A linha clássica na lírica de Péricles Eugênio da Silva Ramos: um diálogo com a Tragédia Grega, o Discurso Oracular, o Orfismo, Eros e Sublime
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Data
2018-02-19
Autores
Soares, Cleber Éderson
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Universidade Estadual Paulista (Unesp)
Resumo
O objetivo de estudo deste projeto são os livros de poesia Lamentação Floral, de 1946, e Sol Sem Tempo, de 1953, ambos de autoria de Péricles Eugênio da Silva Ramos (1919-1992), um dos poetas mentores da “Geração de 45” em São Paulo. Este estudo tem como objetivo analisar a linha clássica que a crítica identifica como predominante nesses livros. A crítica o destaca como um poeta essencialmente órfico. Entretanto, além desse referencial clássico, percebemos que o poeta também resgata outros como o discurso oracular, a tragédia grega, o erotismo e o sublime gregos. Tais referenciais aparecem dissolvidos em sua poesia e com eles, o poeta nos coloca em contato com amplas questões estéticas e ontológicas do universo grego, como a concepção do cosmos como a luta e combinação de contrários. A linha clássica sinalizou um conjunto de questões em comum com os pressupostos estéticos do surrealismo, principalmente em relação à necessidade do retorno ao mundo primitivo, para que o homem reaprendesse a superar a barreira entre sonho e realidade, resgatando seu espírito criativo. Para atingir tal objetivo, Péricles recria o mundo órfico grego e situa o leitor na condição de Orfeu, que enfrenta o caos original e o organiza mediante a criação de unidades cósmicas, cuja essência é a construção da suprarealidade almejada pelos surrealistas. Na perspectiva da exploração de questões ontológicas, detectamos que o poeta resgata do mesmo referencial grego uma concepção de futuro disfórico, que se concretiza na conciliação dos contrários, tendo como meta a configuração do tempo presente, como uma unidade transitória. Essas concepções auxiliam-no a repensar seu tempo, marcado pelo período entre as duas Grandes Guerras Mundiais e pelo pós-guerra.
The objective of this project is the poetry books Lamentação Floral (1946) and Sol Sem Tempo (1953), both by Pericles Eugênio da Silva Ramos (1919-1992), one of the mentor poets of the "Generation of 45" in Sao Paulo. This study aims to analyze the classic line that critics identify as predominant in these books. Criticism highlights him as an essentially Orphic poet. However, in addition to this classical reference, we can see that the poet also rescues others such as the oracular discourse, the Greek tragedy, the eroticism and the sublime Greeks. Such references appear dissolved in their poetry and with them the poet puts us in touch with broad aesthetic and ontological questions of the Greek universe as the conception of the cosmos as the struggle and combination of opposites. The classic line signaled a set of issues in common with the aesthetic assumptions of Surrealism, especially in relation to the need to return to the primitive world, so that man could learn to overcome the barrier between dream and reality, rescuing his creative spirit. In order to achieve this goal, Pericles recreates the Greek Orphic world and situates the reader in the condition of Orpheus, who confronts the original chaos and organizes it by creating cosmic units, whose essence is the construction of the surreal reality aimed at by the surrealists. From the perspective of the exploration of ontological questions, we detect that the poet rescues from the same Greek reference a conception of the dysphoric future, which is concretized in the conciliation of opposites, having as a goal the configuration of the present time, as a transitory unit. These conceptions help him to rethink his time, marked by the period between the two Great World Wars and the postwar period.
The objective of this project is the poetry books Lamentação Floral (1946) and Sol Sem Tempo (1953), both by Pericles Eugênio da Silva Ramos (1919-1992), one of the mentor poets of the "Generation of 45" in Sao Paulo. This study aims to analyze the classic line that critics identify as predominant in these books. Criticism highlights him as an essentially Orphic poet. However, in addition to this classical reference, we can see that the poet also rescues others such as the oracular discourse, the Greek tragedy, the eroticism and the sublime Greeks. Such references appear dissolved in their poetry and with them the poet puts us in touch with broad aesthetic and ontological questions of the Greek universe as the conception of the cosmos as the struggle and combination of opposites. The classic line signaled a set of issues in common with the aesthetic assumptions of Surrealism, especially in relation to the need to return to the primitive world, so that man could learn to overcome the barrier between dream and reality, rescuing his creative spirit. In order to achieve this goal, Pericles recreates the Greek Orphic world and situates the reader in the condition of Orpheus, who confronts the original chaos and organizes it by creating cosmic units, whose essence is the construction of the surreal reality aimed at by the surrealists. From the perspective of the exploration of ontological questions, we detect that the poet rescues from the same Greek reference a conception of the dysphoric future, which is concretized in the conciliation of opposites, having as a goal the configuration of the present time, as a transitory unit. These conceptions help him to rethink his time, marked by the period between the two Great World Wars and the postwar period.
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Palavras-chave
Péricles Eugênio da Silva Ramos, Neomodernismo, Linha clássica, Orfismo, Surrealismo, Classic line, Orphism, Surrealism