A função do melodrama em alguns contos queirozianos
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Data
2008-08-25
Autores
Jardim, Cila Maria [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Eça de Queiroz é o autor mais representativo do realismo em Portugal no século XIX. Sua produção é composta de vários textos ficcionais e não-ficcionais, mas são os seus romances que lhe dão maior popularidade. No entanto, a qualidade da originalidade, assim como a sintonia com o momento histórico e estético no qual está inserido, permite observar outros textos com maior atenção. Dentre esses textos, este estudo focaliza os contos, textos literários breves cuja diegese está em harmonia absoluta com a composição narrativa para surtir o efeito de coerência e sedução junto ao leitor. Nesse sentido, brevidade, densidade dramática e linguagem sedutora são recursos importantes que Eça utiliza com competência em seus contos. A leitura deles revela que o tema amoroso é recorrente em quatro desses contos, entre os doze publicados na primeira edição, datada de 1902, além de mais um título de publicação póstuma. Neles, observa-se que o amor é operacionalizado em motivos próprios do espetáculo melodramático, conforme o expediente do teatro praticado nos palcos franceses e portugueses oitocentistas. A hipótese deste estudo toma essas idéias e sobre elas se desenvolve: examinar a adesão na narrativa breve dos modelos e comportamentos do melodrama em cinco títulos: “Singularidades de uma rapariga loura”, “Um poeta lírico”, “No moinho”, “José Matias” e “Um dia de chuva”. Constata-se, então, que as narrativas se servem de um enredo e percurso melodramático, valorizando mais ou menos certos aspectos ou tendências melodramáticas, tanto na forma quanto no conteúdo, envolvendo o leitor e monitorando suas emoções, com uma preocupação moralizante e didática.
Eça de Queiroz is the most representative author of the Realism in Portugal in the 19th century. His production consists of several fictional and nonfictional texts, but it is his novels that confer the most popularity on him. However, the quality of originality, as well as of being tuned in to the historical and aesthetic moment to which he belongs, allow us to observe other texts with closer attention. Among these texts, this study focuses on the short stories, literary short texts whose diegesis is in absolute harmony with the narrative composition in order to foster the effect of coherence and seduction before the reader. Thus, brevity, dramatic density and seductive language are important resources which Eça competently employs in his short stories. Their reading reveals that the love theme is recurrent in four of these short stories, among the twelve published in the first edition, dated 1902, besides another title of posthumous publication. In them one observes that love is operationalised in motifs which are characteristic of the melodramatic spectacle, in accordance with the expedient of the theatre practised in the nineteenth-century French and Portuguese stages. The hypothesis of this study takes these ideas and develops from them: examining the adherence, in the short narrative, to the models and behaviour of the melodrama in five titles: “Singularidades de uma rapariga loura”, “Um poeta lírico”, “No moinho”, “José Matias” and “Um dia de chuva”. One notices, then, that the narratives make use of a melodramatic plot and course, thus valuing more or less certain melodramatic aspects or tendencies, in both form and content, involving the reader and monitoring their emotions, with a moralising and didactic concern.
Eça de Queiroz is the most representative author of the Realism in Portugal in the 19th century. His production consists of several fictional and nonfictional texts, but it is his novels that confer the most popularity on him. However, the quality of originality, as well as of being tuned in to the historical and aesthetic moment to which he belongs, allow us to observe other texts with closer attention. Among these texts, this study focuses on the short stories, literary short texts whose diegesis is in absolute harmony with the narrative composition in order to foster the effect of coherence and seduction before the reader. Thus, brevity, dramatic density and seductive language are important resources which Eça competently employs in his short stories. Their reading reveals that the love theme is recurrent in four of these short stories, among the twelve published in the first edition, dated 1902, besides another title of posthumous publication. In them one observes that love is operationalised in motifs which are characteristic of the melodramatic spectacle, in accordance with the expedient of the theatre practised in the nineteenth-century French and Portuguese stages. The hypothesis of this study takes these ideas and develops from them: examining the adherence, in the short narrative, to the models and behaviour of the melodrama in five titles: “Singularidades de uma rapariga loura”, “Um poeta lírico”, “No moinho”, “José Matias” and “Um dia de chuva”. One notices, then, that the narratives make use of a melodramatic plot and course, thus valuing more or less certain melodramatic aspects or tendencies, in both form and content, involving the reader and monitoring their emotions, with a moralising and didactic concern.
Descrição
Palavras-chave
Queiroz, Eça de, 1845-1900, Contos, Melodrama
Como citar
JARDIM, Cila Maria. A função do melodrama em alguns contos queirozianos. 2008. 139 f. Tese (doutorado) - Universidade Estadual Paulista, Faculdade de Ciências e Letras de Araraquara, 2008.