Passeio pela Literatura - 2
Autor: Flávia Suassuna | Publicado: 2016-07-20T10:05:00-03:00

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O esquecido livro “O Ateneu”, de Raul Pompéia, de 1888, é irmão gêmeo do
“Dom Casmurro”, de Machado de Assis, de 1899 – ambos são fruto desse Realismo
tardio brasileiro, que acaba por se confundir com o Impressionismo: ambos são um relato em
primeira pessoa, ambos afastam o tempo da ação do da narração, ambos registram
impressões do passado não comprováveis e, portanto, não críveis, ambos são
versões parciais... Mas, é claro, como bivitelinos que são, apresentam muitas
diferenças entre si, a exemplo do tema e do estilo, cujas marcas sempre
identificam, de forma exclusiva, um modo de escrever e uma personalidade.

“O Ateneu” é
um romance de formação, expressão
usada para identificar livros que registram a passagem da adolescência para a
vida adulta de um personagem: no caso, Sérgio, o narrador, relata as
experiências que vivenciou num internato de nome Ateneu, quando tinha treze
anos. Como foram vivências resultantes de acontecimentos impactantes na sua
negatividade, o livro é considerado naturalista, ou seja, carrega ideias
deterministas que consideram o meio um elemento degradador dos personagens. Mas
o livro não tem a clareza que costuma aparecer em romances desse tipo, nem
simplifica as relações de causa e efeito; nesse sentido, classificá-lo é quase impossível,
já que, no texto, se insinua, além da falta de nitidez, uma avaliação subjetiva
demais para ser aceita como verdade única.

Em relação ao
estilo, a reverência à erudição vocabular e linguística ainda o situa no final
do século XIX, quando os escritores – Coelho Neto, Rui Barbosa, Olavo Bilac,
Euclides da Cunha, entre outros – primavam pela perfeição gramatical e pela
rigorosa seleção lexical, comportamento esteticista e perfeccionista só mais
tarde questionado. 

Nesse sentido,
“O Ateneu” só pode ser entendido como um livro mestiço − mescla elementos
românticos (já que carrega nas tintas emocionais e subjetivas), naturalistas
(em virtude de a negatividade do ambiente vitimar os personagens), realistas
(por causa do desmascaramento moral da classe dominante), impressionistas
(porque quebra a nitidez) e mesmo expressionistas (uma vez que antevê o traço
exagerado e caricatural) – e nunca se deixa classificar facilmente.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;