Manifesto Pau-Brazil 5

A estatuária andou atrás. As procissões saíram novinhas das fábricas.

(Statuary lagged behind. The processions leave the modern factories.)

Só não se inventou uma máquina de fazer versos – já havia o poeta parnasiano.

(They only did not invent a machine to make verses – they already had the parnassian poet.)

[The Parnassians were a group of 19th-century French poets, so called from their journal, the Parnasse contemporain, itself named after Mount Parnassus, home of the Muses in Greek mythology. Issued from 1866 to 1876, it included poems by Charles Leconte de Lisle, Théodore de Banville , Sully-Prudhomme, Paul Verlaine, François Coppée and José María de Heredia.
The Parnassians were influenced by Théophile Gautier and his doctrine of art for art’s sake. In reaction to the looser forms of romantic poetry, they strove for exact and faultless workmanship, selecting exotic and classical subjects which they treated with rigidity of form and emotional detachment. Elements of this detachment were derived from the philosophical work of Arthur Schopenhauer.

Parnassianism did not restrict itself to France, though. Perhaps the most idiosyncratic of Parnassians, Olavo Bilac was an author from Brazil that managed to carefully craft verses and metre while still keeping a strong feel of emotion to them.
Gerard Manley Hopkins used the term Parnassian to describe competent but uninspired poetry, where a talented poet is merely operating on auto-pilot. He identified this trend particularly in the work of Alfred Tennyson, citing the poem Enoch Arden as an example.]

Ora, a revolução indicou apenas que a arte voltava para as elites. E as elites começaram desmanchando. Duas fases: 10) a deformação através do impressionismo, a fragmentação, o caos voluntário. De Cézanne e Malarmé, Rodin e Debussy até agora. 20) o lirismo, a apresentação no templo, os materiais, a inocência construtiva.

(However, the revolution cruelly indicated that art return to the elites. And the elites initiated dislocation. Two phases: 1) distortion through impressionism, fragmentation, and voluntary chaos. Cezanne and Mallarme, Rodin and Debussy. 2) lyricism, appearance of the temple, materials, constructive innocence.)

O Brasil profiteur. O Brasil doutor. E a coincidência da primeira construção brasileira no movimento de reconstrução geral. Poesia Pau-Brasil.

(The Brazil profiteer. The Brazil doctor. And the coincidence of the first brazilian constructive movement with general reconstruction. Wood-Brazil Poetry.)

[establishing a parallel between urban reconstruction and the poetic movement]

Como a época é miraculosa, as leis nasceram do próprio rotamento dinâmico dos fatores destrutivos.

(In this miraculous time, the laws are born of the proper dynamic revolution of destructive factors.)

A síntese

O equilíbrio

O acabamento de carrosserie

A invenção

A surpresa

Uma nova perspectiva

Uma nova escala.

(Synthesis

Equilibrium

Technical Completion

Invention

Surprise

New Perspective

New Scale)

[carrosserie lit. bodywork, but probably refers to automobiles…]

Qualquer esforço natural nesse sentido será bom. Poesia Pau-Brasil

(Any natural effort in this direction is good. Wood-Brazil Poetry.)

Advertisements

One thought on “Manifesto Pau-Brazil 5

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s