DO GROTESCO E DO SUBLIME E A POÉTICA DE ARISTÓTELES: reflexões
Autor: Feira Literária - Manoel | Publicado: 2011-12-14T18:08:00-08:00

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 <![endif]-->  No intuito de defender o grotesco o autor francês Victor Hugo escreve “Do Grotesco e do Sublime”, onde por meio da junção harmoniosa de opostos como o feio e o belo, o imperfeito e o gracioso, o mal e o bem, o corpo e a alma, manifesta sua opinião sobre o emprego do grotesco nas artes.&nbsp; Para Aristóteles (1993, p. 32) tanto a tragédia quanto a epopeia estão correlacionadas ao objeto de imitação. “Porém o elemento mais importante é a trama dos fatos, pois, a tragédia não é imitação de homens, mas de ações e de vida”. Carecem apenas de recursos estilísticos e elementos próprios à dramatização. Já a catarse nasce de uma força emocional ocasionada pela imitação do natural (mimesis) conduzindo a um efeito induzido pela tragédia no público. Na poética, os argumentos aparecem de modo muito contundente como se desejassem mesmo separar a dor da alegria e a alegria da dor, definindo a tragédia como a imitação de realidades dolorosas e a comédia como a imitação de realidades risíveis por ser de assunto vulgar e pelo fato de encenar uma feiúra que não deveria inspirar nem dor nem destruição. (ARISTÓTELES, 1993, p. 24)Do Grotesco e do Sublime, no entanto, nega a literatura tradicional, sugerindo a inovação nos diversos campos artísticos, valorizando-os simultaneamente e defendendo uma representação a partir de aspectos humanos reais, priorizando, principalmente, o contraste.O autor identifica a necessidade humana e histórica de uma literatura que relacione os gêneros: grotesco e sublime, a tragédia e a comédia em detrimento à pureza poética de Aristóteles. “No pensamento dos modernos, ao contrário, o grotesco tem um papel imenso. Aí está por toda parte; de um lado, cria o disforme e o terrível; do outro o cômico e o bufo.” (HUGO, 2002, p. 30 – 1). Observa, também, que os elementos físicos, emocionais e espirituais são distintos, porém coexistem e colaboram para a originalidade e a perfeição dramática.Para Aristóteles (1993, p.106 - 7) a imitação é um elemento revelador de aparências, sem ocultar a aparência real.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; [...] os elementos formais e conteudísticos, na tragédia e na epopeia convergem para a imitação dos homens superiores, “Porque se suceder que alguém não tenha visto o original, nenhum prazer lhe advirá da imagem, como imitada, mas tão somente da execução, da cor ou qualquer outra coisa da mesma espécie”. Victor Hugo defende que o drama deve estar de acordo com a natureza; segundo a representação da verdade, sem submissão, mas com arte e inspiração. O ideal é que o homem não tente corrigir ou melhorar a natureza, maquiando-a, porém, deve seguir o seu exemplo, imitando-a. Se para ele o sublime sobre o sublime dificilmente produz contraste, e tem-se a necessidade do descanso; o grotesco carece de reflexão, observação e percepção mais pura e ao mesmo tempo mais decisiva. Neste sentido, afirma:Começa-se a compreender atualmente que a localidade exata é um dos primeiros elementos da realidade. As personagens falantes ou atuantes não são as únicas que gravam no espírito do espectador a fiel marca dos fatos. O lugar em que tal catástrofe se passou se torna uma testemunha terrível e inseparável; e a ausência desta espécie de personagem muda tornaria incompleta, no drama, as maiores cenas da história. (HUGO, 2002, p. 54)Contudo, Victor Hugo não poderia estar de acordo com a arte dramática francesa, que se imobilizava em respeito aos dogmas clássicos e que, para ele, constituía “uma penúltima ramificação do velho gênero clássico, ou melhor, [...] uma dessas excrescências, um destes pólipoos que a decrepitude desenvolve e que são bem mais um signo de decomposição que uma prova de vida” (HUGO, 2002, p. 75). O autor impõe-se principalmente contra a hipocrisia da arte, estilo e poesia que transgridem o imaginado, as convenções da arte retórica, e define: O caráter da primeira poesia é a ingenuidade, o caráter da segunda e a simplicidade, o caráter da terceira, a verdade. [...] A Ode vive do ideal, a epopeia do grandioso, o drama do real. Enfim, esta poesia provém de três grandes fontes: a Bíblia, Homero, Shakespeare. (HUGO, 2002, p. 37)&nbsp;&nbsp;&nbsp; Ainda para Hugo (2002, p. 5) “[...] se o grotesco passa do mundo ideal para o real desenvolve inesgotáveis paródias da humanidade” o sublime consiste naquilo que desperta a atenção do universo superior, sobre-humano e que transcende o belo, superando-o. O grotesco se assemelha a sombra, ao abismo, o disforme, ao desumano e excede ao feio; sendo também, monstruoso e ao mesmo tempo sublime, pois é capaz de despertar sentimentos nobres, não exaltados em outros estilos literários. Quanto a Poética Aristotélica serviu, mesmo quando não era o modelo a ser seguido, de modelo a contestar; como ao criticar o naturalismo, o figurativismo, as comentadas prescrições de unidade (de tempo, de espaço, de ação) na dramaturgia. &nbsp; 

REFERÊNCIAS

ARISTÓTELES. Poetica. Tra. Eudoro de Sousa. São Paulo: Ars Poética, 1993.HUGO, Victor. Do grotesco e do sublime. Tradução do prefácio de Cromwell. Trad. Célia Berrettini. 2 ed. São Paulo: Perspectiva, 2002.