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Pessoa no labirinto de Saramago
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A presente dissertação, tendo como ponto de partida o romance O Ano da Morte de Ricardo Reis, de José Saramago, percorre algumas linhas de leitura desencadeadas pela obra, como sejam o aspecto deambulatório da presença do seu protagonista no tempo e no espaço do seu regresso do auto-exílio no Brasil, a presença da voz feminina na narrativa ou a intertextualidade. A intenção primordial do autor, diversas vezes enunciada, foi a de confrontar o heterónimo pessoano com a realidade, enfrentar o que se mostrava na sua poética como um transeunte alheado com o teatro do mundo que era representado no ano de 1936. Se num primeiro momento a dominância do que é uma ficção da ficção, a personagem Ricardo Reis, é objectiva, uma outra figura de «acontecimento irregular» vai ganhando a primazia no que pretende o autor, que o leitor leia o romancista, não o romance, e essa leitura efectua-se por interposta pessoa, neste caso Fernando Pessoa, que servirá, bastantes vezes, como o lugar do eco da voz saramaguiana.
The following dissertation, having as a starting point José Saramago’s O ano da morte de Ricardo Reis, travels along some reading paths triggered by the novel itself, as the wondering nature in time and space of its protagonist returned from his auto-exile in Brazil, the feminine voice present throughout the narrative or the intertextuality. The author’s prime intention, revealed several times, was to confront Pessoa’s heteronym with reality, face what was shown in its poetry as a passer-by detached from the world’s theatre, played in 1936. If in a first moment what dominates is a fiction of the fiction, Ricardo Reis’ objective character, along the work another author’s intention is discovered – that the reader reads the novelist and not the novel, through Fernando Pessoa’s character. Pessoa will be, in numerous occasions, a vehicle to Saramago’s voice.
The following dissertation, having as a starting point José Saramago’s O ano da morte de Ricardo Reis, travels along some reading paths triggered by the novel itself, as the wondering nature in time and space of its protagonist returned from his auto-exile in Brazil, the feminine voice present throughout the narrative or the intertextuality. The author’s prime intention, revealed several times, was to confront Pessoa’s heteronym with reality, face what was shown in its poetry as a passer-by detached from the world’s theatre, played in 1936. If in a first moment what dominates is a fiction of the fiction, Ricardo Reis’ objective character, along the work another author’s intention is discovered – that the reader reads the novelist and not the novel, through Fernando Pessoa’s character. Pessoa will be, in numerous occasions, a vehicle to Saramago’s voice.
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Palavras-chave
Fernando Pessoa José Saramago Labirinto Autor Labyrinth Author