Arcádia melodiosa no Brasil

Abstract

The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poetic-rhetorical developed from the XVI is reloaded as didactic stylization. There is a covenant among poets and medium public about mythological and intertextual allusions, semantic and constructive figures, rhythms and forms. In another words, the speech pleasant is shared by all those of polite spirit, neither scholar nor silly. Horace's lesson about blending grace and utility directs the compositions, values the delightful illustration of the listener/reader. Sonnet, canzonet, lira, rondo or madrigal become clear forms of reasoning and scenes, all in a metric language that, chiseled in the writing, work as melody in the oral locution. Therefore the volumes of verses must have unity of speech, argument and matter. The books discussed in this article - Obras by Claudio Manuel da Costa (1768), Marilia de Dirceu by Tomas Antonio Gonzaga (1792) and Glaura: poems Erotic by Manuel Inacio da Silva Alvarenga (1799) - cannot be read as collections of poems, but as supports that specify the poetic-musical machine of that time.

A lírica árcade modera as convenções clássicas. A máquina poético-retórica forjada a partir do século XVI, no XVIII, refunde-se numa estilização didática. Poeta e público pactuam a mediania culta, de alusões mitológicas e intertextuais, a figuras semânticas e construtivas, passando por ritmos e formas. Partilha-se a dicção afável ao espírito educado, nem erudito nem néscio. A lição horaciana do mesclar graça e utilidade dirige as composições, valoriza a ilustração deleitos.