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ras de linguagem que, tradicionalmente, foram denominadas de tropos.
(Fontes: http://www.multiculturas.com)

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metaplasmos podem ser:

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c) Haplologia: consiste no desaparecimento de fonemas (ou de grafemas)
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nominadas de tropos.

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por Castro Alves.

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Texto:

$R'HXV.XP8QLN$VVmR

Eis-me prostrado a vossos peses

4XHVHQGRWDQWRVWRGRSOXUDOpSRXFR
Deglutindo gratamente vossas fezes
YDLVHWRUQDQGRVmRTXHPHUDORXFR
QHPSUHFLVDFDEHoDSRLVDERFD
QDVFHGLUHWDPHQWHGRSHVFRoR
e em vosso esplendor de auriquilate
faz sol o que era osso.

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YRVDPRXURDYyVVRQRXUR
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HSODQWDEHWHUUDERVEDORXoDQWHV
de intenso carneiral belibalentes
em que disperso espremo e desexprimo
o que em mim aspirava a ser eumano.

Salve, deus compato

FLQWXUmRGD7HUUD
FDOoDFLUFXODU
unissex, rex

63
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do lugarfalar
comum.

6DOYHPHLRÀP
GHÀQULQÀQÀP
plurimelodia
distriburrida no planeta.

1RVVDJRHODVHPSUHVHPSUHVHPSUHHVFmRFDUDGD
engole elefantes
HQJROHFDWiVWURIHV
WmRQDWXUDOPHQWHFRPRVH
E PEDE MAIS.

A carne pisoteada de cavalos reclama

pisaduras mais.
A vontade sem vontade encrespa-se exige
contravontades mais.
E se consome no consumo.

Senhor dos lares

e lupanares
Senhor dos projetos
HGRSUpDOIDEHWR
6HQKRUGRySLR
e do cor-no-copo
Senhor! Senhor!
De nosso poema fazei uma dor
TXHQRVLUPDQH0DQDXVH%LUPkQLD
SDYmRH3DYRQH
pavio e povo
SDJDUpH3DQ
H5p'y0L)i6RO
apante salmoura
Q·DOPDFDomRSRGULGR
7mRQDWXUDOPHQWHFRPRVH
como ni
ou niente.

Se estou doente, devo estar doentes.

Se estou sozinho, devo estar desertos.
Se estou alegre, devo estar ruidosos.
Se estou morrendo, devo estar morrendos?

64
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Aula

Cumpro. Sou
geral.
eSRXFR"
7
Multi
versal.
eQDGD
Sou
al.

Dorme na tumba a cultura oral.

Era uma vez a cultura visual.
Quando que vem a cultura anal
na recomposta aldeia tribal?
2PHLRpDPHQVDJHP
2PHLRpDPDVVDJHP
2PHLRpDPL[DJHP
2PHLRpDPLFDJHP
$PHQVDJHPpPHLR
de chegar ao Meio.
2PHLRpRVHU
em lugar dos seres,
isento de lugar
dispensando meios
GHÁXRUHVFHU

Salve, Meio. Salve, Melo.

$PDVVDYRVVD~GD
em forma de passa.
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1mRTXHURGRUPLUDEUDoDGR
Ao velho amor.
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1mRTXHURIDODU
a minha palavra
a nossa palavra.
1mRTXHURDVVRYLDU
DFDQomRSDUFHULD
de passarinho/aragem.
Quero komunikar
HPFyGLJR
GHVFRGLÀFDU
UHFRGLÀFDU
eletronicamente.

65
 (VWLOtVWLFD

Se komuniko
que amorico
me sentimultiplico
scotch no bico
paparico
rio rico
swalpico
de prazer meu penico
HPYRVVRKRQRUy'HXVNRPXQLNmR

Farto de komunikar
na pequenina taba
VXERDRFpXHPIRJXHWH
DWpDSULPDVROLGmR
levando o som
DFRURSDYLOKmR
GDNRPXQLNkQVLD
LQWHUSODQHWiULDLQWHUSDWHWDO

Convoco os astros
Para o coquetel
os mundos esparsos
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a nivola
o show de bala
o sexpudim
o blablabum.

(TXDQGRQmRUHVWDU
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a ser detectado
a ser invadido
a ser consumido
e todos os seres
se atomizarem na supermensagem
GRVXSHUYiFXR
e todas as coisas
se apagarem no circuito global
e o Meio
GHL[DUGHVHU)LPHFKHJDUDRÀP
Senhor! Senhor!

66
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Carlos Drummond de Andrade.

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especial, tornando-a mais expressiva. Essa expressividade decorre, quase
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VHDIDVWDGDPDQHLUDFRPXPGHH[SUHVVmRSDUDVHPDQLIHVWDUSRUWDGRUDGH
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RESUMO
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sentada no decorrer desta aula; no segundo caso: as metataxes referem-se
jVÀJXUDVTXHDIHWDPDHVWUXWXUDIUiVLFDGRGLVFXUVR$TXLWDPEpPVHOHFLR
namos algumas como exemplo; e o terceiro caso remete aos metassememas
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sentido, do discurso oral ou escrito, como mostramos acima.

67
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ATIVIDADES
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HDFRPSDQKDPHQWRGRVWXWRUHVQmRVySHODH[WHQVmRGRTXHVHYDLVROLFLWDU
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HVSpFLHGHJORVViULRPDLVRXPHQRVFRPSOHWRHGHDFRUGRFRPDUHODomR
GHÀJXUDVH[SRVWDQHVWDDXODEIDoDPXPDOHLWXUDFXLGDGRVDFRQVXOWDQGR
GLFLRQiULRHJUDPiWLFDVGHWRGRRSRHPDGH'UXPPRQGDSUHVHQWDGRDFLPD
$R'HXV.XP8QLN$VVmRGHSRLVIDoDPXPOHYDQWDPHQWRFULWHULRVR
GHÀJXUDVGHPHWDSODVPRVPHWDWD[HVHPHWDVVHPHPDVH[SOLFDQGRLQWHU
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35Ð;,0$$8/$
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$WHQomRDVWUrV~OWLPDVDXODVGH(VWLOtVWLFDVmRDWLYLGDGHVSUiWLFDVVREUH
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para aulas expositivas.

5()(5È1&,$6
AGUIAR E 6,/9$9LFWRU0DQXHOGH$(VWLOtVWLFDLQ Teoria da Litera-
tura. Coimbra: Almedina. 1969.
&Ç0$5$-5. Joaquim Mattoso. &RQWULEXLomRjHVWLOtVWLFDSRUWXJXHVD.
5LRGH-DQHLUR$R/LYUR7pFQLFR(GLWRUD
CHALHUB, Samira. )XQo}HVGDOLQJXDJHP6mR3DXOR(GÉWLFD
______________. A metalinguagem6mR3DXOR(GÉWLFD
'·212)5,2. Salvadore. Teoria do texto: WHRULDGDOtULFDHGRGUDPD²
YRO6mR3DXOR(GÉWLFD
GARCIA. Othon M. &RPXQLFDomRHPSURVDPRGHUQD. Rio. FGV. 1974.
GUIRAUD. Pierre. $(VWLOtVWLFD6mR3DXOR(G0HVWUH-RX
JAKOBSON. Roman. /LQJtVWLFDHFRPXQLFDomR6mR3DXOR(G&XO
trix. 1970.

68
 0RGDOLGDGHVGH¿JXUDVGHHVWLORH[HPSORVHDSOLFDo}HV
Aula

LAPA. M. Rodrigues. (VWLOtVWLFDGDOtQJXDSRUWXJXHVD. Lisboa: Ed. Seara

Nova. s/d.
LEVIN. Samuel. (VWUXWXUDVOLQJtVWLFDVGDSRHVLD6mR3DXOR&XOWUL[
7
LIMA. Luiz Costa. Teoria da literatura em suas fontes. Rio. Ed. Fran-
cisco Alves. 1983.
0$57,161LOFH6DQW·$QQD,QWURGXomRj(VWLOtVWLFD6mR3DXOR(GXVS
1989.
0$77262&Ç0$5$-U-RDTXLP&RQWULEXLomRj(VWLOtVWLFDSRUWX
guesa5LRGH-DQHLUR$R/LYUR7pFQLFR
02,6e60$66$8'. 'LFLRQiULRGHWHUPRVOLWHUiULRV6mR3DXOR(G&XOWUL[
1974.
MONTEIRO-RVp/HPRV$HVWLOtVWLFD6mR3DXOR(GÉWLFD
MOUNIN. Georges. ,QWURGXomRj/LQJtVWLFD. Lisboa: Iniciativas Edi-
toriais. 1970.
MURRY. J. MIDDLETON. O problema do estilo. Rio de Janeiro. Liv.
$FDGrPLFD
352(1d$ ),/+2 'RPtFLR $ OLQJXDJHP OLWHUiULD 6mR 3DXOR (G
ÉWLFD
7$9$5(6ÈQLR7HRULD/LWHUiULR. Belo Horizonte. Ed.
VANOYE. Francis. Usos da Linguagem6mR3DXOR/LY0DUWLQV)RQWHV
1981.

69