ORIGEM DO CORDEL NORDESTINO II
Autor: GELP | Publicado: 2011-09-21T07:58:00-07:00

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&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Márcia Abreu, com o fim de demarcar a diferença em relação à sua congênere portuguesa, considerada por ela totalmente diferente da nossa, prefere denominar nossos cordéis de “literatura de folhetos”.•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Para ilustrar como as formas e gêneros do cordel brasileiro são oriundos da cantoria ou repente, Márcia Abreu lembra que “sextilha heptassilábica” (estrofe de seis versos, todos em redondilha maior) há muito já era empregada nas cantorias, constituindo normalmente&nbsp; o estilo cujos cantadores iniciam as suas pelejas.•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Outra demonstração da influência da cantoria sobre o cordel nordestino diz respeito à “deixa”, assim chamado o verso inicial da estrofe que rima com o último da estrofe anterior. Essa “deixa”&nbsp; teria origem no leixa-pren comum nas pelejas, pois o desafiado costuma retomar o que seu desafiante acaba de afirmar com o fim de rebater seu opositor.. Incorporada à sextilha do cordel por Silvino Pirauá, o leixa-pren foi depois simplificada por Zé Duda, reduzindo-se apenas à obrigatoriedade de rimar o último verso com o primeiro. Vejamos um exemplo extraído de Os sertões (1998, p. 135), de Euclides da Cunha:
A PROVOCAÇÃO: “Nas horas de Deus, amém,Não é zombaria, não!Desafio o mundo inteiroPra cantar nessa função!”
A REBATIDA: “Pra cantar nessa função,Amigo, meu camarada,Aceita teu desafioO fama desse sertão!”