A imago mortis em Kiriale, de Alphonsus de Guimaraens
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Data
2020-02-06
Autores
Martins, Grazzielle Forcato
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho tem por objetivo analisar a representação da morte em Kiriale (1902), de Alphonsus de Guimaraens (1870-1921), considerando a composição imagética. Nesse âmbito, pretende-se discutir as relações entre o sistema de imagens macabras de Kiriale e a iconografia do memento mori (“lembra-te que morrerás”), emblema que enfeixa determinada tradição de representação da morte cujas origens remontam a fins da Idade Média. O momento do fim da Idade Média se mostrou terreno fértil para especulações acerca da natureza da morte em virtude de fatores históricos: a disseminação da Peste Negra e a recorrência de guerras no cenário europeu aproximaram o contato do homem com o corpo morto, a putrefação e o esqueleto, de modo que, na tentativa de compreender a natureza destes fenômenos, expressões artísticas de diversas espécies passaram a ser produzidas com abundância. Tratando ora do momento da morte, como os manuais de boa morte ou ars moriendi, ora da natureza niveladora da morte, como as danças macabras, ora da efemeridade da vida e condenação da vaidade, como os vanitas, as diversas produções foram enfeixadas sob o único tema latino “memento mori” a fim de sintetizar a sensibilidade da arte medieval diante da inexorabilidade da morte. Com o romantismo, o século XIX volta suas atenções ao imaginário medieval como forma de questionar os modelos da arte clássica; com efeito, o medievalismo romântico favoreceu a retomada do fascínio pelo macabro nas artes, estabelecendo uma série de motivos que repercutem sobre a poesia simbolista de fins dos oitocentos, contexto em que se inscreve a lírica de Alphonsus de Guimaraens. A imagética da morte em Kiriale, de Alphonsus de Guimaraens, embora dialogue com a tradição do memento mori, reconduz os motivos tradicionais ao plano de uma poesia experimental, em que a tentativa de plasmar o fenômeno da morte em seus múltiplos aspectos reflete atração da estética simbolista pelo misterioso e inescrutável. Assim, a imago mortis em Alphonsus de Guimaraens não se desenvolve a serviço da composição de uma alegoria sentenciosa sobre o destino inexorável dos viventes, como ocorre na icnografia macabra tradicional, mas surge como espaço de experiência estética que se apropria das referências da iconografia tradicional para a composição de uma poesia de acentuado apelo plástico, em que se configura uma singular liturgia do macabro. Grosso modo, pode-se dizer que, enquanto as artes plásticas macabras do passado são orientadas por flagrantes intenções retóricas, a poesia de Alphonsus de Guimaraens despe-se de toda a eloquência para colocar em primeiro plano a imagem impactante e sugestiva. Partindo deste princípio, nossa análise de Kiriale objetiva demonstrar a permanência de uma tradição representativa da morte ressignificada por procedimentos expressionais modernos, tais como a metalinguagem, a dicção elíptica, a exploração do fragmentário e, sobretudo, a ênfase no elemento plástico.
This work aims to analyze the representation of death in Kiriale (1902) by Alphonsus de Guimaraens (1870-1921), considering its imagetic composition. In this scope it is intended to discuss the relation between the macabre image system in Kiriale and the memento mori (“remember that you must die”) iconography, this being an emblem that evokes a particular tradition of representation of death whose origins go back to the end of the Middle Ages. The end of the Middle Ages showed itself as fertile ground to speculations about the nature of death by virtue of historical factors: the dissemination of the Plague and the recurrence of wars in european scenario drew closer the contact between men and the dead body, the putrefaction and the skeleton in a way that a variety of artistic expressions started to be produced plenty in the attempt to comprehend the nature of these phenomena. Referring sometimes to the moment of death, as the manuals of good death or ars morendi, sometimes to the leveling nature of death, as the danse macabre, sometimes to the frailty of life and condemnation of vanity, as the vanitas, the various productions were evoked under the single Latin term “memento mori”, in order to synthesize the sensibility of medieval art before the inexorability of death. Along with Romanticism, the 19th century glares at the medieval imaginary as a way to question the classic art models; indeed the romantic medievalism supported the resumption of the fascination for the macabre in art, stablishing a series of reasons that rebound on late nineteenth’s symbolist poetry context in which Alphonsus de Guimaraens’ lyrics is inscribed. The death imagetic in Alphonsus de Guimaraens’ Kiriale – even though it dialogues with the tradition of memento mori – reconducts the traditional motives to the plane of an experimental poetry in which the attempt to shape the phenomenon of death at its multiple aspects reflects the attraction of the symbolist aesthetics towards the mysterious and inscrutable. Therefore, the imago mortis in Alphonsus de Guimaraens does not develop for the composition of a judgmental allegory about the living inexorable fate as the traditional macabre iconography does, but emerges as an aesthetic experience space that appropriates the traditional iconography references so it composes poetry with an elevated visual appeal over which is configured a singular macabre liturgy. Grosso modo, it can be said that while the macabre visual arts from yore are oriented by flagrant rhetoric intentions, Alphonsus de Guimaraens’ poetry undresses itself from all eloquence in order to bring in first plane the suggestive and staggering image. Starting from this principle, our analysis of Kiriale seeks to demonstrate the permanence of a representative tradition of death reframed by modern expressional procedures such as: metalanguage, elliptical diction, the fragmentary exploration and above all else the emphasis at the visual element.
This work aims to analyze the representation of death in Kiriale (1902) by Alphonsus de Guimaraens (1870-1921), considering its imagetic composition. In this scope it is intended to discuss the relation between the macabre image system in Kiriale and the memento mori (“remember that you must die”) iconography, this being an emblem that evokes a particular tradition of representation of death whose origins go back to the end of the Middle Ages. The end of the Middle Ages showed itself as fertile ground to speculations about the nature of death by virtue of historical factors: the dissemination of the Plague and the recurrence of wars in european scenario drew closer the contact between men and the dead body, the putrefaction and the skeleton in a way that a variety of artistic expressions started to be produced plenty in the attempt to comprehend the nature of these phenomena. Referring sometimes to the moment of death, as the manuals of good death or ars morendi, sometimes to the leveling nature of death, as the danse macabre, sometimes to the frailty of life and condemnation of vanity, as the vanitas, the various productions were evoked under the single Latin term “memento mori”, in order to synthesize the sensibility of medieval art before the inexorability of death. Along with Romanticism, the 19th century glares at the medieval imaginary as a way to question the classic art models; indeed the romantic medievalism supported the resumption of the fascination for the macabre in art, stablishing a series of reasons that rebound on late nineteenth’s symbolist poetry context in which Alphonsus de Guimaraens’ lyrics is inscribed. The death imagetic in Alphonsus de Guimaraens’ Kiriale – even though it dialogues with the tradition of memento mori – reconducts the traditional motives to the plane of an experimental poetry in which the attempt to shape the phenomenon of death at its multiple aspects reflects the attraction of the symbolist aesthetics towards the mysterious and inscrutable. Therefore, the imago mortis in Alphonsus de Guimaraens does not develop for the composition of a judgmental allegory about the living inexorable fate as the traditional macabre iconography does, but emerges as an aesthetic experience space that appropriates the traditional iconography references so it composes poetry with an elevated visual appeal over which is configured a singular macabre liturgy. Grosso modo, it can be said that while the macabre visual arts from yore are oriented by flagrant rhetoric intentions, Alphonsus de Guimaraens’ poetry undresses itself from all eloquence in order to bring in first plane the suggestive and staggering image. Starting from this principle, our analysis of Kiriale seeks to demonstrate the permanence of a representative tradition of death reframed by modern expressional procedures such as: metalanguage, elliptical diction, the fragmentary exploration and above all else the emphasis at the visual element.
Descrição
Palavras-chave
Alphonsus de Guimaraens, Literatura moderna, Poesia brasileira, Morte na literatura, Simbolismo, Symbolism, Brazilian poetry