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Sentimento da dor na poesia de Camilo Pessanha e a sua relação com a poesia sínica
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A presente pesquisa é dedicada à poesia de um dos maiores poetas do Fim-de-Século português Camilo Pessanha, tendo em vista o seu interesse em abordar os temas e símbolos relacionados à Dor, na tentativa de mostrar que a poética de Pessanha em muito supera a imagem emblemática do Simbolismo e Decadentismo que perpassam os finais do séc. XIX. Ao propor uma obra que em muitos aspectos se aproxima da escrita simbolista, Pessanha preserva, todavia, a sua identidade e originalidade próprias, como também a sua vontade de demonstrar, em vários aspectos, o seu gosto pela Poesia Clássica Chinesa, transparecido nos poemas e prosas. Para tanto, por um lado, atenta-se aos traços biográficos do poeta, muito pouco consentâneos com a sua hiper-sensibilidade e saúde frágil, a ver como estes, indelevelmente, continuaram a burilar uma Dor angustiosa na mundividência do poeta e, por consequência, na poesia de Pessanha; por outro lado, busca-se identificar os princípios formais e o uso de sintaxe, para além de temas e símbolos, que em conjunto são significativos para a produção do valor intrínseco da poética de Pessanha, para verificar como neles se encontram especificidades, semelhanças e divergências com os poemas chineses, cuja linguagem, ao lado da filosofia e estética, o nosso poeta tanto admirava.
A partir do diálogo entre a poética de Camilo Pessanha e a Poesia Clássica Chinesa, tenta-se, pois, cotejar modos e níveis de intertextualidade entre os poemas selecionados de Clepsydra e a sensibilidade poética de Li Bai (710-762), Meng Hao Ran (689-741) e Li Shang Yin (813-858), poetas da Dinastia Tang (618-907 d.C.). Propõe-se ainda, quando oportuno, contribuir com uma tradução pessoal, o que igualmente concorrerá para divulgar e enriquecer o espólio da Poesia Chinesa em português.
This research is dedicated to the poetry of one of the greatest Portuguese poets of the fin de siècle – Camilo Pessanha, considering his interest in addressing the themes and symbols related to Pain, in an attempt to show that the poetics of Pessanha far surpasses the emblematic image of Symbolism and Decadentism that permeate the end of the century XIX. Having proposed a work that in many aspects approaches the symbolist writing, however, Pessanha preserves his own identity and originality, as well as his personal taste for Chinese Classical Poetry, which can be found in his poems and proses in various aspects. Therefore, the present research explores, first of all, the biographical traces of the poet, which is out of tone with his hyper-sensitivity and fragile health, to see how these experiences indelibly tinged the poet's worldview and his poetry with Pain. Meanwhile, the study will identify the formal principles and the use of syntax, as well as the themes and symbols (which are significant for the production of intrinsic value of Pessanha's poetics), to verify how specificities, similarities and divergences in relation to Chinese poems meet together in his poetry, considering that the language of Chinese classical poetry, alongside its philosophy and aesthetics, is part of the tradition that our poet admired so much. Giving the studies of dialogue between the poetry of Camilo Pessanha and Chinese classical poetry, the purpose of this research is to understand modes and levels of intertextuality between the selected poems from Clepsidra and the poetic sensitivity of Li Bai (710-762), Meng Hao Ran (689-741) and Li Shang Yin (813-858), poets of the Tang Dynasty (618-907 AD). This study also aims to contribute with a personal translation of poems, which will also help to spread and enrich the collection of Chinese Poetry in Portuguese language.
This research is dedicated to the poetry of one of the greatest Portuguese poets of the fin de siècle – Camilo Pessanha, considering his interest in addressing the themes and symbols related to Pain, in an attempt to show that the poetics of Pessanha far surpasses the emblematic image of Symbolism and Decadentism that permeate the end of the century XIX. Having proposed a work that in many aspects approaches the symbolist writing, however, Pessanha preserves his own identity and originality, as well as his personal taste for Chinese Classical Poetry, which can be found in his poems and proses in various aspects. Therefore, the present research explores, first of all, the biographical traces of the poet, which is out of tone with his hyper-sensitivity and fragile health, to see how these experiences indelibly tinged the poet's worldview and his poetry with Pain. Meanwhile, the study will identify the formal principles and the use of syntax, as well as the themes and symbols (which are significant for the production of intrinsic value of Pessanha's poetics), to verify how specificities, similarities and divergences in relation to Chinese poems meet together in his poetry, considering that the language of Chinese classical poetry, alongside its philosophy and aesthetics, is part of the tradition that our poet admired so much. Giving the studies of dialogue between the poetry of Camilo Pessanha and Chinese classical poetry, the purpose of this research is to understand modes and levels of intertextuality between the selected poems from Clepsidra and the poetic sensitivity of Li Bai (710-762), Meng Hao Ran (689-741) and Li Shang Yin (813-858), poets of the Tang Dynasty (618-907 AD). This study also aims to contribute with a personal translation of poems, which will also help to spread and enrich the collection of Chinese Poetry in Portuguese language.
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Poesia Camilo Pessanha Dor Simbolismo Poesia Clássica Chinesa Filosofia Chinesa Pain Simbolism Classic Chinese Poetry Chinese Philosophy