Aula

A POESIA BRASILEIRA
8
PARNASIANA: &203520,662e7,&2(
(67e7,&2

META
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OBJETIVOS
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brasileiro.

35e5(48,6,726
/HLWXUDGDVDXODVH³2Parnasianismo´HP+LVWyULDFRQFLVDGDOLWHUDWXUDEUDVLOHLUD. Bosi,
Alfredo. p. 219
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(Fonte: http://www.espn.edu.pt)
 Literatura brasileira II

,1752'8d®2

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poesia como objetividade, linguagem elevada, racionalidade; voltada para
temas universais e apuro formal.
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comprometida com problemas fundamentais da sociedade. Podia-se falar
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minaram o estilo realista-naturalista.

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(Fonte: http://revistaestilo.abril.com.br)
108
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Aula

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O desenvolvimento industrial marcava a sociedade europeia, gerando
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os pobres, os velhos (fora do mercado de trabalho). Ambiguamente, o
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do progresso material de uns, fechou portas para o bem-estar dos outros.
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mas foi muito marcante para os autores brasileiros o poeta Bocage, do
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Alberto de Oliveira, Raimundo Correia e Olavo Bilac

109
 Literatura brasileira II

O Parnasianismo inicia-se no Brasil, no ano de 1882, com a publica-

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momento. Olavo Bilac, por exemplo, foi o mais famoso e mais conhecido.
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GRVSRHWDVµ
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b) Parnasiana (ou esteticista): Bilac, Raimundo Correia, Alberto de Oliveira,
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Nossa aula vai concentrar-se na vertente parnasiano-esteticista, seguin-
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Vamos iniciar um breve estudo do estilo parnasiano
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francesas de poesia com o nome Parnasse Contemporain (Parnaso Contem-
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a Apolo, deus da Beleza e da poesia. A nova maneira de fazer poesia
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valores humanos.
Culto da forma: como vimos, somente a forma tem real
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cultivada a forma?
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cotidiana)
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que ser rara!)
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- Impessoalidade e objetividade na abordagem dos termos
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GRFODVVLFLVPRXVRGRVRQHWRHVTXHPDUtPLFRHUtWPLFR
Olavo Bilac 5HYLVmR 9RFDEXODU FODUH]D HFRQRPLD GD FRPSRVLomR
)RQWH KWWSMLYDJRFDUYDOKRÀOHV
wordpress.com) VREULHGDGH GDV LPDJHQV FRUUHomR PpWULFD FRUUHomR JUDPDWLFDO
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$JRUDYDPRVLQLFLDUDDQiOLVHGDSRHVLDGH2ODYR%LODF

110
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Aula

A um poeta
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Beneditino, escreve! No aconchego
8
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Trabalha, e teima, e lima, e sofre, e sua!

Mas que na forma se disfarce o emprego

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Do mestre. E, natural, o efeito agrade,
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(BILAC, Olavo. Obra reunida. Rio de Janeiro: Nova Aguilar, 1996).

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devesse observar os detalhes das formas e das cores. Assuma uma atitude
de investigador, e descubra como foi elaborado o poema.
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- Estrutura
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nos tercetos
O recurso do encadeamento (enjambement DVSHFWRVLQWiWLFRRVHQWLGR
do verso se completa no verso posterior
.....................! No aconchego
Do claustro...........................

111
 Literatura brasileira II

............... o emprego,
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- Linguagem:
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qualquer outra.
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das grandes cidades com seu movimento de
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p. 65).
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Via lactea
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112
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Aula

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8
Que, para ouvi-las, muita vez desperto
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E conversamos toda a noite, enquanto

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Cintila. E, ao vir do sol, saudoso e em pranto,
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Que conversas com ela? Que sentido
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(BILAC, Olavo. Obra reunida. Rio de Janeiro: Nova Aguilar, 1996.)

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poema 9LD/iFWHD
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verso. O poema apresenta rimas cruzadas nos quartetos: ABAB e CDC
nos tercetos.
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ž YHUVR WHP PRPHQWRV W{QLFRV VD FRQYHUVDPRV  QRL QRLWH 
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HVWURIH

113
 Literatura brasileira II

 žYHUVRUHL GLUHL PDL DPDL HGr HQWHQGrODV VtODEDV

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esquema formal.
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Com que das desventuras me protejo.

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Ser de homem sempre e, na maior pureza,
Ficar na terra e humanamente amar.
(BILAC, Olavo. Obra reunida. Rio de Janeiro: Aguiar, 1996. p. 126).

Olavo Bilac que defendeu ardentemente os preceitos parnasianos,

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reunida especialmente na obra 6DUoDVGH)RJR.
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derramado, lacrimejante, mas um sentimento contido: tanto por fazer
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HVTXHPDUtPLFRHVTXHPDUtWPLFRHVFROKDGRVRQHWRXPDIRUPDÀ[DGH
SRHVLDTXHIXQFLRQDFRPRXPPROGHQRTXDOVHHQFDL[DRWHPDjIRUPD

114
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Aula

A forma do soneto, apresenta 4 estrofes, 2 quartetos e 2 tercetos.

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8
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 žYHUVRHVtODEDV
HVWURIH
 žYHUVRHVtODEDV
 žYHUVRHVtODEDV
 žYHUVRHVtODEDV
$VSDODYUDVTXHULPDPVmRVLJQLÀFDWLYDVSDUDDDUWLFXODomRGDWHPiWLFD
DVVLPFRPRDTXHODVQDVTXDLVUHFDLDWRQLFLGDGHSRpWLFD
9rVHHQÀPRHORJLRGRDPRUKXPDQRGDFRQGLomRKXPDQDGHVHU
e viver como um ser terreno.
2ODYR%LODFIH]DLQGDXPDSRHVLDQDFLRQDOLVWD FtYLFD 
como o +LQRj%DQGHLUDGHH[DOWDomRGRVHUYLoRPLOLWDU
p3DWURQRGRVHUYLoRPLOLWDU IH]OLWHUDWXUDLQIDQWLO SRH
VLD HDLQGDSRHVLDGHFXQKRKLVWyULFRFRPRR&DoDGRUGH
Esmeraldas. Mesmo abordando temas da vida brasileira
%LODF Gi SULRULGDGH DR FXOWR GD IRUPD SRpWLFD 0XLWR
diferente do que fazia a poesia francesa, especialmente a
poesia de Baudelaire, que saiu do gabinete e enfrentou as
LPSXUH]DVGDVUXDVGH3DULVREVHUYDQGRDVFRQWUDGLo}HV
GRFDSLWDOLVPREXUJXrVDPLVpULDGDVUXDVDH[SORUDomR
do homem pelo homem e enriquecimento da classe bur-
JXHVDEHQHÀFLDGDSHODSURGXomRLQGXVWULDO2IUDJPHQWR
TXHVHJXHpXPDHVWURIHGRSRHPDGH%DXGHODLUHO vinho
dos tropeiros, da obra $VÁRUHVGRPDO.
´7RGDHVVDJHQWHDIHLWDjVDÁLo}HVFDVHLUDV

Capa de $VÁRUHVGRPDO

115
 Literatura brasileira II

Derreada pela idade e farta de canseiras,

7U{SHJDHFXUYDDRSHVRDWUR]GRDVFRLQÀQLWR
9{PLWRHVFXURGHXP3DULVHQRUPHHDÁLWRµ
(BAUDELAIRE, Charles. $VÁRUHVGRPDl. Trad.: I. Junqueira. Rio
de Janeiro: Nova Fronteira, 1985, p.379.)

$SRHVLDGH%DXGHODLUHMiWUD]LDRFXLGDGRFRPDIRUPDLQLFLDYDRHVWLOR
SDUQDVLDQRPDVHVWDYDDWHQWDDRVSUREOHPDVVRFLDLVjVLWXDomRGRVErED
GRVGDVSURVWLWXWDVGRVPHQGLJRVFDWDGRUHVGHOL[RHGRVYHOKRVQmRSDUD
FRQGHQiORVRXUHMHLWiORVPDVSDUDDWUDYpVGHOHVUHFRQKHFHUHGHQXQFLDU
o modo de ser de uma sociedade considerada moderna, e que de moderna
PHVPRWLQKDDSHQDVDJDQkQFLDGROXFUR0DVQR%UDVLOR3DUQDVLDQLVPR
HPJHUDOQmRDVVLPLORXDVTXHVW}HVVRFLDLVFRPRIH]DSRHVLDGH%DXGHODLUH
QD)UDQoD2SWRXSHORHVWHWLFLVPRYLUDQGRDVFRVWDVDRVSUREOHPDVSRU
TXHSDVVDYDDVRFLHGDGHEUDVLOHLUDeFHUWRTXHRVQRVVRVSUREOHPDVQmR
HUDP RV PHVPRV TXH YLYLDPRV HXURSHXV LQGXVWULDOL]DomR FUHVFLPHQWR
GHVJRYHUQDGRHGHVXPDQL]DGRGDVFLGDGHVFRQÁLWRVGHFODVVHUHEHOL}HV
GHWUDEDOKDGRUHV PDVKDYLDXPSURFHVVRGRORURVRGHWUDQVIRUPDomRGD
VRFLHGDGH $EROLomR3URFODPDomRGD5HS~EOLFDHVXDVFRQVHTXHQWHVFULVHV
QRLPSpULR $RVHGHVYLDUGDSUiWLFDSDUQDVLDQDIUDQFHVDRVSDUQDVLDQRV
EUDVLOHLURVIHFKDUDPRVROKRVSDUDRTXHHUDHVVHQFLDORVFRQÁLWRVGDVR
ciedade brasileira.

&21&/86®2

&XOWLYDUDIRUPDpSUHUURJDWLYDGHTXDOTXHUH[SUHVVmRDUWtVWLFDPDV
ID]HURFXOWRGDIRUPDIRLXPDH[SHULrQFLDGR3DUQDVLDQLVPRHTXHQHP
VHPSUHÀFRXVyQLVVR+iXPDSRHVLDSDUQDVLDQDTXHUHWRPRXHDWXDOL]RX
HOHPHQWRVGRHVWLORURPkQWLFRHDWpPHVPRGRHVWLORVLPEROLVWDVHXFRQ
WHPSRUkQHRDTXHPUHVLVWLXHXOWUDSDVVRXQRWHPSR2ODYR%LODF$OEHUWR
GH2OLYHLUD5DLPXQGR&RUUHLD9LFHQWHGH&DUYDOKR)UDQFLVFD-~OLDVmR
modelos do estilo parnasiano que ainda hoje encontram seguidores.

116
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Aula

RESUMO 8
Nesta aula pudemos ver que a poesia parnasiana brasileira iniciou-se
QDVHJXQGDPHWDGHGRVpFXOR;,;QRPRPHQWRHPTXHHVWHYHHPYRJD
DOLWHUDWXUDUHDOLVWDQDWXUDOLVWDHTXHXPGRVSURSyVLWRVGHVVDSRHVLDHUD
FRPEDWHURVH[DJHURVGRHVWLORURPkQWLFR$VHQWLPHQWDOLGDGHDVXEMHWLYL
GDGHDIDQWDVLDDHPRomRHUDPHOHPHQWRVGDSRHVLDURPkQWLFDUHMHLWDGRV
SHOR3DUQDVLDQLVPR(VVDHUDWDPEpPXPDSRVWXUDGRHVWLORQD(XURSD
RQGHDSRHVLDH[SULPLXFRQVFLHQWHPHQWHDVWUDQVIRUPDo}HVHFRQWUDGLo}HV
SUySULDVGDVRFLHGDGHFDSLWDOLVWDEXUJXHVDSURPRWRUDGD5HYROXomR,Q
GXVWULDOHGHVHXVGHVGREUDPHQWRVGHVGHRSURJUHVVRWpFQLFRjJDQkQFLD
revelada e combatida pela poesia do grande poeta Baudelaire.
 1R%UDVLODVRFLHGDGHYLYLDPRPHQWRVGHFULVHHWUDQVIRUPDo}HV
D OXWD SHOD DEROLomR GD HVFUDYDWXUD H SHOD LQVWDODomR GD 5HS~EOLFD FRP
VXDVFRQVHTXrQFLDVQDiUHDHFRQ{PLFDVRFLDOHSROtWLFD0DVQDGDGLVVR
LQWHUHVVRXDHVVHVSRHWDVHQFDVWHODGRVTXHÀFDUDPQRFXOWRGDIRUPDGR
SRHPD,QWHUHVVDYDOKHVRHVWpWLFRPDVDEULDPPmRGRFRPSURPLVVRpWLFR
HPWRGRVHOHVSUDWLFDPHQWHHVVDGLVFXVVmRSDVVDjPDUJHPGDSRHVLD2V
poetas que no Brasil aderiram ao estilo parnasiano permaneceram durante
DVHJXQGDPHWDGHGRVpFXOR;,;(HQWUDUDPSHORVpFXOR;;3RGHPRV
REVHUYDUTXHFRQYLYHUDPFRPR6LPEROLVPRWDPEpPGDVHJXQGDPHWDGH
GRVpF;,;HTXHVXDLQÁXrQFLDSHUPDQHFHDWpKRMH

ATIVIDADES

1. Destaque do poema A um poeta, um verso em que se defende um ideal

FOiVVLFRGHDUWH
&RPHQWHRFDUiWHUGLGiWLFRHPHWDOLQJXtVWLFR H[SOLFDWLYR GRSRHPD
2SRHPDWHPDWL]DRID]HUSRpWLFRDHODERUDomRGRSRHPD0RVWUHDV
estrofes em que isso acontece.
0RVWUHQRSRHPDXPDH[SUHVVmRTXHLQGLFDRLGHDOGD´DUWHSHODDUWHµ

&20(17É5,262%5($6$7,9,'$'(6

$VHJXQGDHVWURIHWUD]XPyWLPRH[HPSORGRTXHVHSHGHQDTXHVWmR
3RUH[HPSORDH[SOLFDomRGHFRPRGHYHVHUUHDOL]DGRRSRpWLFRHR
SRHPDRTXHFRQIHUHDRSRHPDXPFDUiWHUDOWRUHIHUHQFLDO
 9HULÀTXH D VHJXQGD H D WHUFHLUD HVWURIHV H WUDQVFUHYD RV WUHFKRV
adequados.

117
 Literatura brasileira II

)D]HUDDQiOLVHFUtWLFDGHXPSRHPDSDUQDVLDQRGDOLWHUDWXUDEUDVLOHLUD
DVXDHVFROKD$DQiOLVHGHYHHQIRFDUDIRUPD HVWUXWXUD DWHPiWLFDHD
linguagem do poema.

&20(17É5,262%5($6$7,9,'$'(6
2EVHUYDUDPDQHLUDSUiWLFDHVLPSOHVGHID]HUDDQiOLVHGDSRHVLDe
HVVHQFLDOH[DPLQDUWUrVGLPHQV}HVEiVLFDVGRSRHPDDHVWUXWXUDD
WHPiWLFDHDOLQJXDJHPGRWH[WR
Na estrutura procure observar os aspectos:
*UiÀFRGLVSRVLomRGDVHVWURIHVHGRVYHUVRV RXWDPEpPDWLSRORJLD 
6RQRURUHSHWLomRGHVRQVHGHUHFXUVRVVRQRURV LQFOXVLYHULPD
5tPLFRHVTXHPDVUtPLFRVGRSRHPD WLSRV
6LQWiWLFRPRGRGHRUJDQL]DomRGDVHVWURIHVGRVYHUVRVHGDVSDODYUDV
nos versos.
1DWHPiWLFDSURFXUHYHUDVSULQFLSDLVLGHLDVHPRGRFRPRHVVDVLGHLDV
VHRUJDQL]DPSDUDIRUPDUDWHPiWLFDGRSRHPDOHYDQWDUDVSDODYUDV
FKDYHHDVLGHLDVFKDYH REVHUYDURFDPSRVHPkQWLFRQRWH[WRDUHODomR
de sentido entre as palavras).
3DUD DQDOLVDU D OLQJXDJHP p SUHFLVR ÀFDU DWHQWR SDUD RV VHJXLQWHV
aspectos:
6HOHomRYRFDEXODU HVFROKDGDVSDODYUDV
5HFXUVRVHVWLOtVWLFRV SRpWLFRV ²HVWLOROLWHUiULR
- Figuras de linguagem
2UJDQL]DomRGRVHVTXHPDVUtPLFRV
2UJDQL]DomRGRVHVTXHPDVUtWPLFRV
3URFHGLPHQWRVVLQWiWLFRV

3HVTXLVHQDELRJUDÀDGH2ODYR%LODFQRVLWHDEDL[RHHPVHJXLGDFRP
partilhe com seus colegas no MSN os principais momentos da vida e da
obra deste poeta. www.casadobruxo.com.br/poesia/o/olavobio.htm

&20(17É5,262%5($6$7,9,'$'(6

$ ELRJUDÀD GH XP HVFULWRU SRGH IRUQHFHU XP ERP PDWHULDO SDUD
esclarecer determinados aspectos de sua obra. No entanto, o interesse
PDLRUGRHVWXGLRVRGHOLWHUDWXUDGHYHVHUDSUySULDREUD

118
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Aula

35Ð;,0$$8/$
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8
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$872$9$/,$d®2

$SyVHVWHEUHYHHSUD]HURVRFRQWDWRFRPDSRHVLDSDUQDVLDQDEUDVLOHLUD
e conhecendo que foi produzida em literatura, no Brasil, consigo ver a
LPSRUWkQFLDGHVVDSRHVLDSDUDDIRUPDomRGRFkQRQHOLWHUiULREUDVLOHLUR"
$RH[DPLQDUXPSRHPDSDUQDVLDQRYRFrSRVVRUHFRQKHFHURVWUDoRV
GHVVHHVWLORFRQVLGHUDQGRR3DUQDVLDQLVPREUDVLOHLURHQmRRHXURSHX"
&RQVGLVFHUQLURFRPSURPLVVRHVWpWLFRGDSRHVLDEUDVLOHLUDSDUQDVLDQD
HRVHXFRPSURPLVVRpWLFR"$SUHRFXSDomR FRPSURPHWLPHQWR FRPRV
problemas da vida do homem brasileiro?

5()(5È1&,$6

BAUDELAIRE, Charles. $V ÁRUHV GR PDO. Trad.: I. Junqueira. Rio de

Janeiro: Nova Fronteira, 1985, p. 379.
BILAC, Olavo. Obra reunida. Rio de Janeiro: Nova Aguilar, 1996.
.27+()OiYLR5HQp2FkQRQHUHSXEOLFDQR,%UDVtOLD8Q%S
BOSI, Alfredo. O Parnasianismo In: +LVWyULD FRQFLVD GD OLWHUDWXUD
brasileira. p. 219.
ARDOSO FILHO, Antonio. Teoria da Literatura I. 6mR &ULVWRYmR
CESAD/ UFS, 2007.
352(1d$),/+2'RPtFLR(VWLORSDUQDVLDQRHGDWHRULDGD´DUWHSHOD
DUWHµ,Q(VWLORVGHpSRFDQDOLWHUDWXUD6mR3DXOR(GLWRUDÉWLFD
&287,1+2$IUkQLRO Parnasianismo In: A literatura no Brasil.
3 Editora Global, 1999.
&287,1+2$IUkQLR&287,1+2(GXDUGRGH)DULD GLU A literatura
no BrasilHG96mR3DXOR*OREDO

www.casadobruxo.com.br/poesia/o/olavobio.htm.

119