A forma atravessada na garganta: os metasonetos de Daniel Jonas e Paulo Henriques Britto

O surgimento do soneto como forma literária remonta ao século XIII, período em que, ao sul da Itália, nomeadamente a região da Sicília, era larga a influência da lírica de origem provençal. De apelo matemático, a invenção do soneto é atribuída a Giacomo da Lentini, chefe da escola siciliana do Sacro Imperador Romano Frederico II. O presente texto tem como objetivo principal a justaposição de duas poéticas, a do português Daniel Jonas e a do brasileiro Paulo Henriques Britto, de modo a fazer ressaltar as distinções no tratamento metapoético dispensado ao soneto e a outras formas que dele derivam.

UT ANIMALIUM PICTURA: ARISTOTLE'S HEART IN THE POETRY OF GIACOMO DA LENTINI

The essay analyzes the formation of the oft-cited trope of the image engraved (or painted) in the heart, topical in the Sicilian lyric of the thirteenth century, and the ways in which it re-discusses a painstaking issue of Aristotelian physiology. The trope of the “pintura nel core” (figure in the heart), as described in Giacomo da Lentini's Meravigliosa⋅mente and Madonna mia, a voi mando, is immediately assimilated to the faculty of memory, and the human ability to represent external reality by means of signa. This process of formation that happens in the heart and allows the poet to fall in love is reworked in the image of the “pintura” carved like a seal into wax. The lexical choices of Giacomo's poems point to an Aristotelian understanding of sense perception, centered around the key role of the heart, dependent upon the fluidity of its bodily part, and resulting in an internal representation of phenomenal reality. The link between love lyric poetry and physiological learning shows the interdependence of these two fields of medieval culture, and the ways in which a debated scientific issue can be illuminated by the comparative analysis of vernacular literature and philosophical investigation. Giacomo's reworking of these Aristotelian physiological tenets testifies to his poetical ability to engage with medicine and aesthetic representation.

Giacomo da Lentini

Giacomo da Lentini was the central figure in the formation of the Sicilian school of poetry in the early 13th century at the court of Frederick II. He is plausibly considered to be the inventor of the sonnet and his poetic corpus of sixteen canzoni, twenty-two sonnets, and a discordo amounts to by far the most numerous of any poet associated with Frederick’s court. We might thus say that he is the first major lyric poet of the Italian vernacular tradition. Giacomo demonstrates the influence of the earlier Occitan poetry of courtly love in his borrowings of themes, technical vocabulary, and metrical forms; he also innovates considerably in experimenting with the new sonnet form and crafts a refined poetry that actively distills the intellectual culture of Frederick’s court by way of similes that open up his love poems to science, philosophy, and politics. Giacomo’s influence on the subsequent developments of Italian poetry can be widely felt and perhaps most easily perceived in Dante Alighieri’s mention of him as an illustrious poet in his treatise on vernacular eloquence, De vulgari eloquentia, as well as his occupying the prime position of founding father in the poetic genealogy of Purgatorio 24.

Telling the difference: linguistic differentiation and identity in Guillem de Berguedà, Giacomo da Lentini and Bonifacio Calvo

Editorial practice in literary traditions still dominated by neo-Lachmannian philology remains focussed on the establishment of the text as the medieval author knew it himself. For adherents of this method, the influence of “foreign” languages is labelled as a contamination that should, if possible, be removed as unauthentic. This article proposes a less doctrinaire practice and demonstrates its fruits when brought to bear at the interstices of literary history and Romance philology, as represented by poems by Guillem de Berguedà, Giacomo da Lentini, and Bonifacio Calvo. Approaching both medieval poets and their modern editors in the light of Derrida’s Le monolinguisme de l’autre, the present contribution counters the tendency to impose linguistic and cultural identities on medieval authors, instead allowing their manuscripts to speak for themselves. It further considers the thinking of medieval poets and their transmitters on the nature of language and lyric poetry, and how these systems could and should be used and developed.

Soneto como variação fixa formal

Este artigo tem como tese o princípio de que o soneto é uma forma fixa porque variável. Esse princípio corresponde ao fundamento da variedade na fixidez como “igualdade na quantidade” (aequalitas numerosa). Para demonstrar a validade da proposta, aborda-se o soneto desde suas origens, a partir de Giacomo da Lentini, até a poesia de modernistas brasileiros (Manuel Bandeira, Carlos Drummond de Andrade e Vinícius de Moraes), passando-se pelo parnasiano Olavo Bilac. A análise investiga a validade do princípio de “igualdade na quantidade” a respeito do soneto atender a um molde, a uma versificação, a uma estrofação, a um esquema de rimas, a um ritmo e sua tonalidade. Para tanto, debate-se sobre a formação do sujeito e sua intervenção na poesia ocidental do século XIII ao XX, distinguindo-se sujeito centrado (anterior a meados do século XVIII) e sujeito autocentrado (posterior). Observa-se que o soneto apresenta um mínimo formal a respeito dos catorze versos em uma progressão textual lógico-discursiva que atende a: apresentação, desenvolvimento e desfecho. Como esse mínimo formal apenas existe in abstracto, o soneto tanto varia que chega a ser desrealizado, de suas origens a meados do século XX.Palavras-chave: Soneto. Forma fixa. “Igualdade na quantidade”. Sujeito centrado. Sujeito autocentrado.