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A Tragédia De Macbeth (The Tragedy of Macbeth)

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A Tragédia De Macbeth (The Tragedy of Macbeth) W E I L R L WILLIAM SHAKESPEARE I A A M E S P H S A E K K E S A A vida é apenas uma sombra errante, um mau ator P E H A S A se pavonear e afligir no seu momento sobre o palco R E do qual nada mais se ouve. É uma história E M Contada por um idiota, cheia de som e fúria, A tragédia de A I Significando nada. L A tragédia de MACBETH A tragédia de Macbeth L I W MACBETH Tradução Rafael Raffaelli William Shakespeare provavelmente finalizou A tragédia de Tradução Edição bilíngue Inglês e Português Macbeth em 1606. Densa, enigmática, estranha, sinistra, Rafael Raffaelli não são poucos os adjetivos para qualificar essa notável tragédia em cinco atos, que é considerada pela crítica uma de suas mais importantes obras. Embora possa ser interpretada como uma tragédia da ambição, Shakespeare vai além da análise da personalidade dos personagens e suas motivações, versando com maestria única sobre a sempiterna questão da editora ufsc www.editora.ufsc.br 9 788532 807847 origem do Mal. A tragédia de Macbeth The tragedy of Macbeth UNIVERSIDADE FEDERAL DE SANTA CATARINA Reitor Luiz Carlos Cancellier de Olivo Vice-Reitora Alacoque Lorenzini Erdmann EDITORA DA UFSC Diretora Executiva Gleisy R. B. Fachin Conselho Editorial Gleisy R. B. Fachin (Presidente) Ana Lice Brancher Andreia Guerini Clélia Maria Lima de Mello e Campigotto João Luiz Dornelles Bastos Kátia Maheirie Luis Alberto Gómez Marilda Aparecida de Oliveira Effting Editora da UFSC Campus Universitário – Trindade Caixa Postal 476 88010-970 – Florianópolis-SC Fone: (48) 3721-9408 [email protected] www.editora.ufsc.br William Shakespeare A tragédia de Macbeth The tragedy of Macbeth Tradução Rafael Raffaelli 2016 © 2016 Editora da UFSC Coordenação editorial: Paulo Roberto da Silva Capa: Paulo Roberto da Silva, com imagem do vitral Shakespeare Window, da Catedral de Southwark, Londres Projeto gráfico: Rômulo Samir Laferdini Editoração: Cristiano Tarouco Revisão: Susana Kampff Lages Ficha Catalográfica (Catalogação na fonte pela Biblioteca Universitária da Universidade Federal de Santa Catarina) S527t Shakespeare, William A tragédia de Macbeth = e tragedy of Macbeth / William Shakespeare ; Tradução Rafael Ra aelli. – Florianópolis: Ed. da UFSC, 2016. 255 p. Inclui bibliografia. Edição bilíngue: português e inglês 1. Teatro inglês (Tragédia). 2. Literatura inglesa. I. Ra aelli, Rafael. II. Título: e tragedy of Macbeth. CDU: 820-2 ISBN 978-85-328-0784-7 Este livro está sob a licença Creative Commons, que segue o princípio do acesso público à informação. O livro pode ser compartilhado desde que atribuídos os devidos créditos de autoria. Não é permitida nenhuma forma de alteração ou a sua utilização para ns comerciais. br.creativecommons.org Sumário Introdução 7 e persons of the play | Personagens da peça 12 | 13 Act | Ato 18 | 19 Act | Ato 62 | 63 Act | Ato 98 | 99 Act | Ato 142 | 143 Act | Ato 190 | 191 Notas do tradutor 229 Posfácio | O casal Macbeth no divã de Freud 243 INTRODUÇÃO Densa, enigmática, estranha, sinistra, não são poucos os adjetivos para quali car esta notável tragédia em cinco atos, que é considerada pela crítica uma das mais importantes obras de William Shakespeare. Apesar de Macbeth não se constituir numa peça histórica, seu prota- gonista foi de fato uma gura da história escocesa que reinou por anos, de a . Para montar o enredo de sua peça, Shakespeare apoiou-se principalmente nas Crônicas da Inglaterra, Escócia e Irlanda (, ), compiladas por Raphael Holinshed e outros, mas também nas obras anterio- res de Hector Boece, Scotorum historiae (, ), e George Buchanan, Rerum Scoticarum historia (). Há evidências de que tenha sido feita de encomenda para ser repre- sentada na corte do Rei Jaime I, que uni cou as coroas da Inglaterra e da Escócia ao suceder Elizabeth I. O monarca escocês patrocinou a tradução da Bíblia (Vulgata) para a língua inglesa e era um estudioso da demonologia, tendo pessoalmente interrogado algumas bruxas escocesas entre e ; supostamente seria descendente de Banquo, um dos principais personagens da peça. Supõe-se também que tenha sido escrita entre e e que sua primeira encenação ocorreu em . O texto base para todas as edições da obra é o Primeiro Fólio (F), publicado em , com prováveis interpolações de outros autores, em especial omas Middleton, que é considerado o adaptador da peça. Atribui-se a Middleton a inclusão, em , da cena . e da fala de Hécate em ., além de duas canções extraídas da peça e w i t c h (A bruxa) de sua autoria; essas inserções no texto original devem-se antes a razões práticas – o interesse popular pelo tema das bruxas e o emprego do aparato técnico disponível nos novos teatros privados da época –, do que a razões estéticas ou de conteúdo. Macbeth, tida por muitos como uma tragédia da ambição, ultrapassa a caracterização psicológica e questiona a ambivalência entre o Bem e o Mal, A tragédia de Macbeth com o concurso da simbologia gnóstica e em consonância com os provér- bios ingleses “fair without but fool within” e “fair face foul heart”. Em por- tuguês encontraríamos equivalência nos provérbios: “por fora bela viola, por dentro pão bolorento” e “quem vê cara, não vê coração”. Mas as pró- prias Bruxas, já na abertura da peça, enunciam: “fair is foul, foul is fair”. O oximoro “fair-foul” comporta várias possíveis antinomias em português: bem-mal, belo-feio, verdadeiro-falso, justo-injusto e outras. Esses termos polissêmicos são repetidamente empregados ao longo da peça, quase sem- pre relacionados à oposição fora-dentro. São igualmente notáveis as repetidas duplicações, referindo-se ao par antitético “fair-foul”, e as menções aos múltiplos de três, caracterizando a ação das Bruxas e da deusa tripartite Hécate. O emprego de metáforas reite- radas no decorrer da peça, referindo-se principalmente à relação das vestimentas com o poder, mas também à economia, à medicina e à biologia – em especial à zoologia e à botânica –, conectam as cenas segundo a progres- são da trama e, por outro lado, demonstram a intimidade de Shakespeare com esses campos de conhecimento. A poção das Bruxas (.) é um exem- plo soberbo, pois a maioria dos ingredientes de sua receita é composta de animais e plantas endêmicos da fauna e ora das Ilhas Britânicas, acessíveis às bruxas escocesas. Além disso, são numerosas as alusões à Bíblia, sendo as mais relevan- tes: “ninguém nascido de mulher” – tomada num sentido muito particular, que dá ensejo à dúbia profecia das Bruxas – e “a vida é apenas uma sombra errante”. Outra alusão signi cativa, agora de cunho político, transparece nas falas do Porteiro ao dialogar com Macdu (.): a “doutrina da equivocação” (doctrine of equivocation), como eram jocosamente cognominados à época os so smas dos jesuítas envolvidos no Complô da Pólvora (Gunpowder Plot) de ; essa mesma cena ilustra com propriedade a teoria dos gêneros dramáticos mistos, mesclando comédia e tragédia, pois a comicidade des- bragada do Porteiro é um interlúdio entre o assassinato do Rei Duncan por Macbeth na cena anterior e a descoberta de seu cadáver por Macdu na sequência. Cabe ao tradutor de Shakespeare, antes de tudo, optar por uma edição, na qual seu trabalho se baseará. No caso especí co de Macbeth as 8 Shakespeare diferenças entre as várias edições modernas decorrem principalmente da pontuação e da gra a e da interpretação de determinadas palavras e linhas. A edição utilizada como base da presente tradução foi a de A. R. Braunmuller () para a coleção e New Cambridge Shakespeare, publicada pela Cam- bridge University Press, cotejada com a edição de N. Brooke () para a coleção e Oxford Shakespeare, publicada pela Oxford University Press. Os provérbios ingleses citados nas notas provêm da obra de R. W. Dent (), Shakespeare’s proverbial language: an index, publicada pela University of California Press. Considero que cada tradução de Shak espeare envolve um projeto especí co. Em minha tradução de As you like it (Do jeito que você gosta), pu- blicada em , optei pelo texto em prosa, mas mantive a métrica e a rima nas canções e poesias. Na tradução de e tempest (A tempestade), publicada em , acompanhei a alternância do original entre verso branco, verso rimado e prosa, com o propósito de estabelecer um equilíbrio entre conteúdo e for- ma, buscando ser o mais el possível ao sentido – ou sentidos – da peça e, ao mesmo tempo, manter a qualidade poética do texto. Esse último projeto tradutório foi o modelo para a tradução de Mid- summer night’s dream (Sonho de uma noite de verão), publicada em 2016, e para a atual tradução bilíngue de Macbeth – que deriva de uma versão em prosa realizada em – com a especi cidade de não me ater a nenhuma restrição métrica, exceto nas falas das Bruxas (.; .) e de Hécate (.); no restante do texto procurei estabelecer um ritmo e uma riqueza imagética que zessem jus ao original, mantendo as rimas e, na medida do possível, as aliterações e os jogos de palavras. A tradução conta também com notas explicativas tratando de aspectos formais e de conteúdo referentes ao texto. O ponto de convergência entre todas as traduções acima elencadas é a dicção contemporânea, evitando ao máximo as complexidades sintáticas e os arcaísmos que obscurecessem o entendimento do texto, mas sem cair na simpli cação excessiva, que denigriria a sua riqueza, nem no emprego de regionalismos e gírias, que o circunscreveriam a uma determinada co- munidade linguística e a uma determinada época. 8 9 . A tragédia de Macbeth Tentei ser el a essas propostas e espero ter produzido uma leitura instigante dessa obra tão signi cativa quanto sublime. Mas como traduzir Shakespeare implica assumir sucessivas deci- sões, tanto no que se refere ao conteúdo quanto à forma do texto, é numa linha tênue, num equilíbrio precário, que caminha o trabalho de recriar o original nos limites linguísticos e expressivos de quem o traduz.
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