O Amor na Cultura Portuguesa - Camões e António Ferreira -
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2010
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Partimos da tese principal, centrada na temática amorosa, como um aspecto da cultura que na literatura se representa.
Tema de eleição da totalidade de poetas e prosadores, o Amor está no epicentro deste trabalho.
Na Idade Média, as cantigas trovadorescas e a poesia palaciana dão-nos a conhecer o amor cortês, caracterizado pela exaltação dos atributos da mulher amada, que, muitas vezes, ostenta uma posição superior à do homem.
O platonismo e o petrarquismo influenciam a forma como os autores renascentistas tratam o tema do amor. O platonismo penetra na poesia através do dolce stil nuovo, com Dante. O petrarquismo domina toda a literatura europeia do século XVI, convergindo num novo erotismo. Patenteia sentimentos antagónicos, como o prazer do sofrimento amoroso, a ausência - que agudiza o desejo - e a insatisfação atormentada do amador.
Como algo complexo e multifacetado, é assim que a literatura amorosa do século da razão e do rigor formal nos apresenta o amor. Vivem-se e plasmam-se nas grandes tragédias da época os amores fatais e tumultuosos, em que a paixão do amor priva o homem do domínio sobre si próprio.
A reabilitação das paixões humanas tem lugar no século das luzes. Impera uma sensibilidade que faz adivinhar o idealismo romântico do século XIX, idealismo que deforma a verdade, por razões estéticas ou sentimentais. Daí a reacção realista e naturalista, que vai disciplinar o romantismo espontâneo e desembocar no simbolismo.
Esta complexidade de tendências na literatura da época revela, igualmente, formas diferenciadas de viver o amor ressaltando, porém, o amor romântico, protagonizado pelo herói romântico dos romances históricos. A reacção realista, embora não anule o amor-paixão, deixa-o de certa forma sufocado, perdendo assim a sua força.
Na cultura ocidental dos tempos modernos, o ser humano, numa constante procura de si próprio, vive um amor labiríntico, tentando caminhar em direcção à própria alma. Todavia, na sua dificuldade em firmar relações estáveis e autênticas, imerso na busca da ascensão social, não vivencia já o ardor da paixão de Vénus e Marte, nem realiza a união de Psique e Eros.
Vénus é também a musa inspiradora da lírica camoniana. É uma lírica, cujo ideal amoroso está fatalmente marcado pelo mito do amor-paixão, eterno paradigma de Tristão e Isolda. A impossibilidade da satisfação deste modelo de amor, representada pela ausência da amada, gera em Camões uma insatisfação que faz perdurar o amor. É o petrarquismo que se traduz pelo amor disfórico e ausente, amor que nega a si próprio essa satisfação. A dialéctica do amor e do desejo em Camões desenvolve-se entre a razão e os sentidos, numa incessante busca da síntese amorosa.
Neste estudo, privilegiamos também o tema do amor na tragédia Castro, de António Ferreira, que coloca em confronto o Amor e a Razão de Estado, do qual sai vitorioso o amor, já que ele, na sua transcendentalidade, perdura para além da morte de Inês.
O entendimento da saudade como sentimento intimamente ligado ao amor leva-nos a encará-la não só de acordo com o platonismo, como condição para o aperfeiçoamento, mas como insuportável ausência, nos moldes petrarquistas.
Tema fulcral deste trabalho, o Amor é o eterno móbil inspirador das mais belas criações literárias daqueles que escolhem a literatura para expressar sentimentos e emoções.
We depart from the main thesis centered in the love thematic as an aspect of culture represented in literature. An election subject among poets and troubadours, love finds its place in the very centre of this work. In the middle age, troubadours’’ songs and palatial poetry showed us courtly love, where we can identify beloved woman attributes that, often, holds a superior position in relation to man. Platonism and Petrachism have influenced the way Renaissance authors treat love. Platonism penetrates in poetry through the “dolce still nouvo”, with Dante. Petrachism dominates all XVI century literature converging in a new eroticism. It shows opposite feelings, as pleasure from love distress, the absence that sharpens desire and a tormented insatisfaction. Both complex and multifaceted, that’s how loving literature of the reason and formal rigor century presents love: in great epoch tragedies –fatal and tumultuous love affairs where passion deprived man from its own domain. Human passion regeneration takes place in the Century of Light. A new sensitivity, foreseeing the romantic idealism of the XIX century, is rising now. Thereby, the realistic and naturalistic reaction will be disciplinant on the spontaneous romanticism and origins symbolism. This complexity of literary tendencies reveals, at this time, different ways of experiencing love, though romantic love is performed by the romantic hero type from the historical novels. According to the realistic reaction, even though passionate love is not voided, it is, in a way, asphyxiated, losing its strength. In modern eastern cultures, human beings, in a constant search of themselves, live in a labyrinth love trying to walk towards their own soul. However, because of their incapability of firming stable and authentic relations, looking for social promotion, they aren’t living the passion of Venus and Mars or the union of Psyche and Eros anymore. Venus also inspires Camões’ lyric. It’s a lyric with an ideal fatefully marked by the myth of passionate love – eternal paradigm of Tristan and Isulde.The impossibility of being satisfied with this model of love, represented by the absence of the lover, generates an insatisfaction that makes love last in time. It’s the reflection of Petrarchism reflected in the dysphoric and absent love, in the denial of love, denying even its own satisfaction. Dialectics amongst love and desire in Camões are developed between reason and senses, in a constant search for loving synthesis. In the current study we also prorogate the theme of love in Castro, of António Ferreira , an author that puts in opposition Love and Reason of State from which love comes out victorious because it lasts beyond Ines’ death. The meaning of absence as a feeling deeply connected to love makes us perspective it, not only accordingly to the platonic way – condition for perfectionism – but as an understandable absence so to the Petrarchism view. Love, as the main object of this work, is the eternal origin and inspiration of the most beautiful literary creations of those who chose literature to express feelings and emotions.
We depart from the main thesis centered in the love thematic as an aspect of culture represented in literature. An election subject among poets and troubadours, love finds its place in the very centre of this work. In the middle age, troubadours’’ songs and palatial poetry showed us courtly love, where we can identify beloved woman attributes that, often, holds a superior position in relation to man. Platonism and Petrachism have influenced the way Renaissance authors treat love. Platonism penetrates in poetry through the “dolce still nouvo”, with Dante. Petrachism dominates all XVI century literature converging in a new eroticism. It shows opposite feelings, as pleasure from love distress, the absence that sharpens desire and a tormented insatisfaction. Both complex and multifaceted, that’s how loving literature of the reason and formal rigor century presents love: in great epoch tragedies –fatal and tumultuous love affairs where passion deprived man from its own domain. Human passion regeneration takes place in the Century of Light. A new sensitivity, foreseeing the romantic idealism of the XIX century, is rising now. Thereby, the realistic and naturalistic reaction will be disciplinant on the spontaneous romanticism and origins symbolism. This complexity of literary tendencies reveals, at this time, different ways of experiencing love, though romantic love is performed by the romantic hero type from the historical novels. According to the realistic reaction, even though passionate love is not voided, it is, in a way, asphyxiated, losing its strength. In modern eastern cultures, human beings, in a constant search of themselves, live in a labyrinth love trying to walk towards their own soul. However, because of their incapability of firming stable and authentic relations, looking for social promotion, they aren’t living the passion of Venus and Mars or the union of Psyche and Eros anymore. Venus also inspires Camões’ lyric. It’s a lyric with an ideal fatefully marked by the myth of passionate love – eternal paradigm of Tristan and Isulde.The impossibility of being satisfied with this model of love, represented by the absence of the lover, generates an insatisfaction that makes love last in time. It’s the reflection of Petrarchism reflected in the dysphoric and absent love, in the denial of love, denying even its own satisfaction. Dialectics amongst love and desire in Camões are developed between reason and senses, in a constant search for loving synthesis. In the current study we also prorogate the theme of love in Castro, of António Ferreira , an author that puts in opposition Love and Reason of State from which love comes out victorious because it lasts beyond Ines’ death. The meaning of absence as a feeling deeply connected to love makes us perspective it, not only accordingly to the platonic way – condition for perfectionism – but as an understandable absence so to the Petrarchism view. Love, as the main object of this work, is the eternal origin and inspiration of the most beautiful literary creations of those who chose literature to express feelings and emotions.
Descrição
Dissertação de Mestrado em Cultura Portuguesa
Palavras-chave
Cultura Portuguesa , Amor , Camões , António Ferreira