Cidade, melancolia e memória na poesia de Donizete Galvão

Abstract

This work studies the poetry of Donizete Galvão. The hypothesis that originated this investigation is that it’s lyrical self is presented dislocated in the contemporary world, represented, mostly by the metropolis, that assumes in his poetry the catalyst element, trigger of the melancholy and disenchantment feelings, present in his poetry. In this context, the written memory would turn up in his poetics as an instrument of criticism to this time and to this space. The memory theme, as an element of resistance to the capitalist world and its effects on contemporary society, is widely discussed by literary critics, among which Alfredo Bosi (2000), that points as well the recovery of the myth as one of the resistance forms. Once verified, through specialized bibliography, the hypothesis validity, we elected as main goal to comprehend how is given the relationship between city, melancholy and memory in the lyric of this poet. Searching to reach this goal and supported by a specific theoric referential, we elected secondary goals, of which we highlight: i) to undertake the discussion of the presence of the metropolis in Donizete Galvão’s poetry, analysing the manner how the lyrical self manifests itself in relation to this space and the beings that roam in it; ii) to examine the melancholic tone that pervades the poems; iii) to reflect about how the memory theme shows up in the poetry and iv) to describe the composition resources employed by the poet. We observed that the poet reconstructs, by writing, the memory of spaces of his childhood that are meaningful to him, and that constitute, as Gaston Bachelard (2001) defends, spaces of refugee and cosines, and oppose them to that which opposes him, either by explicit or veiled form. Equally, emerge from this space characters, humans or not, raised to the condition of myths, that configure as well as signs of resistance. By detaching them from this space, the lyrical self objects to cut off the dignity and the singularity, at the same time as searches to highlight them. Giving shape to this material, the poet serves himself of a peculiar lexicon, equally recovered from the original space that serves as its matrix. We sustain, finally, that the recurrence to the memory, as a form of recovery of its matutinal universe, must not be seen as an subjective and romanticized valorization of a space, but as a form of critical coping of reality in the contemporary metropolis.