Abstract
Manuel Odorico Mendes wrote a few verses from his own craft wich survived and reached the present time as À tarde (To the Evening), but got his place on Literary Companions as a translator, converting into the Portuguese language the Classical Epic (The Iliad, The Odissey, The Aeneid) and other works including a modern writer (Voltaire). His effort was well received for some of his contemporaries as João Francisco Lisboa, but later encountered a strong oposition from critics as Silvio Romero, and after him Antonio Candido. Recently some critics atained to the Concret Poetry and others try to recover Odorico translating works, sometimes confering him distinguished offspring as Sousândrade and Guimarães Rosa. This paper intents to analyse Odorico poetry as well as what say his critics aiming to contribute to verify his place on the Brazilian Classical Poetry and consequently on the Literature itself.
Highlights
Manuel Odorico Mendes wrote a few verses from his own craft wich survived and reached the present time as À tarde (To the Evening), but got his place on Literary Companions as a translator, converting into the Portuguese language the Classical Epic (The Iliad, The Odissey, The Aeneid) and other works including a modern writer (Voltaire)
Some critics atained to the Concret Poetry and others try to recover Odorico translating works, sometimes confering him distinguished offspring as Sousândrade and Guimarães Rosa
This paper intents to analyse Odorico poetry as well as what say his critics aiming to contribute to verify his place on the Brazilian Classical Poetry and on the Literature itself
Summary
A quela que é talvez a mais conhecida e discutida versão da Ilíada em língua portuguesa começa pelos versos por demais conhecidos: Canta-me, ó deusa, do Peleio Aquiles[1] A ira tenaz, que, lutuosa aos Gregos,. Manuel Odorico Mendes, também por demais conhecido criador desses versos, escreveu alguns poemas de estro próprio, como o “À tarde”,3 mas garantiu sua entrada nos compêndios literários mesmo como tradutor, tendo vertido ao português a épica clássica – Eneida e Odisseia, além da Ilíada – traduziu ainda as Bucólicas e as Geórgicas e também um escritor mais próximo, Voltaire. O mesmo caminho foi trilhado por Antonio Candido na sua Formação da literatura brasileira, destacando-lhe as limitações de gosto e o pouco engenho poético. O texto que se segue propõe-se a analisar, ainda que sumariamente, o trabalho deste tradutor, bem como a cotejar-lhe a fortuna crítica – melhor dizer suma, tão poucos têm sido os críticos a tornar pública sua leitura –, na tentativa de verificar o lugar do ilustrado maranhense nas letras clássicas e, consequentemente, na literatura brasileira em geral
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