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O Imaginário Esotérico O IMAGINÁRIO ESOTÉRICO O IMAGINÁRIO ESOTÉRICO LITERATURA CINEMA BANDA DESENHADA ORGANIZAÇÃO Cristina Álvares Ana Lúcia Curado Sérgio Guimarães de Sousa Isabel Cristina Mateus O IMAGINÁRIO ESOTÉRICO LITERATURA CINEMA BANDA DESENHADA Organização: Cristina Álvares | Ana Lúcia Curado | Sérgio Guimarães de Sousa | Isabel Cristina Mateus Comissão Científica: Ana Lúcia Amaral Curado (Universidade do Minho) Ana Paula Coutinho Mendes (Universidade do Porto) Annabela Rita (Universidade de Lisboa) André Correia de Sá (Universidade Federal de São Carlos) Cristina Álvares (Universidade do Minho) Isabel Cristina Mateus (Universidade do Minho) Maria da Conceição Emiliano Castel-Branco (Universidade Nova de Lisboa) Maria do Rosário Girão (Universidade do Minho) Pedro Moura (Universidade de Lisboa) Sérgio Paulo Guimarães de Sousa (Universidade do Minho) Direção gráfica: António Pedro Edição do Centro de Estudos Humanísticos da Universidade do Minho © EDIÇÕES HÚMUS, 2016 End. Postal: Apartado 7081 – 4764-908 Ribeirão – V. N. Famalicão Tel. 926 375 305 E-mail: [email protected] Impressão: Papelmunde, SMG, Lda. – V. N. Famalicão 1.ª edição: Junho de 2016 Depósito legal: 411253/16 ISBN 978-989-755-212-0 ÍNDICE 7 Introdução I 15 Fernando Pessoa – Iniciação e heteronímia Manuel J. Gandra 57 O Pensamento Esotérico do Visconde de Figanière (1827-1908) Manuel Curado II 79 Louro e Simões, O Império das Almas: uma Maçonaria contra o Quinto Império Arlindo José N. Castanho 89 O Verdadeiro Tesouro do Abade Louco ou, A Reinvenção de Faria por Dumas Cristina Costa 101 «Portugal de Todo o Mundo» a Visão Esotérica de Portugal em Pessoa e Régio Cristina Zhou 109 Le Réalisme Fantastique, une source d’inspiration sans commune mesure Damien Karbovnik 125 Ler o que nunca foi escrito: a poesia de Herberto Helder como atlas Daniel Tavares 135 O esoterismo poético em Arcano Dezenove de Renata Bomfim Fabio Mario da Silva 145 A epistemologia fabulatória de Flusser-Bec João Ribeiro Mendes 155 Le romanesque ésotérique de Stefan Grabiński, à l’exemple de La Salamandre Katarzyna Gadomska 167 Jogos malignos: fantástico e esotérico na ficção narrativa de Carlos Ruiz Zafón Maria do Carmo Cardoso Mendes 179 Percursos iniciáticos na ficção narrativa de Luís Cardoso: para uma leitura de O ano em que Pigafetta completou a circum-navegação Micaela Ramon 189 Esoteric Victorians: The Hermetic and the Arcane in the Poetry of Browning, Rossetti and Swinburne Paula Alexandra Guimarães 205 Traces of the (new) esotericism in modern pop culture: Zombies are us! Paulo Alexandre e Castro 215 O dia em que o sol gela: uma leitura de Desmesura. Exercício com Medeia de Hélia Correia Sandra Sousa 225 O lado hermético de Lars von Trier Sara Gonçalves 235 «Como se todos os pesadelos se tivessem transformado num lugar»: Neil Gaiman e A Estranha Vida de Nobody Owens Sara Reis da Silva 243 L’ésotérique à l’épreuve de l’illisibilité: The Man of the Crowd, Heart of Darkness et A Song of Ice and Fire Yasmine Jakani INTRODUÇÃO O MUNDO GRECO-LATINO, do qual derivou a cultura ocidental foi especial- 7 mente profícuo em movimentos esotéricos. Há ainda hoje sinais dessa riqueza antiga. Acredita-se, por exemplo, que as sociedades secretas INTRODUÇÃO ocidentais terão derivado da antiga seita dos Pitagóricos. Além disso, Ana Lúcia Curado os pilares do pensamento ocidental como Platão, Aristóteles e Plotino Cristina Álvares Isabel Cristina Mateus foram objeto de debates intensos sobre as suas doutrinas não escritas. É Sérgio Guimarães de Sousa da antiguidade que provém também um dos símbolos mais poderosos do esoterismo que é Hermes Trismegisto. Os autores greco-latinos sempre foram muito sensíveis à possibilidade de obtenção de conhecimento privilegiado e secreto do mundo. Apesar da proibição que havia de se falar ou escrever sobre os processos iniciáticos, há fortes indícios de que os maiores vultos do pensamento ocidental antigo tenham sido iniciados nos mistérios. É muito provável que eles tenham visto dire- tamente os deuses e outras entidades sobrenaturais. As sociedades do mundo antigo também mostram algo muito difícil de compreender em épocas posteriores: viviam a orbitar os grandes templos onde ofician- tes, como a Pitonisa, contactavam diretamente as entidades de outras dimensões. Por fim, há a destacar o valioso movimento da Gnose. Os Gnósticos contribuíram indiretamente para a história do ocidente. O combate sistemático de natureza doutrinal que a Igreja moveu contra esses movimentos contribuiu para estruturar as crenças religiosas de boa parte da história europeia. Como se viu a respeito dos Pitagóricos também estes movimentos parecem ter sobrevivido à passagem dos séculos. A primeira grande cruzada dirigiu-se precisamente contra os Cátaros, um movimento doutrinal com raízes muito profundas. De facto a Idade Média deu continuidade às tradições esotéricas judeo- -greco-orientais, onde se incluem as tradições talmúdicas e cabalísticas (neopitagóricas), que desembocam nos tratados alquímicos do século XVI. Não se compreende, pois, a cultura europeia sem a influência duradoura das tradições herméticas da Antiguidade. Se pensarmos em autores assaz místicos como Fernando Pessoa (leia-se, desde logo, a «carta à Tia Anica») e W. B. Yeats (cofundador, recorde-se, em 1855, da Dublin Hermetic Order), para mencionarmos dois escritores canónicos e muito ostensivamente marcados pelo esoterismo, percebemos, sem custo, a pertinência em abordar a presença do oculto nos estudos literários. Tanto mais que a interação do esotérico com a criação literária assume diversas configurações e não se fica, como acon- 8 tece com a especificidade de certos subgéneros (a narrativa gótica, por exemplo), pela mera incorporação temático-referencial de fenómenos O IMAGINÁRIO ditos paranormais e de índole transcendental na arquitetura narrativa ESOTÉRICO dos textos; ou, então, pelo gosto mais ao menos pronunciado de certos Literatura Cinema autores por questões esotéricas, com tudo o que isso pode significar Banda Desenhada de incidência estético-literária na obra desses autores. A comprová-lo está, a título de exemplo, o simbolismo alquímico estudado por autores de linha junguiana como Marie Louise von Franz nos contos de fadas ou por Yvette Centeno nas obras de Fernando Pessoa, Peter Weiss, Hermann Hesse, António Ramos Rosa, entre outros. Ou o caso das cada vez mais numerosas – o que diz bem do interesse do público – narrativas (supostamente) psicografadas. Se Machado de Assis, em Memórias Póstumas de Brás Cubas, se com- praz em confiar o relato memorialista a um narrador-defunto (Brás Cubas), não faltam, pois, em boa verdade, edições, por vezes com um assinalável sucesso, baseadas na presunção de terem sido ditados do além-túmulo a narradores vivos – melhor dizendo: a médiuns – pelos falecidos autores. Como se a voz destes, insensível à morte física dos corpos, se prolongasse, por efeito de uma metempsicose momentânea, empiricamente, conquanto haja corpos para lhe dar voz. Assim, continuando com clássicos, é possível achar-se no mercado editorial, por exemplo, sem dificuldade de maior, as Memórias de um Suicida (Editora FEB, 2004), romance psico-grafado pela médium espí- rita Yvonne do Amaral Pereira e cuja autoria é atribuída nada menos do que ao espírito do novelista Camilo Castelo Branco (em contrapartida, diga-se, é difícil, senão mesmo impossível, encontrarmos disponíveis em livraria certas narrativas do novelista de Seide). Quanto a Fernando Pessoa, já que dele falámos, convirá referir que ainda recentemente foi publicado um livro de poesias, elucidativamente intitulado Sou – Psicografias de Fernando Pessoa (Edição de Autor, [s./d.]), da autoria de Isilda Nunes (médium e astróloga). Ou melhor, da autoria de Fernando Pessoa (além-túmulo) por interposta presença (mediúnica) de Isilda Nunes. Eis, a título de curiosidade, o poema de abertura (“Sol Macabro”), poema psicografado, ou seja, recebido, com outros, mediunicamente – apetece escrever: magicamente – na noite de 20 para 21 de abril de 1998, como faz questão de nos informar a autora: «Que ignóbil e ufano perjúrio/ Deste vil e abjecto ser,/ Incendiando a trilha dolorida/ Da 9 verdadeira razão do seu viver// Amar o ser amado com desespero/ E na junção de emoções desmedidas,/ Causadas no âmago de diferentes INTRODUÇÃO vidas,/ Da vida em obsessão não tornou freio.// Hoje ressente-se em seu Ana Lúcia Curado olhar parado,/ Frio e passivo no umbral gelado,/ Desditando o rosário Cristina Álvares Isabel Cristina Mateus da sua vida...// Olhando de longe, vive o sol macabro,/ Rindo do seu Sérgio Guimarães de Sousa viver em descalabro,/ Depois de arruinar a desditosa sina...» (p. 27). Que dizer deste texto? Que estatuto lhe atribuir? Como lê-lo? Para os fervorosos crentes no poder mediúnico, esta questão, em rigor, nem chega a colocar-se. Trata-se muito simplesmente de ler os textos psicografados também de forma mística, o mesmo é dizer, sem a distância crítica da dúvida. E nestes casos, opera-se, por assim dizer, uma ecologia de leitura que não é senão mais do que o reencontro do leitor com a magistral (e sagrada, uma vez que supõe uma ressurreição da morte) palavra do autor defunto, sendo o autor vivo (o psicógrafo) relegado para o papel secundário, mas no fim de contas fundamental, de ventríloquo da voz autoral proveniente do além-túmulo (talvez aqui se possa, não sem ironia, reatualizar a ideia de morte do autor proposta por Foucault...). Mas para quem, com inteira lógica, não se disponha a ceder à tenta- ção esotérica, este tipo de narrativas afiguram-se um tanto incómodas, pois desafiam a tradição crítico-analítica naquilo que lhe é mais sensível: a presunção de ler com razoável cientificidade os existentes textuais. Como ler, por isso, este género de textos? Talvez o mais sensato seja, tudo bem visto e considerado, lê-los simplesmente como textos, procurando neles descortinar o modo como intertextualmente se correlacionam com outros, nomeadamente com os do autor defunto do qual que se dizem emanados. E o facto singular de serem pretensamente textos escritos sob o signo de uma matriz autoral dupla, aquela que põe face a face um autor vivo e um autor morto e do qual, repita-se, o vivo se diz porta-voz, não deve inibir as incursões da crítica.
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