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Abstract(s)
Gilgamesh, Mimnermo ou o Qohélet confrontam-se com a mesma velhice que atormenta os dramas de
Édipo, Lear ou Fausto; ou do antigo Jasão de Cleandro, de Kavafis, e do moderno J. Alfred Prufrock, de
Eliot. Coincidente (ou não) com a velhice biográfica, a crítica tem vindo a confirmar a existência de um
‘estilo tardio’, definido por um conjunto de traços comuns às últimas obras de diferentes artistas. A partir
dos estudos pioneiros de Theodor W. Adorno (de 1937), que reconhece na última fase de Beethoven a
sua própria Ästhetische Theorie, Edward Said (2006) e John Updike (2007) desenvolvem esta hipótese
aplicando-a aos casos de Lampedusa, Kavafis, Melville ou Joyce.Este ensaio apresenta uma leitura das
últimas obras de Herberto Helder – de Servidões (2013) ao póstumo Letra Aberta (2016) – conduzida pelas
representações da velhice e pelas marcas de um ‘estilo tardio’ nelas presentes. A pulsão erótica serôdia,
a angústia do desterro social ou o regresso aos lugares da infância são comuns às últimas obras deste e
de outros poetas; a encenação de “gestos irascíveis” (Adorno), de um “fluxo de energia geriátrica”
(Updike), de “intransigências, dificuldades e contradições não resolvidas” (Said) – que respondem ao
fantasma da obra anterior (ainda Updike) – serão outros traços do ‘estilo tardio’ de Herberto Helder. O
tema da velhice ou o exercício da emulação poética convocam, entretanto, vários outros poetas
portugueses.
Gilgamesh, Mimnermo or the Qohélet are confronted with the same old age that torments the dramas of Oedipus, Lear, or Faust; or of the ancient Jason of Cleander, by Cavafy, and the modern J. Alfred Prufrock, by Eliot. Coinciding (or not) with biographical old age, critics have confirmed the existence of a 'late style', defined by a set of characteristics common to the latest works of different artists. From the pioneering studies of Theodor W. Adorno (1937), who recognises his own Ästhetische Theorie in the last phase of Beethoven, Edward Said (2006) and John Updike (2007) develop this hypothesis applying it to the cases of Lampedusa, Kavafis, Melville or Joyce. This essay presents a reading of Herberto Helder's later works - from Servidões (2013) to the posthumous Letra Aberta (2016) - guided by the representations of old age and the signs of a 'late style' in them. The late erotic drive, the anguish of social exile or the return to the places of childhood are common in his last works and in the works of other poets; the exposition of "irascible gestures" (Adorno), of a "geriatric ebb of energy" (Updike), of "intransigence, difficulty, and unsolved contradictions" (Said) – which react to the ghost of the previous work (Updike again) – are other characteristics of Herberto Helder's 'late style'. The theme of old age or the exercise of poetic emulation, meanwhile, summon several other Portuguese poets.
Gilgamesh, Mimnermo or the Qohélet are confronted with the same old age that torments the dramas of Oedipus, Lear, or Faust; or of the ancient Jason of Cleander, by Cavafy, and the modern J. Alfred Prufrock, by Eliot. Coinciding (or not) with biographical old age, critics have confirmed the existence of a 'late style', defined by a set of characteristics common to the latest works of different artists. From the pioneering studies of Theodor W. Adorno (1937), who recognises his own Ästhetische Theorie in the last phase of Beethoven, Edward Said (2006) and John Updike (2007) develop this hypothesis applying it to the cases of Lampedusa, Kavafis, Melville or Joyce. This essay presents a reading of Herberto Helder's later works - from Servidões (2013) to the posthumous Letra Aberta (2016) - guided by the representations of old age and the signs of a 'late style' in them. The late erotic drive, the anguish of social exile or the return to the places of childhood are common in his last works and in the works of other poets; the exposition of "irascible gestures" (Adorno), of a "geriatric ebb of energy" (Updike), of "intransigence, difficulty, and unsolved contradictions" (Said) – which react to the ghost of the previous work (Updike again) – are other characteristics of Herberto Helder's 'late style'. The theme of old age or the exercise of poetic emulation, meanwhile, summon several other Portuguese poets.
Description
Keywords
Velhice Estilo tardio Herberto Helder Poesia Old age Late style Poetry . Escola Superior de Tecnologias e Gestão
Citation
Rui Guilherme Silva (2021). A arte sem mestre: ‘Estilo tardio’ em Herberto Helder e outros poetas. In Joaquim Pinheiro (coord.), Olhares sobre o envelhecimento. Estudos interdisciplinares, vol. II, pp. 141-151. DOI: 10.34640/universidademadeira2021silva ISBN: 978-989-8805-65-2
Publisher
Centro de Desenvolvimento Académico, Universidade da Madeira