusão Dramática TERCEIRA PARTE : O DEVANEIO COLERIDGEANO As Baladas Líricas A Balada do Velho Marinheiro 10 As Glosas A Epígrafe Primeira Parte Segunda Parte Terceira Parte Quarta Parte Quinta Parte Sexta Parte Sétima Parte Movimento Circular O Devaneio Coleridgeano A Questão da Moral “Entender sua Ignorância” Considerações Finais Apêndice I “ A Balada do Velho Marinheiro” Apêndice II “ “Kubla Khan”” Apêndice III “ A Pessoa de Porlock”, de Jerey Reed Referências Bibliográficas Agradecimentos 11 A “BALADA” DO VELHO MARINHEIRO” COMO REPRESENTAÇÃO DO DEVANEIO DOS ROMÂNTICOS Alípio Correia de Franca Neto ... some night-wandering man whose heart was pierced With the remembrance of a griveous wrong, Or slow distemper, or neglected love, (And so, poor wretch! Filled all things with himself, And made all gentle sounds tell back the tale Of his own sorrow). Coleridge, “The Nightingale: A Conversation Poem”, abril de 1798. 12 INTRODUÇÃO O Ecletismo de Coleridge Vasta é a envergadura do pensamento de Coleridge, e variadas as metamorfoses do espírito proteano com que ele se entregou de modo igualmente fervoroso a tarefas as mais díspares entre si. O status de Coleridge como poeta nunca foi posto em questão, e os historiadores da literatura parecem unânimes em afirmar que ele se deveu sobretudo a um período, por assim dizer, de “fulguração”, que se estendeu por apenas cinco anos, o ápice de sua energia criativa tendo ocorrido durante o annus mirabilis de 1797 até a primavera do ano seguinte. Por essa época, Coleridge teve contato pela primeira vez com Dorothy e William Wordsworth e escreveu poemas que haveriam de se incluir definitivamente entre os mais célebres da literatura inglesa, “A ‘balada’ do velho marinheiro”, ““Kubla Khan”” e “Christabel”, seus assim chamados “Mystery Poems” [Poemas de Mistério] ou seus poemas “góticos”, o primeiro deles tendo sido o poema de abertura das “Lyrical ballads” [Baladas líricas]. Esta obra, aliás, marca o início oficial do movimento romântico na Inglaterra 2 e, se teve em Coleridge um eminente colaborador, encontrou na figura de Wordsworth o seu grande mentor.
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