Emily Dickinson e Manuel Bandeira: um diálogo entre poetas
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Data
2020-07-31
Autores
Jeremias, Gilliale de Souza [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O ato de traduzir determinado texto implica uma parte substancial da cultura e subjetividade daquele que se predispõe ao exercício da tradução, isto é, do tradutor. Emily Dickinson, poeta norte-americana do século XIX, foi autora de uma poesia que estava às margens do movimento literário então vigente e introduzida à Língua Portuguesa pela tradução inaugural de apenas cinco de seus poemas por Manuel Bandeira que, ao selecioná-la, traduzi-la para a nossa língua e introduzi-la aos nossos leitores, sente-se contemplado na poesia de Dickinson através de sua intuição criadora enquanto tradutor. Nascidos em tempos diferentes e influenciados por autores distintos, mesmo que ambos os poetas estejam temporal e culturalmente distantes, vislumbramos, através da obra de ambos, poetas que se emparelham por seus temas e estilo. O esmorecimento e a morte elucidados por um estilo coloquial-irônico simbolizam o cotidiano de forma irônica, quase jocosa, e de maneira que a linguagem empregada por ambos esteja tão livre, irregular e cheia de consciência que, através do seu traço irônico, tanto Dickinson quanto Bandeira fazem uso de traços romântico-simbolistas, inicialmente, empregando seus próprios significados ante a efemeridade da vida, mas avançam rumo a uma poesia de consciência, vale dizer, uma poesia irônica que corrobora com a inclusão de Emily Dickinson na modernidade e a irmana com Manuel Bandeira. O presente trabalho tem por objetivo demonstrar as intersecções entre a poesia de Emily Dickinson e Manuel Bandeira partindo de seus recursos estilísticos e temáticos, além de elucidar os aspectos da tradução do poeta brasileiro enquanto tradutor. O estilo coloquial-irônico e as recorrentes temáticas de esmorecimento e morte são traços igualmente presentes em Dickinson e Bandeira durante a sua criação poética em suas particularidades enquanto poetas e, mais especificamente neste estudo, na atividade de tradução e recepção de Emily Dickinson no Brasil por Manuel Bandeira no começo do século XX.
The act of translating certain texts implies a substantial part of the culture and subjectivity of the person who is predisposed to the exercise of translation, that is, the translator. Emily Dickinson, North-american poet of the 19th century, was the author of a poetry that was on the sidelines of the literary movement from that period of time. She was introduced to the Portuguese Language by the inaugural translation of five of her poems by Manuel Bandeira who selected, translated, and felt contemplated in Dickinson's poetry through his creative intuition as a translator. Born at different times and influenced by different authors, even though both poets are temporally and culturally distant, we see, through their work, poets who are matched by their themes and style. Fading and death elucidated by a colloquial-ironic style certainly symbolize daily life in such a way that the language used by both is so free, irregular and full of conscience that Dickinson and Bandeira make use of romantic-symbolists features initially through their own meanings before the ephemerality of life and advance towards a poetry of conscience, that is to say, an ironic poetry that corroborates for the inclusion of Emily Dickinson in modernity and brings her closer to Manuel Bandeira. This work aims to clarify the intersections between the poetry of Emily Dickinson and Manuel Bandeira starting from their stylistic and thematic resources, besides elucidating the aspects of literary translation of the Brazilian poet as a translator himself. The colloquial-ironic style and the frequent themes of fading and death are equally present in Dickinson and Bandeira in their poetic creation and particularities as poets and, more specifically in this study, in the translation and reception of Emily Dickinson in Brazil by Manuel Bandeira in the beginning of the 20th century.
The act of translating certain texts implies a substantial part of the culture and subjectivity of the person who is predisposed to the exercise of translation, that is, the translator. Emily Dickinson, North-american poet of the 19th century, was the author of a poetry that was on the sidelines of the literary movement from that period of time. She was introduced to the Portuguese Language by the inaugural translation of five of her poems by Manuel Bandeira who selected, translated, and felt contemplated in Dickinson's poetry through his creative intuition as a translator. Born at different times and influenced by different authors, even though both poets are temporally and culturally distant, we see, through their work, poets who are matched by their themes and style. Fading and death elucidated by a colloquial-ironic style certainly symbolize daily life in such a way that the language used by both is so free, irregular and full of conscience that Dickinson and Bandeira make use of romantic-symbolists features initially through their own meanings before the ephemerality of life and advance towards a poetry of conscience, that is to say, an ironic poetry that corroborates for the inclusion of Emily Dickinson in modernity and brings her closer to Manuel Bandeira. This work aims to clarify the intersections between the poetry of Emily Dickinson and Manuel Bandeira starting from their stylistic and thematic resources, besides elucidating the aspects of literary translation of the Brazilian poet as a translator himself. The colloquial-ironic style and the frequent themes of fading and death are equally present in Dickinson and Bandeira in their poetic creation and particularities as poets and, more specifically in this study, in the translation and reception of Emily Dickinson in Brazil by Manuel Bandeira in the beginning of the 20th century.
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Palavras-chave
Poesia lírica moderna, Literatura comparada, Tradução poética, Emily Dickinson, Manuel Bandeira