Metaficção e história na espiral narrativa de Ariano Suassuna: leitura poético-alegórico do Romance da Pedra do Reino
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Data
2008-04-11
Autores
Vogado, Eguimar Simões [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Nossa pesquisa sobre o Romance da Pedra do Reino, de Ariano Suassuna, teve como ponto de partida a constatação da ocorrência de dois fenômenos literários que funcionam como zona de transição entre duas instâncias narrativas. O primeiro é a circularidade da narrativa que se dá de maneira imperfeita, isto é, ela não se completa devido à ausência dos acontecimentos que antecedem a condição presente do protagonista e narrador. Mais que isso, no entanto, é a percepção de que a evolução dos fatos dá conta de um processo psicológico que mais afasta do que aproxima o protagonista de sua condição atual. Ao lado de ser imperfeita, portanto, a obra é antes espiralóide que circular, expondo um nítido afastamento entre o narrador que recorda e ele próprio enquanto agente central de sua memória. O segundo recurso utilizado pelo autor é o chamado efeito abissal, capaz de estreitar a distância entre o narrador e uma segunda instância narrativa, que ora denominamos o autor implícito, expressão tomada por empréstimo a Todorov, ora como “a instância poética”, o “duplo do narrador” ou, simplesmente, “o outro”. Nessa zona de transição verificamos que, ao lado da narrativa de aspecto linear, ocorre uma segunda, de caráter poético, que utiliza a alegoria como meio de expressão e que, contrariamente ao que acontece com aquela, apresenta uma forma perfeita. Nossa pesquisa revelou que os três gêneros literários presentes na narrativa, a epopéia, a tragédia e a narrativa poética não são apenas paralelos, mas confluentes. Nessa confluência, torna-se evidente o processo de auto-superação experimentado pelo Poeta que revela, assim, o sentido alquímico e nietzscheano de sua visão poético-sebastianista.
Our analysis of the novel “Romance da Pedra do Reino”, by Ariano Suassuna (1971), is build on the idea that the book is made of a transition area that links two narrative instances together. The first one is the narrative in its circular movement organized in a stressed way because of the fact that the reader is left without knowing the previous facts that precede the protagonist’s present condition. More than that, however, is the perception that the sequence of facts gives rise to a psychological process that rather puts the protagonist away from his actual condition than make him face it. As a matter of fact, the novel could be said to be imperfect, non-finished, as well as having a spiral form instead of a circular one. At the same time, the fable shows us a growing distance between the narrator that reminds his past and the protagonist of these events in which he himself plays the leading role. The second resource got by the author is so called “abissal effect” that brings the narrator closer to the second narrative instance, sometimes known as the “implicit author”, as we see being used by Todorov, whereas other researchers call it “the poetical instance” and also the “doubled narrator” or simply “the other”. In this transition zone we can recognize a linear narrative as well as a second narrative with poetical feature that expresses itself by allegoric motives and a perfect form. Our research assumes that the novel is indebted to three literary genres, namely epopee, tragedy and lyrical novel, and that the three arrange themselves not as parallels, but as convergent streams. By looking close to this confluence between them we can clearly see the poet overcoming his self and revealing his Nietzschean and his poetical-sebastianistic point of view.
Our analysis of the novel “Romance da Pedra do Reino”, by Ariano Suassuna (1971), is build on the idea that the book is made of a transition area that links two narrative instances together. The first one is the narrative in its circular movement organized in a stressed way because of the fact that the reader is left without knowing the previous facts that precede the protagonist’s present condition. More than that, however, is the perception that the sequence of facts gives rise to a psychological process that rather puts the protagonist away from his actual condition than make him face it. As a matter of fact, the novel could be said to be imperfect, non-finished, as well as having a spiral form instead of a circular one. At the same time, the fable shows us a growing distance between the narrator that reminds his past and the protagonist of these events in which he himself plays the leading role. The second resource got by the author is so called “abissal effect” that brings the narrator closer to the second narrative instance, sometimes known as the “implicit author”, as we see being used by Todorov, whereas other researchers call it “the poetical instance” and also the “doubled narrator” or simply “the other”. In this transition zone we can recognize a linear narrative as well as a second narrative with poetical feature that expresses itself by allegoric motives and a perfect form. Our research assumes that the novel is indebted to three literary genres, namely epopee, tragedy and lyrical novel, and that the three arrange themselves not as parallels, but as convergent streams. By looking close to this confluence between them we can clearly see the poet overcoming his self and revealing his Nietzschean and his poetical-sebastianistic point of view.
Descrição
Palavras-chave
Suassuna, Ariano, 1927- Pedra do Reino - Crítica e interpretação, Literatura - História e critica - Teoria, etc, Análise do discurso literário
Como citar
VOGADO, Eguimar Simões. Metaficção e história na espiral narrativa de Ariano Suassuna: leitura poético-alegórico do Romance da Pedra do Reino. 2008. 173 f. Tese (doutorado) - Universidade Estadual Paulista, Faculdade de Ciências e Letras de Araraquara, 2008.