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ANTECEDENTES DO REALISMO
EM PORTUGAL

META
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em Portugal.

OBJETIVOS
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realista em Portugal;
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/HLWXUDGDVOLo}HVVREUHR5RPDQWLVPRQD(XURSDHHP3RUWXJDO

(Fontes: http://www.portalsaofrancisco.com.br)
 Literatura Portuguesa II

,1752'8d®2
Caro aluno,

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HSDUDOHODPHQWHDUHSUHVHQWDUGHIRUPDDUWtVWLFDRPXQGRHPTXHYLYLDHVWH
OHLWRUWRUQDQGRVHFHQiULRGRDSDUHFLPHQWRGDPDWXUDomRHGRGHFOtQLR
dos valores burgueses.
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JHUDGDSHOD5HYROXomR)UDQFHVDVLJQLÀFRXSHGUDDQJXODUSDUDRGHVHQFDGH
DPHQWRGHXPDUHYROXomROLWHUiULDDTXHFKDPDPRV5RPDQWLVPRDOLWHUD
WXUDFRPRH[SUHVVmRGRHXGDVXEMHWLYLGDGHGRVHQWLPHQWRGDLPDJLQDomR
FULDGRUDGRVRQKRGDIDQWDVLDQDVHJXQGDPHWDGHGHVWHPHVPRVpFXOR
KRXYHXPDHVSpFLHGH´FULVHµGHFDQVDoRHPUHODomRDRVHVWLORVURPkQWL
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Barroco para o Arcadismo).
No movimento do Romantismo
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cionadas e que, de modo geral, sempre
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por outro, o romance continuou como
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GD VHJXQGD PHWDGH GR VpFXOR ;,;
FDUDFWHUL]RXVHDWpPHVPRQRSODQR
SRpWLFR SHOR H[DPH GD VRFLHGDGH
H SHOR LQWHQWR GH WUDQVIRUPiOD $
postura do realista, diferentemente
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Bonjour, Monsier Coubert, Gustave Coubert, 1854.
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analisado, opondo-se, portanto, ao subjetivismo e
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136
 Antecedentes do Realismo em Portugal.
Aula

ATIVIDADES
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8
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RTXHDFDUDFWHUL]RX"&RPRHODLQÁXHQFLRXRVWHPSRVDWXDLV"

ORIGENS DO REALISMO
$SyV R HVJRWDPHQWR GDV IRQWHV GR 5RPDQWLVPR GHVHQYROYHVH R
5HDOLVPRFXMDSURSRVWDpDSUHVHQWDUXPDYLVmRREMHWLYDHFUtWLFDGDVRFLH
GDGH2DXWRUUHDOLVWDWDOFRPRXPFLHQWLVWDEXVFDDSUHFLVmRGRVIDWRVD
YHUGDGHGRPRPHQWRKLVWyULFRDFODUH]DGRHVWLORFULWLFDQGRRHVFDSLVPR
RH[DFHUEDPHQWRGDVLOXV}HVHGDIDQWDVLDWmRFXOWLYDGRVQR5RPDQWLVPR
6HJXQGR0RLVpVS´5HVVDOYDGRRFDVRGDVQRWDVREMHWLYDV
HQFRQWUiYHLVQRVURPDQFHVGH-~OLR'LQLVHTXHGHYHPS{UVHQDFRQWD
GHLQÁXrQFLDLQJOHVDHGHRXWUDVFDXVDVSHVVRDLVR5HDOLVPRpGHRULJHP
IUDQFHVDµ3DUDRDXWRUDVÀFo}HVGRVHVFULWRUHV%DO]DFH6WHQGKDOMiDSUH
VHQWDYDPDWLWXGHVDQWLURPkQWLFDVPDVDVSULPHLUDVDPRVWUDVUHOHYDQWHV
do Romantismo datam de 1850 e 1853, quando Gustave Coubert, pintor
IUDQFrVH[S{VGXDVGHVXDVFpOHEUHVWHODVUHDOLVWDVEnterro em Ornans e As
Banhistas1HODVHOHSURFXURX´WUDGX]LURVFRVWXPHVDVLGpLDVRVDVSHFWRV
GHVXDpSRFDµ&RQVLGHURX&RXEHUWTXHREnterro em Ornans foi o enterro
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da Literatura, mas de todas as demais artes. Outros artistas e escritores
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QDWHQWDWLYDGHID]HUYLQJDUDVLGpLDVTXHVHJHVWDYDPHTXHFXOPLQDULDP
FRPDHVWpWLFDUHDOLVWD
1RHQWDQWRSRGHPRVGL]HUTXHVyFRPRURPDQFHMadame Bovary, de
*XVWDYH)ODXEHUWR5HDOLVPRVHLPS}HGHÀQLWLYDPHQWHQD)UDQoD3XEOLFDGR
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UVLDVPRVWUDQGRDVFRQVHTrQFLDVGRHQWLDVGRFRPSRUWDPHQWRURPDQHVFR
GHXPDPXOKHUTXHVHVXLFLGDDRYHUVXDVLOXV}HVIUDFDVVDGDV2URPDQFH
ID]XPDFUtWLFDLPSLHGRVDHDFHUWDGDGDKLSRFULVLDURPkQWLFDHEXUJXHVD
1DYHUGDGH)ODXEHUWQmRFHQVXUDDSHQDVDIDQWDVLDIHPLQLQDPDVLQ
YHVWHFRQWUDD´PRUDOEXUJXHVDµDWUDYpVGHXPDGHVXDVLQVWLWXLo}HVPDLV
VyOLGDVRFDVDPHQWR3RUPHLRGDOLWHUDWXUDHOHSURFXUDSURSDJDUDVLGHLDVH
FRQGLo}HVGHYLGDGHFRUUHQWHVGRSURJUHVVRFLHQWtÀFRHLQGXVWULDOGRVpFXOR
XIX. A literatura realista nasce, portanto, empenhada com uma postura
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GDVFRQGLo}HVGHYLGDGDFODVVHVRFLDOHPHUJHQWHRSUROHWDULDGRTXHHVWHLD
HPDQWpPSHORWUDEDOKRWDLVLQVWLWXLo}HV(RID]XWLOL]DQGRXPDOLQJXDJHP
FRQWLGDREMHWLYDHFODUDTXHGLVSHQVDRVÁRUHDGRVURPkQWLFRV

137
 Literatura Portuguesa II

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ciado pelo racionalismo da segunda
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pelo surgimento de novas posturas
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sobretudo na biologia.
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Realismo tem de ser analisado a partir
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URSDYLYHDVHJXQGDIDVHGD5HYROXomR
Industrial, ao mesmo tempo em que
presencia o desenvolvimento do
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QDVÀORVyÀFDVHVRFLDLVµ
Madame Bovary, Gustave Flaubert, 1857.

PRINCIPAIS
CORRENTES QUE
INFLUENCIARAM O REALISMO
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SHORVUHVXOWDGRVGDFLrQFLDH[SHULPHQWDOWRPDQGRRVFRPRIXQGDPHQWRV
de suas obras.
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ÀORVyÀFRVSHVVLPLVWDVFRPRRGHSchopenhauer, o de +LSyOLWR7DLQH ou o de
Augusto Comte.
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LVIDomRHVRIULPHQWR6HXSHVVLPLVPRLQÁXHQFLRXJUDQGHVSRHWDVUHDOLVWDV
a exemplo de Antero de Quental. Taine, por sua vez, entendia que todo
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DUDoDRPHLRDPELHQWHHRPRPHQWRKLVWyULFR7DLVOHLVRDIHWDULDPGH
DOJXPDIRUPDWRUQDQGRRXPSURGXWRXPDGHWHUPLQDomRVRFLDOHSVtTXLFD
Augusto Comte foi o pai do positivismoGRXWULQDTXHGHXGHVWDTXHjH[SHUL
PHQWDomRHjREVHUYDomRFLHQWtÀFD

138
 Antecedentes do Realismo em Portugal.
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>@ &RPWH GHIHQGH D LPSRUWkQFLD IXQGDPHQWDO GD &LrQFLD SDUD D

vida do homem em sociedade, para tanto, propugna pelo abandono
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8
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ERPVHQVRVHSURFXUHVDEHUR´FRPRµGDVFRLVDVHPYH]GRSRUTXr
02,6e6S

DarwinFRPVXDREUD$RULJHPGDVHVSpFLHVSURYRFDXPDUHYROXomR
QRkPELWRGDVFLrQFLDVHPHVSHFLDODVELROyJLFDVHClaude Bernard, com seu
OLYUR,QWURGXomRDR(VWXGRGD0HGLFLQD([SHULPHQWDOH[HUFHLQÁXrQFLD
VREUHRURPDQFLVWDIUDQFrVePLOH=ROD, autor de romances de tese como
Germinal e a Besta Humana.
6HMDDRSomRSHORV´IDWRVSRVLWLYRVµLVWRpSHORVIDWRVH[SOLFiYHLVSHOD
FLrQFLDFRPRRV~QLFRVDVHUHPFRQVLGHUDGRVAugusto Comte), seja o de-
WHUPLQLVPRKLVWyULFRHJHRJUiÀFRVHJXQGRRTXDOPHLRUDoDHPRPHQWR
KLVWyULFRVmRRVWUrVIDWRUHVGHWHUPLQDQWHVGRVIHQ{PHQRVTXHRFRUUHP
(+LSyOLWR7DLQHVHMDRHYROXFLRQLVPRTXHSURSXJQDDVHOHomRQDWXUDODar-
win²WRGDVHVVDVWHRULDVWrPXPIXQGRPDWHULDOLVWD
2PHVPRVXFHGHFRPRVRFLDOLVPRXWySLFRGHPhroudon e o socialismo
FLHQWtÀFRGHMarx e Engels²DPERVLQRYDGRUHVQDPHGLGDHPTXHDSUHJRDP
RSRQWRGHYLVWDGDFODVVHRSHUiULDHDOpPGLVVRHGLÀFDPRVIXQGDPHQWRV
GHXPQRYRVLVWHPDVRFLDOTXHGHYHUiRFXSDUROXJDUGRVLVWHPDEXUJXrV
o socialismo.
7RGR HVVH FRQMXQWR GH GRXWULQDV H WHQGrQFLDV FLHQWtÀFRÀORVyÀFDV
FRPS}HPRTXDGURGHFRQKHFLPHQWRVHVDEHUHVTXHGHUDPVXVWHQWDomR
DRVSULQFtSLRVGR5HDOLVPRH1DWXUDOLVPR

O REALISMO EM PORTUGAL
&DURDOXQRSDUDPHOKRUVHFRPSUHHQGHUR5HDOLVPRSRUWXJXrVKiD
QHFHVVLGDGH GH UHPRQWDU j VHJXQGD PHWDGH GRVpFXOR;,; HP 3RUWXJDO
HVSHFLÀFDPHQWHHP&RLPEUD RQGH DFRQWHFHXPD UHEHOGLD SRU SDUWH GDV
QRYDVJHUDo}HV
1RLQtFLRGDGpFDGDGHDPDVVDHVWXGDQWLOFRQVWLWXtGDSRUDOXQRV
GD8QLYHUVLGDGHGH&RLPEUDHQWXVLDVPDGDFRPDVQRYDVLGpLDVGHYDQJXDUGD
TXHVHHVSDOKDPSRUWRGDD(XURSDFRPHoDDDJLWDUVHHDFHQVXUDUDVLGpLDV
passadistas, tomando algumas atitudes bastante radicais, como o rapto do
HQWmR5HLWRU%DVtOLR$OEHUWRREULJDQGRRDGHPLWLUVH(QFDEHoDQGRDWXUPD
LQVXUJHQWH´$QWHURGH4XHQWDOIXQGDD6RFLHGDGHGR5DLRDVVRFLDomRVHFUHWD
que congrega cerca de duzentos estudantes das faculdades de Coimbra, com
RREMHWLYRGHLQVWDXUDUDDYHQWXUDDDQDUTXLDDLQVXERUGLQDomRQRkPELWR
GRFRQYHQFLRQDOLVPRDFDGrPLFRµ02,6e6S
Este movimento desemboca na chamada 4XHVWmR&RLPEUm, primeiro sinal

139
 Literatura Portuguesa II

GHUHQRYDomRLGHROyJLFDGDTXHOHPRPHQWRHQWUHRVTXHDGYRJDYDPDIDYRU
GRVWDWXTXR3RUYROWDGH3RUWXJDOWLQKDGRLVQ~FOHRVFXOWXUDLV8P
formado por um grupo de jovens escritores estudantes de Coimbra, adep-
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TXHVRQKDYDPFRPXP3RUWXJDOGLIHUHQWHFRPXPDVRFLHGDGHUHFHSWLYDj
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KHUDQoDKLVWyULFDSRUWXJXHVDOLGHUDGRSRU$QW{QLR)HOLFLDQRGH&DVWLOKR
em que o academicismo e o formalismo predominavam, rejeitando, por
LVVRWHQWDWLYDVGHPXGDQoDVQRFHQiULRFXOWXUDO

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Garret, pelo afastamento de Herculano e pela insularidade de
&DPLOR UHSUHVHQWDYD XPD HVSpFLH GH RUiFXOR SDUD RV SRHWDV
H[WHPSRUkQHDPHQWHDIHLoRDGRVDRVHQWLPHQWDOLVPRHDRYHUEDOLVPRGD
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LPSRU FRP YLROrQFLD H UXGH]D JUDoDVD XP JUXSR GHMRYHQV TXH
ocupam os bancos da Universidade de Coimbra entre 1858 e 1865.
&RQVWLWXLQGRVHDSULPHLUDJUDQGHJHUDomRGHHVFULWRUHVSRUWXJXHVHV
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vanguarda, aquelas que agitavam a Europa do tempo: Evolucionismo,
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PDQWHUVH YLYR H R QRYR D ID]HUVH SUHVHQWH GH PRGR LPSiYLGR
EULJXHQWRUHYROWDGR02,6e6S

3DGULQKRRÀFLDO GHHVFULWRUHVURPkQWLFRVPDLVQRYRVFRPR7RPiV
5LEHLURH3LQKHLUR&KDJDV&DVWLOKRDRVHUVROLFLWDGRDHVFUHYHURSRVIiFLR
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e de eleger temas que considerava desprovidos de poesia. Incriminava-os,
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DOXVmRHUDP7HyÀOR%UDJDDXWRUGRVSRHPDV9LVmRGRV7HPSRVH7HP
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DRVTXDLVDOFXQKDGH´PRoRVGH&RLPEUDµHXPHVFULWRUHPSURVD9LHLUD
GH&DVWURR~QLFRTXH&DVWLOKRGHVWDFDYD
$QWHURGH4XHQWDOOtGHUGRJUXSRDTXH&DVWLOKRWHFHFUtWLFDV
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JXHVDLQIHULRUL]DGDGLDQWHGRVSURJUHVVRVGDFXOWXUDHXURSpLDHWDPEpP
GDQHFHVVLGDGHGHHOHVVHUHPGHIHQVRUHVGDVJUDQGHVTXHVW}HVLGHROyJLFDV

140
 Antecedentes do Realismo em Portugal.
Aula

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desagravo,assim, termina:
8
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0DVRWUDYHVVRFpUHEURTXHHVWiGHEDL[RHDVJDUULGDVHSHTXHQLQDV
FRLVDVTXHVDHPGHOHFRQIHVVRQmRPHUHFHUHPQHPDGPLUDomRQHP
respeito, nem ainda estima. A futilidade num velho desgosta-me tanto
FRPR D JUDYLGDGH QXPDFULDQoD 9 ([ SUHFLVD PHQRV FLQTXHQWD
DQRVGHLGDGHRXHQWmRPDLVFLQTHQWDDQRVGHUHÁH[mR02,6e6
1999, p.159).

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'HDFRUGRFRP&HUHMDH0DJDOKmHVS

3DUD$QWHURDDJUHVVmRVRIULGDQmRVHOLPLWDYDHVWULWDPHQWHDRSODQR
OLWHUiULR RX SHVVRDO HUD QD YHUGDGH XPD UHDomR GR YHOKR FRQWUD
o novo, do conservadorismo contra o progresso, da literatura de
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$QWHURGHVHMDYDPRGHUQL]DURSDtVFRORFDQGRRGHODGRGDVQDo}HV
HXURSpLDVPDLVGHVHQYROYLGDV

$4XHVWmR&RLPEUmHVWHQGHXVHSRUWRGRRVHPHVWUHGHFQWUH
SROrPLFDVHSXEOLFDo}HVGHDPERVRVODGRVGHÀQLQGRVHHQWmRRFRQÁLWR
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do Romantismo.
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%UDJD5DPDOKR2UWLJmRH3LQKHLUR&KDJDV(PERUD(oDGH4XHLUyVÀ]HVVH
SDUWHGRJUXSRGH&RLPEUDQmRLQWHUIHULXQDVGLVFXVV}HV

&21)(5È1&,$6'(02&5É7,&$6
$LQGDTXHQRV~OWLPRVDQRVGDGpFDGDGHHP3RUWXJDOWHQKDP
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promover estudos e debates com a iniciativa ambiciosa de realizar as Con-

141
 Literatura Portuguesa II

IHUrQFLDV'HPRFUiWLFDVQR&DVVLQR/LVERQHQVHFRPRREMHWLYRGHUHIRUPDU
DVRFLHGDGHSRUWXJXHVD'HODVSDUWLFLSRXFRPGHVWDTXH(oDGH4XHLUyV
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$QWHURGH4XHQWDOVyTXHGHVVDYH]WLQKDPXPDFRQRWDomRPDLVSROtWLFD
TXHOLWHUiULD(PHGLomRGHGHPDLRGHGRMRUQDO5HYROXomRGH
VHWHPEURFRQVWDYDRSURJUDPDGDVFRQIHUrQFLDV

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Ligar Portugal com o movimento moderno, fazendo-o assim nutrir-se
dos elementos vitais de que vive a humanidade civilizada;
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da sociedade portuguesa;
7DOpRÀPGDV&RQIHUrQFLDV'HPRFUiWLFDV

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GH PDLRFRPD VHJXQGDFRQIHUrQFLD´&DXVDVGD 'HFDGrQFLDGRV SRYRV
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VLQRµSRU$GROIR&RHOKR$VH[WDFRQIHUrQFLDVHULDSURIHULGDSRU6DORPmR
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VHUHDOL]RX$VFRQIHUrQFLDVIRUDPVXVSHQVDV´DFRLPDGDVGHH[SRUHPH
VXVWHQWDUHP´GRXWULQDVHSURSRVLo}HVTXHDWDFDPDUHOLJLmRHDVLQVWLWXLo}HV
SROtWLFDVGR(VWDGRµ02,6Ë6S7RGDVHODVID]LDPIRUWHVFUtWLFDV
ao que era estabelecido em Portugal, sobretudo ao conservadorismo, ao
Romantismo, ao Catolicismo, e apontavam novos caminhos, apoiados em
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(PERUDDV&RQIHUrQFLDVYLVDVVHPFULDUXPFOLPDSURStFLRjGLVFXVVmR
dos principais problemas da cultura portuguesa e divulgar novas perspectivas
SDUD3RUWXJDOTXHH[LJLDPPXGDQoDVQmRDSHQDVQRVPpWRGRVGHHGXFDomR
HYHLFXODomRGRFRQKHFLPHQWRPDVHPGHPDQGDVGHRUGHPSROtWLFDHVRFLDO
SURYRFDUDPHVFkQGDORHDJLWDo}HVVHQGRSRULVVRVXVSHQVDVSHODVDXWRUL
GDGHV1RHQWDQWRRHVStULWRTXHDVDQLPRXFDUDFWHUL]DGRSHODLQRYDomR

142
 Antecedentes do Realismo em Portugal.
Aula

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8
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E o que diferencia o Realismo do Naturalismo?

O Realismo observa e analisa a realidade, descrevendo costumes,

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SDUWLUGDVWHRULDVTXHFLUFXODYDPQDpSRFD&HUHMDS

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e excelentes poetas e escritores surgiram, conforme veremos.
(P3RUWXJDOQRHQWDQWRR5HDOLVPRWHYHPDLRUHYLGrQFLDGRTXHR
1DWXUDOLVPRGHVWDFDQGRVHVREUHWXGRQDSURVDGH(oDGH4XHLUyV

143
 Literatura Portuguesa II

&21&/86®2
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IXQGDPHQWRXVHQDUDFLRQDOLGDGHQDSRQGHUDomRHQDREMHWLYLGDGHDQWHR
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mentalismo e o escapismo.
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VRFLDLVRFOHURHDMiHQIUDTXHFLGDPRQDUTXLD

RESUMO
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Biologia e da Medicina.
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grupo de jovens escritores, estudantes de Coimbra, adeptos das novas ideias
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KLVWyULFDSRUWXJXHVDOLGHUDGRSRU$QW{QLR)HOLFLDQRGH&DVWLOKRHPTXH
o academicismo e o formalismo predominavam, rejeitando, por isso, as
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da sociedade como um todo, o grupo dos jovens de Coimbra triunfou e as
LGpLDVUHDOLVWDVVDtUDPYLWRULRVDV

144
 Antecedentes do Realismo em Portugal.
Aula

ATIVIDADES
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8
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35Ð;,0$$8/$
Na aula seguinte, estudaremos o Realismo na poesia em Portugal.
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conseguiram interferir na sociedade portuguesa?
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se destacaram, suas propostas e peculiaridades.

$872$9$/,$d®2
$RWpUPLQRGDDXODRTXHUHDOPHQWHDSUHHQGLGDPDWpULDDERUGDGD"
Quais os pontos claros e quais os obscuros, ou seja, os que precisam de
mais estudos, ou de maior aprofundamento? Sou capaz de relacionar o que
DOFDQFHLÀ[HL"2TXHPHIDOWDHQWHQGHUHDSURIXQGDU"

145
 Literatura Portuguesa II

5()(5È1&,$6
AGUIAR E 6,/9$ 9tWRU 0DQXHO GH Teoria da Literatura. Coimbra:
Livraria Almedina, 1982.
02,6Ë60$66$8'A literatura portuguesa6mR3DXOR&XOWUL[
_______. $OLWHUDWXUDSRUWXJXHVDDWUDYpVGHWH[WRV6mR3DXOR&XOWUL[
2006.
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URSpLDGR/LYUR
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guesa. Porto: Ed. Porto, 1976.
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Letras, 1999.
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orama da literatura Portuguesa6mR3DXOR$WXDO
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guesa. 14 ed. Porto: Porto Editora.

146