Marcas de recriação nas edições não-póstumas de Innocencia: a lição horaciana sobre domínio do assunto, descrição e lima
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Data
2018-04-02
Autores
Prado, Elisa dos Santos [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Fruto do cotejo de três edições não póstumas do romance Innocencia, esta tese objetiva, à luz da leitura da Epistula ad Pisones, de Horácio, demonstrar e analisar o processo de reelaboração textual realizado pelo Visconde de Taunay em sua obra mais famosa. O estudo busca responder aos seguintes questionamentos: Por que e como Innocencia se transformou? O método utilizado para tal objetivo baseia-se nas orientações da crítica textual e da crítica genética, compondo uma amostragem (demonstratio) resultante do trabalho com cinco capítulos retirados da primeira, segunda e quarta edições do romance, publicadas em 1872, 1884 e 1899, respectivamente, culminando na collatio, que eliminou a terceira edição do processo por ser cópia da segunda. O recorte estipulado na eleição de cinco capítulos permite que se contemple a extensão do romance, haja vista que foram selecionados do início, meio e final da narrativa (capítulos 1,8,15, 23 e 30). O cotejo das edições revela a constante preocupação e insatisfação de Taunay com seu texto, primeiramente em virtude de sua autocrítica, alicerçada na formação intelectual e artística recebida da família; também em relação ao consciente desejo e expectativa quanto à recepção do romance pelo público e, por fim, pela aguardada aceitação e pronunciamento por parte da crítica especializada. Sustentamos a tese de que esses três aspectos tenham se coadunado para a opção pela reescrita do romance a partir da segunda edição (1884), na qual se comprova que o texto foi bastante modificado, servindo de base para as futuras alterações na quarta edição (1899). O contato com os documentos do processo revela um projeto artístico baseado na racionalidade e orientado por preceitos clássicos das lições de Horácio, em sua Epistula, na insistente busca de Taunay por tornar o romance perene, perfeito e belo. A relação entre Innocencia e os princípios horacianos são abordadas em três categorias: domínio do assunto; descrição (ut pictura poesis) e lima, as quais demonstram que Taunay conjugou ars e ingenium, tanto na composição quanto na reescrita de Innocencia, tornando o texto mais literário pelo processo da lima.
Being the result of the collation of three non-posthumous editions of the novel Innocencia, this thesis intends to demonstrate and analyze, through the reading of Horace's Epistula ad Pisones, the rewriting process of the most famous work by the Viscount of Taunay. This study has the objective of answering the following questions: why and how Innocencia was changed? The methodology to achieve such goal was based on principles of Textual and Genetic Criticisms, with a selection (demonstratio) from five chapters from the first, second and fourth editions of the novel, published in 1872, 1884 and 1899, respectively. The collatio resulting from that eliminated the third edition from the selection, that edition being identical to the second one. The selection of five chapters allows for an assessment of the novel in its entirety, choosing samples from its beginning, middle and end (chapters 1, 8, 15, 23 and 30). The collation of the editions reveals Taunay's constant concern and dissatisfaction with his text, first by virtue of his self-criticism, grounded in the intellectual and artistic education from his family. In addition to that, it was revealed the author's expectations regarding the reception of the novel by the public and, finally, an expected acceptance by the specialized critics. We support the thesis that these three aspects were the motivation for the author to opt to rewrite the novel as of the second edition (1884), which shows a significantly modified text that is the basis for the future changes of the fourth edition (1899). The contact with the documents of the process reveals an artistic project based on rationality and guided by classic precepts of Horace's lessons in his Epistula, in Taunay's pursuit of a perennial, perfect and beautiful novel. The relationship between Innocencia and the Horace's principles are approached in three categories: domain over the subject; description (ut pictura poesis) and the writer's careful work, which demonstrate that Taunay combined ars and ingenium, both in composition and in the rewriting of Innocencia, making the text more literary through the writer's careful work.
Being the result of the collation of three non-posthumous editions of the novel Innocencia, this thesis intends to demonstrate and analyze, through the reading of Horace's Epistula ad Pisones, the rewriting process of the most famous work by the Viscount of Taunay. This study has the objective of answering the following questions: why and how Innocencia was changed? The methodology to achieve such goal was based on principles of Textual and Genetic Criticisms, with a selection (demonstratio) from five chapters from the first, second and fourth editions of the novel, published in 1872, 1884 and 1899, respectively. The collatio resulting from that eliminated the third edition from the selection, that edition being identical to the second one. The selection of five chapters allows for an assessment of the novel in its entirety, choosing samples from its beginning, middle and end (chapters 1, 8, 15, 23 and 30). The collation of the editions reveals Taunay's constant concern and dissatisfaction with his text, first by virtue of his self-criticism, grounded in the intellectual and artistic education from his family. In addition to that, it was revealed the author's expectations regarding the reception of the novel by the public and, finally, an expected acceptance by the specialized critics. We support the thesis that these three aspects were the motivation for the author to opt to rewrite the novel as of the second edition (1884), which shows a significantly modified text that is the basis for the future changes of the fourth edition (1899). The contact with the documents of the process reveals an artistic project based on rationality and guided by classic precepts of Horace's lessons in his Epistula, in Taunay's pursuit of a perennial, perfect and beautiful novel. The relationship between Innocencia and the Horace's principles are approached in three categories: domain over the subject; description (ut pictura poesis) and the writer's careful work, which demonstrate that Taunay combined ars and ingenium, both in composition and in the rewriting of Innocencia, making the text more literary through the writer's careful work.
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Palavras-chave
Innocencia, Visconde de Taunay, Cotejo de edições, Epistula ad Pisones, Horácio, Crítica textual, Crítica genética