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O RETRATO DE DORIAN GRAY: Um Romance Em Trˆestempos Circula¸C˜Aoentre Inglaterra E Brasil

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O RETRATO DE DORIAN GRAY: Um Romance Em Trˆestempos Circula¸C˜Aoentre Inglaterra E Brasil TANIA^ TOFFOLI O RETRATO DE DORIAN GRAY: um romance em tr^estempos Circula¸c~aoentre Inglaterra e Brasil CAMPINAS 2013 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM TANIA^ TOFFOLI O RETRATO DE DORIAN GRAY: um romance em tr^estempos Circula¸c~aoentre Inglaterra e Brasil Orientador: Profa. Dra. Orna Messer Levin Disserta¸c~aoapresentada ao Instituto de Es- tudos da Linguagem, da Universidade Estad- ual de Campinas, para obten¸c~aodo T´ıtulode Mestra em Teoria e Hist´oriaLiter´ariana ´area de Hist´oriae Historiografia Liter´aria. CAMPINAS 2013 iii FICHA CATALOGRFICA ELABORADA POR CRISLLENE QUEIROZ CUSTODIO CRB8/8624 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Toffoli, T^ania,1984- O retrato de Dorian Gray : um romance em tr^estem- pos circula¸c~aoentre Inglaterra e Brasil / T^aniaToffoli. { T571r Campinas, SP : [s.n.], 2013. Orientador : Orna Messer Levin. Disserta¸c~ao(mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Wilde, Oscar, 1854-1900. O retrato de Dorian Gray. 2. Jo~ao,do Rio, 1881-1921. 3. A Noite (Jornal). 4. Tradu¸c~ao e interpreta¸c~ao.5. Jornal brasileiro - Circula¸c~ao.I. Levin, Orna Messer, 1960-. II. Universidade Estadual de Camp- inas. Instituto de Estudos da Linguagem. III. T´ıtulo. Informa¸c~oespara Biblioteca Digital T´ıtuloem ingl^es: The picture of Dorian Gray: a novel in three times - circulation between England and Brazil. Palavras-chave em ingl^es: Dorian Gray Jo~ao,do Rio A Noite (Newspaper) Translation and interpretation Brazilian newspaper - Circulation Area´ de concentra¸c~ao: Hist´oriae historiografia liter´aria. Titula¸c~ao: Mestra em Teoria e Hist´oriaLiter´aria. Banca examinadora: Orna Messer Levin [Orientador] Pedro Paulo Ferreira Catharina Fabio Akcelrud Dur~ao Data da defesa: 27-02-2013. Programa de P´os-Gradua¸c~ao: Teoria e Hist´oriaLiter´aria. iv v vi DEDICATORIA´ Aos meus pais que n~aome ensinaram o pre¸code nada, mas o valor de tudo. vii viii AGRADECIMENTOS Primeiramente, gostaria de agradecer aos meus pais. Minha m~aepelas prazerosas horas de leituras no sof´ae por sempre me deixar comprar livros no supermercado. Meu pai pelas sempre interessantes discuss~oesno jantar e por deixar \jogados por a´ı”livros t~aofascinantes. Agrade¸comeu querido Marcelo pelo companheirismo e paci^enciacom que me ouviu falar por horas sobre as pesquisas que levaram `a escrita deste trabalho. Agradecimentos especiais s~aoimprescind´ıveis tamb´ema alguns amigos. Les Enfants Terribles, ´eclaro, { Andr´e,Alline, Fabiano, Paulo, Rodrigo { meus eter- nos companheiros. Al´emde alguns amigos antigos de suma import^anciaFelipe, Marquinho, Japa pelas conversas sempre inspiradoras que me incentivaram a con- tinuar tentando. Todos os meus queridos, hoje importantes amigos, do Elite. Al- guns merecem men¸c~ao,ainda, pelas consultas, revis~oes,formata¸c~oese apoio, Jana, Ju e Vanessinha. Esta sempre disposta a ajudar nos momentos mais cr´ıticos,com calma e do¸cura. Menino Darcy por toda a paci^enciae dedica¸c~aoem me ajudar com a formata¸c~aoem seus preciosos finais de semana, muito obrigada. Pela ordem de intimidade, mas n~aode import^ancia,agrade¸cotamb´em`aOrna por orientar uma desorientada com tanta paci^enciae delicadeza; a M´arciae a todos do grupo de pesquisa que contribu´ıramcom sua leitura criteriosa e valios´ıssimaa qual nunca consegui realmente retribuir. Ainda mais dedicada e essencial para a execu¸c~aodeste trabalho foram as conver- sas e indica¸c~oesde Ana Porto que me trouxeram dicas sem as quais n~aoconseguiria ter conclu´ıdomeu texto. Pelas leituras, opini~oese preciosa bibliografia Pedro Paulo e M´ario, que partic- iparam de maneira t~aoprofissional e elegante de minha qualifica¸c~ao.Finalmente, tamb´emagrade¸coespecialmente os professores Arnoni e Eric, al´emde outros v´arios importantes no desenvolvimento de minha incur´avel paix~aopela Literatura que, como deve ser, trouxe-me imenso prazer por cada linha escrita neste trabalho e mais ainda ao v^e-lohoje conclu´ıdo. ix x EP´IGRAFE \Frequentemente tenho longas conversas comigo mesmo, e sou t~ao inteligente que algumas vezes n~aoentendo uma palavra do que estou dizendo." Oscar Wilde xi xii RESUMO O objetivo deste trabalho ´ecomparar o contexto de publica¸c~aodo ´unico romance de Oscar Wilde, \O Retrato de Dorian Gray", na Inglaterra e no Brasil. A obra aparece pela primeira vez no Reino Unido e EUA em 1890 na Lippincott's. E´ editada em livro em 1891. A tradu¸c~aodo texto para o portugu^es,feita por Jo~aodo Rio, circula no Brasil em folhetim no jornal A Noite, em 1911. A publica¸c~aoem livro ´efeita pela Garnier, em 1923, ap´osa morte do tradutor. A partir dessas informa¸c~oes,se faz rel- evante considerar alguns tipos de leituras que s~aopossibilitadas nos dois casos. Para compreend^e-las,analisei dois aspectos ligados `aestrutura do romance: o uso do narrador, pelo vi´esda narratologia de Genette, e a presen¸cade descri¸c~oes. ABSTRACT The purpose of this study is to compare the context of publication of the only novel by Oscar Wilde, \The Picture of Dorian Gray", in England and in Brazil. The work appears for the first time in UK and US in 1890 at Lippincott's. It is edited as a book in 1891. The translation of the text in Portuguese, by Jo~aodo Rio, circulates in Brazil as feuilleton at the newspaper A Noite, in 1911. The publication as book is made by Garnier, in 1923, after the death of the translator. From this information, it is relevant to consider some types of readings enabled by these two cases. To understand them, I've analyzed two aspects concerning the structure of the novel: the use of the narrator, by bias of narratology of Genette, and the presence of descriptions. xiii xiv Sum´ario INTRODUC¸ AO~ 1 1 O RETRATO DE DORIAN GRAY NA LIPPINCOTT'S MAG- AZINE E SEUS LEITORES: circula¸c~aoe recep¸c~aodo romance na Inglaterra 11 1.1 O MOVIMENTO ESTETICO´ . 16 1.2 A RECEPC¸ AO~ NA INGLATERRA . 21 2 JOGO DE VOZES E PERSPECTIVAS: o narrador em movimento. 31 2.1 RETOMANDO A TRADIC¸ AO~ . 34 2.2 O MODO DO NARRADOR . 44 2.2.1 COMENTARIOS´ DO NARRADOR: a perspectiva . 46 2.2.2 O NARRADOR ESPECTADOR: a dist^ancia . 51 2.3 O DISCURSO DOS PERSONAGENS: modo e voz . 55 2.3.1 O DRAMA NO ROMANCE: o discurso direto . 56 2.3.2 A VOZ NARRATIVA: narrador ou personagem? . 59 3 O JOGO DE IMAGENS: o retrato e a descri¸c~ao 67 3.1 O QUADRO E O RETRATO . 69 3.2 LUZ E SOMBRA . 74 4 JOGANDO EM OUTRAS LETRAS: a circula¸c~aodo romance no Brasil 89 4.1 O FOLHETIM NO JORNAL A NOITE . 94 4.2 OS RECORTES . 114 4.3 A TRADUC¸ AO~ EM LIVRO E O TRADUTOR . 121 CONCLUSAO~ 131 BIBLIOGRAFIA 135 ANEXO 159 xv xvi INTRODUC¸ AO~ O interesse por Oscar Wilde, tanto por parte da cr´ıtica quanto dos leitores comuns, tem sido enorme desde o s´eculoXIX. Um autor controverso e espirituoso, Wilde ainda chama a aten¸c~aodos especialistas e do p´ublicoem geral, principalmente, pela ampla divulga¸c~aode seus epigramas proferidos por personagens. Frases como \I can resist everything except temptation"1 e \The only thing worse than being talked about is not being talked about"2, ambas de Lord Henry em O retrato de Dorian Gray, s~aoconstantemente citadas e demonstram estilo paradoxal que tornou Oscar Wilde um escritor t~aofamoso. Os epigramas proferidos por t´ıpicos dandies, como Lord Goring da pe¸ca An Ideal Husband, Lord Darlington de Lady Windermere's Fan, Lord Illingworth de A Woman of No Importance, Algernon Moncrieff de The Importance of Being Earnest e o pr´oprioLord Henry Wotton de The Picture of Dorian Gray tornaram-se refer^enciaestil´ısticado dandismo. Tais personsagens, veiculando frases do pr´oprioWilde t^emsido considerados como seus alter-egos. A popularidade de que goza o autor fez com que houvesse curiosidade acerca dos estudos cr´ıticosde suas ideias pelos cr´ıticose n~aosomente a leitura de suas obras. Nas primeiras d´ecadasap´ossua morte foram produzidas diversas biografias e compila¸c~aode toda sua obra, por Stuart Mason, em 1914. S~aoinfind´aveis os textos de cr´ıticamoderna, a ponto de terem sido produzidas duas bibliografias anotadas de sua cr´ıtica: uma por Mikhail (1978) e outra por Di Pietro (2000). Devido ao enorme volume, n~aocabe uma revis~aode conte´udodessa fortuna cr´ıtica, por n~aoser esse o objetivo deste trabalho. Mas no que ´epertinente a este estudo, cabem algumas considera¸c~oesno que se refere `astradu¸c~oesbrasileiras. Todas as obras liter´ariasde Wilde j´at^emvers~oes em portugu^es;restam ainda sem tradu¸c~aoalgumas cartas, escritos para os jornais e revistas em que trabalhava e algumas cr´ıticas,muitos ainda n~aocompletamente re- unidos na pr´oprial´ınguaoriginal. No Brasil, algumas tradu¸c~oesatuais importantes de obras de Wilde no Brasil s~ao A Balada do C´arcere de Reading, por Paulo Vizioli, 1Eu posso resistir a tudo, menos `atenta¸c~ao. 2A ´unicacoisa pior do que falarem a nosso respeito ´en~aofalarem de n´os. 1 da USP e A Import^anciade ser Prudente, por Guilherme de Almeida, membro da Academia Brasileira de Letras. Entre as primeiras tradu¸c~oesnacionais, algumas merecem destaque: Elysio de Carvalho foi importante com sua famosa tradu¸c~ao de The Balad of Reading Gaiol e o jornalista, escritor Jo~aodo Rio (Jo~aoPaulo Em´ılioCristov~aodos Santos Coelho Barreto), defensor das ideias est´eticasdurante Belle Epoque´ carioca, traduziu v´ariasobras de Wilde, como Intentions, Salom´e e Dorian Gray.
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