Francine Fernandes Weiss Ricieri

Notas sobre alguma recepção poética de Baudelaire, no Brasil, em fins do XIX (Cruz e Sousa, Gonzaga Duque)

Introduction

Notas sobre alguma recepção poética de baudelaire, no brasil, em fins do xix (cruz e sousa, gonzaga duque). Explore a recepção poética de Baudelaire no Brasil no século XIX, analisando as reflexões estéticas de Cruz e Sousa e Gonzaga Duque, a ironia e o lirismo compartilhado.

Abstract

Considerando uma tradição de abordagens temáticas das relações entre poetas brasileiros do final do XIX e Charles Baudelaire, o objetivo deste artigo é observar como reflexões de ordem estética se apresentam entre alguns leitores do poeta francês. Para explorá-las, priorizam-se um poema e a epígrafe escolhida por Cruz e Sousa para Broqueis (com alusão a outros poemas e a uma publicação de Gonzaga Duque, de 1907). As conclusões propostas dependem do conceito de clown trágico, de Jean Starobinski, e dos mapeamentos iniciais daquela recepção, formulados por Glória Carneiro de Amaral. Os estudos de Alain Vaillant, dedicando-se ao papel ocupado pelo riso na poética de Baudelaire, permitem desenvolver reflexões em torno da ironia e de seu papel na produção de uma específica forma de lirismo que parece ser compartilhada pelos diferentes poetas em questão.

Review

The article, "Notas sobre alguma recepção poética de Baudelaire, no Brasil, em fins do XIX (Cruz e Sousa, Gonzaga Duque)," proposes a focused examination of Charles Baudelaire's poetic reception in late 19th-century Brazil, specifically through the works of Cruz e Sousa and Gonzaga Duque. Moving beyond traditional thematic analyses, the author aims to investigate how aesthetic reflections manifest among these Brazilian readers of the French poet. The core of this exploration centers on a specific poem and the chosen epigraph by Cruz e Sousa for his collection *Broqueis*, alongside a publication by Gonzaga Duque from 1907, promising a close textual engagement with the subject matter. Methodologically, the paper grounds its analysis in established critical frameworks while introducing a sophisticated lens. It explicitly states that its conclusions rely on Jean Starobinski's concept of the "clown trágico" and on Glória Carneiro de Amaral's foundational work mapping this period of reception. Crucially, the abstract highlights the integration of Alain Vaillant's studies on the role of laughter in Baudelaire's poetics. This theoretical triangulation allows the article to develop reflections around irony and its function in producing a distinct form of lyricism, which is posited as a shared characteristic among Baudelaire and the Brazilian poets under scrutiny. This approach suggests a nuanced understanding of influence, shifting from direct thematic parallels to a shared aesthetic sensibility. The proposed research appears to offer a valuable contribution to the understanding of comparative literature and the specific trajectory of Symbolism in Brazil. By focusing on aesthetic and ironic dimensions through the "clown trágico" concept, the article promises to provide a deeper, more sophisticated insight into Baudelaire's impact than mere tracing of thematic echoes. This approach has the potential to illuminate a shared poetic ethos, enriching our comprehension of how an international influence can be creatively transformed and integrated into a national literary context. The article's focus on subtle aesthetic convergences, rather than overt thematic borrowing, could make it a significant addition for scholars interested in literary reception, comparative poetics, and the specific legacy of Baudelaire in lusophone literature.

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