Aula

O ARCADISMO EM PORTUGAL

META
$SUHVHQWDURVIHQ{PHQRVFXOWXUDLVGRLQtFLRGRVpFXOR;9,,,QD(XURSDHHP
HVSHFLDOHP3RUWXJDOTXHVHUHÀHWHPQDHVWpWLFDOLWHUiULDTXHVHDQXQFLDR
Arcadismo ou Neoclassicismo, objeto de estudo desta aula.

OBJETIVOS
$R¿QDOGHVWDDXODRDOXQRGHYHUi
HQWHQGHURSDQRUDPDVRFLDOKLVWyULFRHOLWHUiULRGD(XURSDHGH3RUWXJDOQR
VpFXOR;9,,,
DODUJDUVHXVKRUL]RQWHVFXOWXUDLVDWUDYpVGRFRQKHFLPHQWRGHSURGXo}HV
OLWHUiULDVGRViUFDGHV
FRPSUHHQGHUDVFDUDFWHUtVWLFDVHWUDoRVSHFXOLDUHVGRVDXWRUHVGDpSRFDHP
estudo;
GHVHQYROYHUDVFDSDFLGDGHVGHOHLWXUDHDQiOLVHGRWH[WROLWHUiULR

35e5(48,6,726
$XODVQžHVREUHR%DUURFRSRUWXJXrV
,QIRUPDo}HVVREUHR,OXPLQLVPRREUDVHLGpLDVGRV¿OyVRIRV9ROWDLUH
0RQWHVTXLHX5RXVVHDX'LGHURWH'¶$OHPEHUW
$(QFLFORSpGLD
O despotismo esclarecido.

3DOiFLRGRV&RQGHVGH3RPEHLURKRMH(PEDL[DGDGD,WiOLDRQGHVHUHXQLD

1RYD$UFiGLD)RQWHVKWWSZZZSDVVHLZHEFRP
 Literatura Portuguesa II

,1752'8d®2
&DURDOXQR1HVWDDXODHVWXGDUHPRVDHPHUJrQFLDGHXPDQRYDHVWpWLFD
OLWHUiULDHP3RUWXJDOR$UFDGLVPRRX6HWHFHQWLVPR
&UHLRTXHYRFrVMiSHUFHEHUDPDQHFHVVLGDGHTXHQyVVHUHVKXPDQRV
temos de mudar, de buscar sempre coisas novas, diferentes. Insatisfeitos
FRPDLPSUHJQDomRHPXPPHVPRHVWLORFRPDUHSHWLomRGHPRGHORVH
formas, os homens tendem a romper com o presente e projetar-se para o
Paradigma
futuro, propondo algo novo.
'R JUHJR SDUi &RQWXGRQDVQRYLGDGHVSURSRVWDVSHUFHEHVHDSUHVHQoDGHHOHPHQ
GHLJPD p D UHS WRVGHXPSDVVDGRUHPRWRTXHPDLVXPDYH]YrPjWRQDeDUHWRPDGD
UHVHQWDomR GH XP GRYHOKRGHDOJRTXHMiH[LVWLXDQWHVHSUHYDOHFHXGXUDQWHFHUWRSHUtRGR
PRGHORXPSDGUmR KLVWyULFR WRUQDQGRVH DWp PHVPR XP paradigma, mas, como todas as
a ser seguido.
FRLVDVFULDGDVSHORKRPHPGHSRLVDUUHIHFHXSHUGHXDLPSRUWkQFLDHGHX
lugar a um novo paradigma. Ao serem retomados, os modelos antigos se
adaptam ao momento vigente e adquirem outra roupagem.
)RLRTXHRFRUUHXFRPDHVWpWLFDTXHVXFHGHXR%DUURFRR$UFDGLVPR
Descontente com o excessivo rebuscamento de uma arte voltada para as
FODVVHVSUHGRPLQDQWHVQDpSRFDDDULVWRFUDFLDHRFOHURDEXUJXHVLDHPHU
JHQWHURPSHHSURS}HIRUPDVGHH[SUHVVmRPDLVVLPSOHVPDLVDRVHXJRVWR
$TXLEXVFDUHPRVRHQWHQGLPHQWRGHVVDHVFRODTXHVHDQXQFLDDFRPHoDU
SHODGHQRPLQDomRTXHOKHIRLGDGD
3RUTXHRVQRPHV$UFDGLVPR1HRFODVVLFLVPRRX6HWHFHQWLVPR"9RFr
VDEHULDDUHVSRVWD"6HQmRVDEHYDPRVMXQWRVSURFXUiOD$QWHVSRUpP
SURFXUHSHVTXLVDUHPOLYURVGHOLWHUDWXUDRX´VLWHVµQDLQWHUQHWTXHWUD]HP
curiosidades sobre o assunto.

4XDGURUHSUHVHQWDQGRXPSDVWRUGHRYHOKDV²LOXVWUDomRWtSLFDGR
Arcadismo (Fonte: http://www.brasilescola.com)

42
 O Arcadismo em Portugal
Aula

5HSUHVHQWDomRGH$UFiGLD)ULHGULFK.DXEDFK

020(172+,67Ð5,&2
$FUHGLWRTXHYRFrVMiGHYHPWHUSHUFHELGRDPXGDQoDUDGLFDORFRU
ULGDQDVSURGXo}HVOLWHUiULDVQDSDVVDJHPGR%DUURFRSDUDR$UFDGLVPRH
GHYHPVHSHUJXQWDUFRPRSRGHPVHVXFHGHUHVWLORVSRpWLFRVWmRGLIHUHQWHV
WmRDFHQWXDGDPHQWHRSRVWRV$VUD]}HVVmRGLYHUVDVHDTXLSURFXUDUHPRV
HOXFLGiODV
(PSULPHLUROXJDUKi UD]}HVOLWHUiULDVFRQIRUPHGLWRR$UFDGLVPR
VXUJHHPGHFRUUrQFLDGDVDWXUDomRGR%DUURFRRXPHOKRUGRIDWRGHWHU
VHH[WHQXDGRGHQmRPDLVFRUUHVSRQGHUjVQHFHVVLGDGHVGHH[SUHVVmRGD
pSRFDXPDYH]TXHH[SUHVVDRJRVWRGREXUJXrVQmRPDLVRGRDULVWRFUDWD
2DSDUHFLPHQWRGRVÀOyVRIRVLOXPLQLVWDVDDVFHQVmRHRIRUWDOHFLPHQWR
SROtWLFRGDEXUJXHVLDFODVVHGRVFRPHUFLDQWHVIRUPDPXPQRYRTXDGUR
VyFLRSROtWLFRTXHQHFHVVLWDGHRXWUDVIRUPDVGHH[SUHVVmRPDLVDRJRVWR
da classe que ocupa o poder.
(PVHJXQGROXJDUKiUD]}HVKLVWyULFDVRVpFXOR;9,,,FRQKHFLGR
WDPEpPSRU´VpFXORGDVOX]HVµpXPPRPHQWRHPTXHVHDFUHGLWDTXH
WXGRSRGHVHUH[SOLFDGRSHODUD]mRHSHODFLrQFLD(PWRGDD(XURSDVH
GHOLQHLDXPPRYLPHQWRFXOWXUDOTXHUHÁHWHDVSURIXQGDVPXGDQoDVSRUTXH
SDVVDDVRFLHGDGHHGHÀQHDÀVLRQRPLDGRVpFXORR,OXPLQLVPR1DSDODYUD
´LOXPLQLVPRµHVWiLPSOtFLWDDLGHLDGHOX]SRLVHODSURYpPGHLOXPLQDUHV
FODUHFHU6HJXQGRRVÀOyVRIRVLOXPLQLVWDVHVWDIRUPDGHSHQVDPHQWRWLQKDR
SURSyVLWRGHLOXPLQDUDVWUHYDVHPTXHVHHQFRQWUDYDDVRFLHGDGHGDpSRFD
O movimento iluminista tinha como escopo atualizar conceitos, leis e
WpFQLFDVYLVDQGRDDOFDQoDUPDLRUHÀFiFLDHMXVWLoDQDRUGHPVRFLDO(UD
SRUWDQWRXPDÀORVRÀDTXHFRQGHQDYDR$QWLJR5HJLPH$EVROXWLVPRH
0HUFDQWLOLVPRHSUHJDYDDOLEHUGDGHHFRQ{PLFDDOLEHUGDGHSROtWLFDHD

43
 Literatura Portuguesa II

LJXDOGDGHMXUtGLFD'HIHQGLDWDPEpPRGRPtQLRGDUD]mRVREUHDYLVmR
WHRFrQWULFDTXHGRPLQDYDD(XURSDGHVGHD,GDGH0pGLDSRULVVRVHXV
LGHDLVFRQTXLVWDUDPSULQFLSDOPHQWHDEXUJXHVLDHLQÁXHQFLDUDPLPSRUWDQWHV
DFRQWHFLPHQWRVFRPRD5HYROXomR)UDQFHVDD,QGHSHQGrQFLDGRV(VWDGRV
8QLGRVHQR%UDVLOD,QFRQÀGrQFLD0LQHLUDHWF
1DYHUGDGHWUDYRXVHXPDOXWDHQWUHR´YHOKRµHR´QRYRµVHPSUH
HPSHUPDQHQWHWHQVmR$YHOKDPHQWDOLGDGHPHGLHYDOFRQWUDDQRYDPHQ
WDOLGDGHFODVVLFLVWD2FRQVHUYDGRULVPRFRQWUDLQTXLHWDomRUHYROXFLRQiULD
GDEXUJXHVLD(TXHPJDQKRXWDOOXWD"6HPG~YLGDDEXUJXHVLDFODVVHGH
FRPHUFLDQWHVTXHQRVpFXOR;9,,,FUHVFHXHFRQRPLFDPHQWHHDWLQJLXXPD
SRVLomRGHSUHVWtJLRH[LJLQGRSDUWLFLSDomRQDVGHFLV}HVSROtWLFDV$DULV
WRFUDFLDIRUPDGDSHODQREUH]DHSHORDOWRFOHURHQWUDHIUDQFDGHFDGrQFLD
HSDVVDDVHUGHVDFUHGLWDGDSHODSRSXODomR

ATIVIDADES
Procure conhecer um pouco mais sobre o Iluminismo. Para tanto, con-
VXOWHOLYURVGH+LVWyULD*HUDOHsitesGDLQWHUQHWTXHIDOHPVREUHRVÀOyVRIRV
9ROWDLUH0RQWHVTXLHX5RXVVHDX'LGHURWVXDVLGHLDVHVXDVREUDV9HULÀTXH
VHKiDSUR[LPDo}HVHQWUHHODVHR$UFDGLVPR(PTXHHOHVLQÁXHQFLDUDPD
QRYDHVWpWLFDOLWHUiULD"
2TXHYRFrVDEHVREUHD(QFLFORSpGLD"4XDQGRVXUJLXHTXHPDLGH
DOL]RX"6HQmRVDEHSURFXUHLQYHVWLJDUVREUHLVWRHVREUHRVHXFRQWH~GRH
VXDLPSRUWkQFLDSDUDDKXPDQLGDGH

3DUDPHOKRUFRPSUHHQGHUPRVHVVHTXDGURGHWUDQVLomRpQHFHVViULDD
UHIHUrQFLDDRPRPHQWRKLVWyULFRHXURSHXHPTXHLPHUJHDHVWpWLFDOLWHUiULDGR
$UFDGLVPRTXDQGRVHUHVSLUDXPDDWPRVIHUDGHSOHQDHIHUYHVFrQFLDFXOWXUDO
9HMDPRVRTXHQRVGL]0DVVDXG0RLVpVHPVHXOLYUR´$/LWHUDWXUD3RUWXJXHVDµ

*UDQGHVWUDQVIRUPDo}HVHPWRGDD(XURSDVREUHWXGRHP)UDQoD
DJLWDUDPDVHJXQGDPHWDGHGRVpFXOR;9,,,1RFDPSRLGHROyJLFR
propriamente dito, assinala-se como acontecimento de fundamental
UHOHYkQFLDDLQVWDODomRGRSHQVDPHQWRHQFLFORSpGLFRGH'µ$OHPEHUW
Diderot e Voltaire, ocorrida em 1751, quando o primeiro publicou o
'LVFRXUV3UpOLPLQDLUHGHOµ(QF\FORSpGLHORJRWRUQDGRLQtFLRGXP
SURFHVVRTXHFXOPLQRXFRPD5HYROXomR)UDQFHVD(VWDFRPR
pVDELGRYHLRDVHURVtPERORDFDEDGRGXPDQRYDHUDQDKLVWyULDGD
+XPDQLGDGH2,OXPLQLVPRIUDQFrVEDVHDGRQRFXOWRGDVFLrQFLDV
GDUD]mRHGRSURJUHVVRLPSUHJQRXODUJDDXGLrQFLDGHLQWHOHFWXDLV
SHORVTXDWURFDQWRVGRPXQGR02,6e6S

9HMDPYRFrVHVWLPDGRVDOXQRVRTXDQWRRPRPHQWRKLVWyULFRLQWHUIHUH
VREUHRVKRPHQV7RGRVQyVTXHLUDPRVRXQmRVRPRVLQVHULGRVHPXP

44
 O Arcadismo em Portugal
Aula

WHPSRHXPHVSDoRGHWHUPLQDGRHQmRSRGHPRVIXJLUGHVVDFRQWLQJrQFLD
TXHQRVFDUDFWHUL]DFRPRVHUHVVyFLRKLVWyULFRV6HPG~YLGDDVPXGDQoDV
RFRUULGDVQRVpFXOR;9,,,UHÁHWLUDPDDVSLUDomRGRVKRPHQVGDpSRFD
3
TXHLQVDWLVIHLWRVFRPDVFRQGLo}HVGHH[LVWrQFLDRVYDORUHVSUHSRQGHUDQWHV
QRPHLRVRFLDOHDRUJDQL]DomRGDVRFLHGDGHWDOFRPRVHDSUHVHQWDYDQHOD
LQWHUIHULUDPHOXWDUDPSRUQRYDVFRQGLo}HVHXPQRYRSDUDGLJPDGHYLGD
$VREUDVDUWtVWLFDVWDPEpPUHÁHWHPDVDVSLUDo}HVKXPDQDVPHVPRTXH
nem sempre de forma direta. Observe, por exemplo, o quadro que segue
HYHMDFRPRHOHUHÁHWHRVDQVHLRVGRPRPHQWRKLVWyULFRHPTXHVHYLYLD
3RUWXJDOHPERUDVXVWHQWDGRSRUXPDWUDGLomRFRQVHUYDGRUDEDVHDGD
HPGRJPDVHSULQFtSLRVHVWiYHLVSRUHVWDULQVHULGRQD(XURSDQmRFRQ
VHJXLXHVTXLYDUVHGRÁX[RGHVVDVPXGDQoDVJUDoDVDRDSRLRGDGRSRU'
-RmR9TXHUHLQRXHQWUHHD/XtV$QW{QLR9HUQH\
GHDVFHQGrQFLDIUDQFHVDWHyORJRTXHHPERUDJUDGXDGRHPeYRUDVHJXH
FXUVRVVHPHOKDQWHVQD,WiOLDHSXEOLFDXPDREUDSHGDJyJLFDHPLQWL
tulada 9HUGDGHLUR0pWRGRGH(VWXGDUDWUDYpVGDTXDOSURS}HDUHIRUPDJHUDO
do ensino superior em Portugal tendo por base as ideias iluministas. Com
9HUQH\HQWUDHPFULVHRHQVLQRUHOLJLRVRHPHGLHYDOHQWmRSUHGRPLQDQWH
nas escolas portuguesas, passando a prevalecer a ODLFL]DomRGRHQVLQRLVWRp
RVUHOLJLRVRVIRUDPVXEVWLWXtGRVSRUSURIHVVRUHV´OHLJRVµQDGLUHomRGRSUR
cesso educacional, sendo contratados excelentes professores estrangeiros,
LPEXtGRVGRVLGHDLVLOXPLQLVWDV
$SyVRSDtVSDVVDDVHUJRYHUQDGRSHORUHL'-RVp,FXMRPDQGDWR
HVWHQGHVHDWpWHPFRPRPLQLVWURR0DUTXrVGH3RPEDOUHSUHVHQWDQWH
GRGHVSRWLVPRHVFODUHFLGRHP3RUWXJDOUHVSRQViYHOSHODH[SXOVmRGRVMHVXt
WDVHSHORÀPGDLQÁXrQFLDMHVXtWLFDQDHGXFDomR3RPEDOHPVHXJRYHUQR
demonstrou capacidade e tino administrativo, reconstruindo a cidade de
/LVERDGHVWUXtGDSRUWHUUHPRWRWUDQVIRUPDQGRDHPXPDFLGDGHDGLDQWDGD
HDUURMDGDSDUDRVSDGU}HVGDpSRFD
A queda de Pombal favoreceu um grupo de homens pouco conhecidos na
YLGDSROtWLFDHQWUHHOHVR'XTXHGH/DI}HVTXHIXQGDHPD$FDGHPLD
5HDO GDV &LrQFLDV VHJXQGD DFDGHPLDSRUWXJXHVDMi H[LVWLD D GH +LVWyULD
IXQGDGDHPDPELFLRQDQGRVHHTXLSDUDUjVMiH[LVWHQWHVQD(XURSD
eQHVWHFOLPDGHHIHUYHVFrQFLDFXOWXUDOTXHLPHUJHR$UFDGLVPRSRU
WXJXrV(P$QW{QLR'LQLVGD&UX]H6LOYD0DQXHO1LFRODX(VWHYHV
1HJUmRH7HRW{QLR*RPHVGH&DUYDOKRIXQGDPD$UFiGLD/XVLWDQDVLPLODU
j$UFiGLD5RPDQDMiH[LVWHQWHGHVGH´HPTXHLULDPFXOPLQDUVHJXQGR
6DUDLYDH/RSHVDVWHQGrQFLDVQHRFOiVVLFDVHSUHSDUDUVHDHYROXomR
OLWHUiULDQRVHQWLGRGRUHDOLVPREXUJXrVVHWHFHQWLVWDµ&RQIRUPHHVWHVDXWRUHV

eVLJQLÀFDWLYDDFLUFXQVWkQFLDGHWDOLQLFLDWLYDSDUWLUQmRGDFRUWH
QHPGDQREUH]DGHVDQJXHPDVGHÀOKRVGDEXUJXHVLDHPIDVHGH
VH FDQGLGDWDUHP DR DOWR IXQFLRQDOLVPR MXGLFLDO 1RV GRLV VpFXORV
VHJXLQWHV SRGH GL]HUVH TXH DV VXFHVVLYDV JHUDo}HV OLWHUiULDV VH

45
 Literatura Portuguesa II

constelaram sempre em torno de personalidades que se destacavam,

jVDtGDGD8QLYHUVLGDGHSRUXPDUHFHSWLYLGDGHPDLVYLYDDRVQRYRV
SUREOHPDVHFRUUHQWHVLGHROyJLFDV6$5$,9$ /23(6S

2VFRQÁLWRVLQWHUQRVFRQWXGRIRUDPLQ~PHURVGLVSHUVDQGRDVVLP
VXDVSULQFLSDLVSHUVRQDJHQVVREDDomRGHGXDVIRUoDVDQWDJ{QLFDVXPD
TXHOHYDYDDRDQLTXLODPHQWRGDVRULJHQVHUHODo}HVEXUJXHVDVjLPLWDomR
da Antiguidade greco-romana); outra que procurava abonar os gostos e
LGHLDVFRWLGLDQDVjVDVSLUDo}HVEXUJXHVDVLPLWDomRGDUHDOLGDGHSUy[LPD
(PERUDWHQKDSDVVDGRSRUXPDVpULHGHSHUFDOoRVHGLYHUJrQFLDVLQWHU
QDVGHVIDOTXHGHVyFLRVHQWUHRXWUDVDGYHUVLGDGHVD$UFiGLD/XVLWDQDYLJRUD
DWpDHODSHUWHQFHUDP3HGUR$QW{QLR&RUUHLD*DUomR'RPLQJRV
GRV5HLV4XLWD)UDQFLVFR-RVp)UHLUHH0DQXHOGH)LJXHLUHGRHQWUHRXWURV
3RVWHULRUPHQWHHPpFULDGD$1RYD$UFiGLDDFDGHPLDGHRUDWyULD
e poesia, pelo mulato brasileiro Domingos Caldas Barbosa e alguns correli-
JLRQiULRV$HODDVVRFLDUDPVHWDPEpP%RFDJH-RVp$JRVWLQKRGH0DFHGR
7RPiV$QW{QLRGRV6DQWRVH6LOYDHRXWURV(PDDFDGHPLDSXEOLFD
SRHVLDVGHVHXVPHPEURVVRERWtWXORGH$OPDQDTXHGDV0XVDVPDVWHP
YLGDHIrPHUDHPGHFRUUrQFLDGHGLVVHQV}HVHQWUH0DFHGRH%RFDJH$OpP
GHVVDVRXWUDVIRUDPRUJDQL]DGDVPDVQmRYLQJDUDPQHPWLYHUDPUHOHYkQFLD

32548($'(120,1$d®2´$5&$',60228
6(7(&(17,602µ"

$UFiGLD 2 WHUPR $UFDGLVPR p SURYHQLHQWH GH $UFiGLD, palavra de origem

JUHJDTXHQRPHDYDXPDSURYtQFLDOHQGiULDGDDQWLJD*UpFLDKDELWDGDSRU
Em sua origem, pastores que levavam uma vida simples e natural, celebravam o amor e o
UHJLmR PLWROyJL prazer, cultivavam o canto e a poesia. Com o tempo, passou a designar de
ca habitada por
SDVWRUHV 1R VpF
XPUHJLmRLPDJLQiULDFRQFHELGDSRUSRHWDVHDUWLVWDVVtPERORGHfelicidade,
XVIII passou a simplicidade e pazXPDPELHQWHLGtOLFRKDELWDGRSRUSDVWRUHVTXHYLYHP
designar as aca- HPFRPXQKmRFRPDnatureza.
GHPLDV OLWHUiULDV O ArcadismoQD(XURSDVXUJHQRVpFXOR;9,,,SRUWDQWRQRVDQRV
E por qual motivo? GHGDtFKDPDUVHWDPEpPGH6HWHFHQWLVPR2XWURWHUPRXVDGRSDUD
QRPHiORp1HRFODVVLFLVPRSRUUHWRPDURVSULQFtSLRVDUWtVWLFRVGDWUDGLomR
FOiVVLFDRUDFLRQDOLVPRDLPLWDomRGHDXWRUHVFOiVVLFRVDUHVHQoDGDPLWR
ORJLDJUHJDDkQVLDGDSHUIHLomRIRUPDO
$UFiGLDSDVVRXDVHUQR$UFDGLVPRXPDDFDGHPLDOLWHUiULDTXHUHXQLD
HVFULWRUHVHSRHWDVFRPDÀQDOLGDGHGHGLVVHPLQDURVLGHDLVQHRFOiVVLFRV
HFRPEDWHUR%DUURFR2VSRHWDVTXHVHÀOLDYDPjV$UFiGLDVDGRWDYDP
SVHXG{QLPRVGHDQWLJRVSDVWRUHVJUHJRV2VSRHWDViUFDGHVDGRWDUDPQmR
DSHQDVRWHUPRDUFiGLDFRPRWDPEpPRLGHDOGHYLGDSDVWRULOYROWDGRSDUD
RFXOWLYRGDVFRLVDVVLQJHODVHSUD]HURVDVHPFRQWUDSRQWRjYLGDXUEDQDTXH
QmROKHVWUD]LDDWmRDOPHMDGDIHOLFLGDGH

46
 O Arcadismo em Portugal
Aula

ATIVIDADES
Procure pesquisar na internet ou em livros de Literatura Portuguesa
3
VREUHDVSULQFLSDLVDUFiGLDVH[LVWHQWHVHP3RUWXJDOTXDLVVHXVSULQFLSDLV
UHSUHVHQWDQWHVHVHXVSVHXG{QLPRV
+RMHHPGLDWHPRVDLQGDDJUHPLDo}HVVHPHOKDQWHVjVDUFiGLDV"&LWH
algumas conhecidas e explique seus objetivos.

3(&8/,$5,'$'(6'$(67e7,&$É5&$'(
$OHLWXUDGRWH[WRTXHVHJXHQRVPRVWUDUiFRPRRKRPHPGRVpFXOR
;9,,,FDQVDGRGDH[XEHUkQFLDGRUHEXVFDPHQWRHGRDUWLÀFLDOLVPRGDDUWH
EDUURFDSURFXUDYROWDUVHSDUDIRUPDVGHH[SUHVVmRPHQRVVRÀVWLFDGDV
PDLVVLPSOHVTXHH[SULPHPXPLGHDOGHYLGDEXFyOLFRHPFRPXQKmRFRP
a natureza.

SONETO

$XWRU$QW{QLR'LQLVGD&UX]H6LOYD

Aqui sentado neste mole assento

Que formam as ervinhas deste prado,
Enquanto a verde relva pasce o gado,
Quero ver se divirto meu tormento.

4XHIUHVFDDWDUGHHVWi4XHEUDQGRRYHQWR
0RYHDViJXDVGRULRVRVVHJDGR
E como neste choupo levantado
Se queixa a triste rola em doce acento!

$VÁRUHVFRPVXDYtVVLPDIUDJUkQFLD
$VDYHVFRPGRFtVVLPDKDUPRQLD
)D]HPPDLVDOHJUHHVWDIUHVFDHVWkQFLD

Mas nada os meus pesares alivia;

4XHGDPLQKDVDXGDGHDFUXHOkQVLD
0HQmRGHL[DXPLQVWDQWHGHDOHJULD

8PDEUHYHOHLWXUDGRVRQHWRGH$QW{QLR'LQLVGD&UX]H6LOYDTXH
DGRWRX R SVHXG{QLPR GH (OSLQR 1RQDFULHQVH Mi QRV Gi XPD LGHLD GH
FRPRDSRHVLDiUFDGHGLIHUHGDEDUURFD3ULPHLURSRUVXDVLPSOLFLGDGHGH
OLQJXDJHP1mRVHREVHUYDPQHVVHVYHUVRVRH[DJHURIRUPDORVUHFXUVRV
H[SUHVVLYRVWmRFXOWLYDGRVSHORVHVFULWRUHVEDUURFRVTXHSULPDYDPSRUXPD

47
 Literatura Portuguesa II

OLQJXDJHPH[WUHPDPHQWHUHEXVFDGDFXOWDSRUYH]HVDWpPHVPRSHVDGD
H[WUDYDJDQWHFDUUHJDGDGHÀJXUDVGHOLQJXDJHP$RFRQWUiULRRSRHPDp
EHPOHYHDSUHVHQWDXPULWPRPHORGLRVRGHIiFLOOHLWXUDHFRPSUHHQVmR
SRLVRVHXYRFDEXOiULRpPRGHVWRHVHPRXVRGDOLQJXDJHPÀJXUDGD
Segundo, pelo tom geral do discurso que corresponde a essa simplici-
GDGHGRWHPDGHVHQYROYLGR$H[SRVLomRRUGHQDGDFODUDHGLUHWDGDVLGHLDV
FRPUDUDVHPRGHUDGDVLQYHUV}HVVLQWiWLFDVDH[HPSORGRVGRLV~OWLPRV
YHUVRVGDSULPHLUDHVWURIHHGDTXDUWDFRQIHUHDRSRHPDXPDWUDQVSDUrQFLD
tPSDUTXHSHUSDVVDRGLVFXUVRGHVSRMDGRHVHPPLVWpULRPDVIUXWRGHXPD
FRQWHQVmRHODERUDGDQmRGHXPDWUDQTLOLGDGHUHDO
2EVHUYDVHLVWRQD~OWLPDHVWURIHHPTXHVHSHUFHEHDIDOWDGHVLQWRQLD
HQWUHDWUDQTXLOLGDGHGDQDWXUH]DHRHVWDGRGHHVStULWRGRSRHWD´QDGDRV
PHXVSHVDUHVDOLYLD>@DFUXHOkQVLDPHQmRGHL[DXPLQVWDQWHGHDOHJULDµ
1DVSDODYUDVGR´HXOtULFRµSHUFHEHVHDH[SUHVVmRGHXPDGRUFRQWLGD
TXHSRUQmRVHH[WHUQDUpUHYHODGDQRHIHLWRGHVLPSOLFLGDGH$EXVFDSRU
OXJDUHVWUDQTXLORVFDPSHVWUHVWUDGX]XPLGHDOGHYLGDQmRXPDUHDOLGDGH
(P3RUWXJDODRVHIXQGDUDSULPHLUDDFDGHPLDD$UFiGLD/XVLWDQD
HPRVSULPHLURVVyFLRVOLGHUDGRVSRU$QW{QLR'LQLVGD&UX]H6LOYD
DXWRUGRSRHPDDFLPDHVWXGDGRDEUDoDUDPXPOHPDLQXWLOLDWUXQFDW²TXH
VLJQLÀFDYD´FRUWDUDVLQXWLOLGDGHVµ$WUDYpVGHOHTXHULDPPDQLIHVWDUVHX
UHS~GLRDRVH[DJHURVGDSRHVLDEDUURFDFRQVLGHUDQGRTXHHODGHVYLUWXDYD
DSRHVLDFOiVVLFDFXMRVIXQGDPHQWRVHUDPRHTXLOtEULRHDUDFLRQDOLGDGH
&RPEDVHQRPLWRGD$UFiGLDHGLÀFDUDPVXDVGRXWULQDVEXVFDQGRLPLWDU
os modelos greco-latinos. A partir desse fundamento, desenvolvem outras
FDUDFWHUtVWLFDVTXHPROGDPDSRHVLDiUFDGH
- Enaltecimento de uma vida simples, baseada em valores naturais
e no cultivo das virtudes morais, desdenhando o luxo, as riquezas e
DPELo}HViXUHDPHGLRFULWDV
- Desprezo pela vida urbana (fugere urbem), vista como foco de
GHVDVVRVVHJRHGHSHUGLomR
&RQVFLrQFLDGDEUHYLGDGHGDYLGDHHPGHFRUUrQFLDDQHFHVVLGDGH
GHJR]iODGHIRUPDSOHQDFDUSHGLHPQDFRQWHPSODomRGDQDWXUH]D
e da beleza;
- Busca por ambientes campesinos (bucolismo), com rios, vales e
montanhas,
 )LQJLPHQWR SRpWLFR PDQLIHVWR WDQWR DWUDYpV GD DGRomR GH
SVHXG{QLPRV GH XPD DPELHQWH H XP WHPSR ÀFWtFLRV FRPR GD
UDFLRQDOL]DomRGRVHQWLPHQWRDPRURVRPHUDPHQWHFRQYHQFLRQDO
'HIHVDGHPRGHORVIRUPDLVDQWLJRVVHSDUDomRGHJrQHURVDEROLomR
da rima, emprego de metros simples, do soneto e de outras formas
FOiVVLFDVGHFRPSRVLomR

48
 O Arcadismo em Portugal
Aula

&UHLRTXHDWUDYpVGDVFDUDFWHUtVWLFDVGDSRHVLDiUFDGHYRFrVFDURVDOX
QRVGHYHPWHUSHUFHELGRTXHDFRQWHQomRGRVVHQWLPHQWRVHDUHYDORUL]DomR
GHXPHVWLORGHYLGDDQWLJRQmRFRQGL]HQWHFRPDUHDOLGDGHGRVDXWRUHV
3
GHUDPHQVHMRDRFXOWLYRGHXPDSRHVLDDUWLÀFLDOGHSRVHFRQIRUPHQRVGL]
0DVVDXG0RLVpV6HJXQGRHOHDVFDUDFWHUtVWLFDVGDHVWpWLFDDUFiGLFD
UHODFLRQDPVH DSHQDV j SRHVLD $LQGD TXH VH FXOWLYH D SURVD KLVWyULFD
ÀORVyÀFDSHGDJyJLFDFLHQWtÀFD´pIRUDGRVTXDGURVGRXWULQiULRVULJRUR
VDPHQWHDUFiGLFRVµ

ATIVIDADES
&RPSDUHRVSHUtRGRV%DUURFRHÉUFDGHHP3RUWXJDOPRVWUDQGRVHKi
HQWUHDPERVDSUR[LPDo}HVRXGLVWDQFLDPHQWRV$VHXYHUTXDOGRVGRLV
SHUtRGRVHVWXGDGRVpPDLVLQWHUHVVDQWH"3URGX]DXPWH[WRSRVLFLRQDQGR
VHHMXVWLÀTXHVHXSRQWRGHYLVWD
$JRUDTXHYRFrVMiFRQKHFHPPHOKRUDVSHFXOLDULGDGHVGDHVWpWLFDiUFDGH
SURFXUHPLGHQWLÀFiODVQRVSRHPDVTXHVHVHJXHPGRViUFDGHV'RPLQJRV
dos Reis Quita e Francisco Manuel do Nascimento. Mas lembrem-se de que
QHPWRGRVDSUHVHQWDPDVPHVPDVFDUDFWHUtVWLFDV3DUDSURFHGHUjDWLYLGDGH
SURSRVWDOHLDRVFRPFXLGDGRREVHUYDQGROKHVDIRUPDHRFRQWH~GR

Autor: Domingos dos Reis Quita

Ao longo desta praia um dia triste
2WHXIRUPRVRJRVWRVHDÀJXUD
1mRVHLTXHDIHWRVLQWRRXTXHWHUQXUD
4XHDWRGDHVWDDOPDGiFRQWHQWDPHQWR

2VROKRVSHODViJXDVHVWHQGLD
3RUTXHDOtYLRDVHXPDOQHODVEXVFDYD
E entre os tristes suspiros que exalava,
(POiJULPDVEDQKDGRDVVLPGL]LD

2VVXVSLURVDVOiJULPDVTXHFKRUR
Levai, ondas, levai ligeiro vento,
Para onde me levaste quem adoro.

2KVHSRGHLVWHUGyGRPHXWRUPHQWR
4XHPHWRUQHLVREHPVyYRVLPSORUR
Que puseste em longo apartamento.

49
 Literatura Portuguesa II

II

Autor: Francisco Manuel do Nascimento

Como quando o Sol dobra aquele outeiro,
3HODHQFRVWDGRFpXDRPDUGHVFHQGR
9mRDVVRPEUDVGDViUYRUHVFUHVFHQGR
&RUUHHQOXWDGRROtTXLGRULEHLUR

Pardo manto no seio sobranceiro

A tormentosa noite anda tecendo,
4XHVHYmRSHORVYDOHVHVWHQGHQGR
3DUDVROWDUVHHPKyUULGRFKXYHLUR

Tal esta alma se assombra e se entristece,

4XDQGRDQXYHPGHI~QHEUHVFXLGDGRV
1DWXDDXVrQFLDy0iUFLDDYXOWDHFUHVFH

&20(17É5,262%5($6$7,9,'$'(6
3DUDSURFHGHUjVDWLYLGDGHVSURSRVWDVUHOHLDRVSRHPDVFRPFXLGDGR
REVHUYDQGROKHVIRUPDHFRQWH~GRGHVWDFDQGRDVFDUDFWHUtVWLFDVGR
SHUtRGRiUFDGH2EVHUYHWDPEpPVHKiDVSHFWRVTXHIRJHPjHVWpWLFD
abordada, ou seja, marcas de originalidade dos autores.
6HWLYHUHPGLÀFXOGDGHUHYHMDPDVFDUDFWHUtVWLFDVGR$UFDGLVPRHOHLDP
FRPEDVWDQWHDWHQomRRVWH[WRVWHQWDQGRLGHQWLÀFiODV

&21&/86®2
2$UFDGLVPRSHUtRGRTXHGHXjVPDQLIHVWDo}HVDUWtVWLFDVXPDQRYD
WRQDOLGDGHEXUJXHVDSDVVDDFDUDFWHUL]DUHPHVSHFLDODHVWpWLFDOLWHUiULD
HP3RUWXJDOPDUFDGDSHODYROWDDRVSDGU}HVFOiVVLFRVGD$QWLJXLGDGHH
do Renascimento. O pensamento barroco decai paulatinamente, cedendo
FDPSRDRSHQVDPHQWREXUJXrVHPHUJHQWHPDUFDGRSHORVXEMHWLYLVPRH
SHOROLEHUDOLVPR(PFRQVHTrQFLDDEUHVHHVSDoRSDUDQRYDVIRUPDVGH
H[SUHVVmRHQRYRVYDORUHVSDXWDGRVQRJRVWRGDFODVVHHPDVFHQVmR

50
 O Arcadismo em Portugal
Aula

RESUMO
&RPRWRGDPDQLIHVWDomRDUWtVWLFDDOLWHUDWXUDDUFiGLFDUHÁHWLXRVYD
3
ORUHVTXHVHGHOLQHDYDPQDVRFLHGDGHGDpSRFDPDUFDGDVREUHWXGRSHOR
,OXPLQLVPRIUDQFrVTXHFXOWXDYDDUD]mRHRFRQKHFLPHQWR(QWUHWDQWR
em contraponto ao Barroco, primou por um estilo simples, por uma poesia
EXFyOLFDSDVWRULOSHORÀQJLPHQWRSRpWLFRHSHORXVRGHSVHXG{QLPRV2V
iUFDGHVLPLWDQGRDDQWLJDUHJLmRGD*UpFLDIXQGDUDP$UFiGLDVOLWHUiULDV
DJUHPLDo}HVRQGHVHUHXQLDPSDUDGLVFXWLUOLWHUDWXUD2$UFDGLVPRIRLXPD
HVWpWLFDPDLVYROWDGDSDUDDSRHVLDGRTXHSDUDDSURVDSRLVDVPDQLIHVWD
o}HVHPSURVDGRSHUtRGRQmRVHJXLUDPRVFkQRQHViUFDGHV(OHWHYHXP
HVStULWRSURIXQGDPHQWHUHIRUPLVWDSUHWHQGHQGRDWXDUVREUHRVFRVWXPHV
RFRPSRUWDPHQWRVRFLDOHDWpPHVPRVREUHRHQVLQR
(P3RUWXJDOR$UFDGLVPRWHPLQtFLRHPDQRGHIXQGDomRGD
$UFiGLD/XVLWDQDHVHHVWHQGHDWpTXDQGR$OPHLGD*DUUHWSXEOLFRX
RSRHPD´&DP}HVµTXHPDUFRXRVXUJLPHQWRGR5RPDQWLVPRSRUWXJXrV
Principais autores, e obras:

$QW{QLR'LQLVGD&UX]H6LOYD(OSLQR1RQDFULHQVH+LVVRSH

'RPLQJRV5HLV4XLWD$OFLQR0LFrQLR²2EUDV3RpWLFDV
3DGUH)UDQFLVFR0DQRHOGR1DVFLPHQWR)LOLQWR(OtVLR²'DDUWH
SRpWLFDSRUWXJXHVD
'RPLQJRV&DOGDV%DUERVD²$YLRODGH/HUHQR
&RUUHLD*DUomR&yULGRQ(ULPDQWHX²2EUDV3RpWLFDV
-RVp$JRVWLQKRGH0DFHGR$SHQDGH7DOLmR
0DQXHO0DULD%DUERVD'X%RFDJH²5LPDV

$872$9$/,$d®2
6HQWLDOJXPDGLÀFXOGDGHHPHQWHQGHURTXHIRLH[SRVWR"+iQHFHVVLGDGH
GHUHYHUDDXODGHPHOKRUDSURIXQGiOD"$VDWLYLGDGHVIRUDPDFHVVtYHLVRX
QmR"2TXHQmRFRPSUHHQGLRXQmRVRXEHGHVHQYROYHU"4XDLVG~YLGDV
SUHFLVRHOXFLGDU"$QRWHLRVSRQWRVTXHÀFDUDPREVFXURVHDVG~YLGDVTXH
surgiram?.

35Ð;,0$$8/$
1DSUy[LPDDXODFRQWLQXDUHPRVHVWXGDQGRR$UFDGLVPRPDVMiQR
VHXÀQDOTXDQGRVHGiDWUDQVLomRSDUDR5RPDQWLVPR$VPDQLIHVWDo}HV
GHVWHSHUtRGRVmRFKDPDGDVGHSUpURPkQWLFDV

51
 Literatura Portuguesa II

5()(5È1&,$6
AGUIAR E 6,/9$ 9tWRU 0DQXHO GH Teoria da Literatura. Coimbra:
Livraria Almedina, 1982.
02,6Ë60DVVDXGA literatura portuguesa6mR3DXOR&XOWUL[
_______. $OLWHUDWXUDSRUWXJXHVDDWUDYpVGHWH[WRV6mR3DXOR&XOWUL[
______ 3UHVHQoDGDOLWHUDWXUDSRUWXJXHVD,,6mR3DXOR'LIXVmR(X
URSpLDGR/LYUR
6$5$,9$$QW{QLR-RVp/23(6ÐVFDU+LVWyULDGDOLWHUDWXUDSRUWX
guesa. Porto: Ed. Porto, 1976.
&Ç1','2$QW{QLR Na sala de aula: FDGHUQRGHDQiOLVHOLWHUiULD6mR
3DXORÉWLFD

52