Oníricas (27) - James Joyce & John Cage
A obra de Joyce, Finnegans Wake leva o leitor a desempenhar um papel criativo, a suspender a dúvida e mergulhar no mundo onírico de Joyce, para apreender a sua linguagem característica. A leitura converte-se, assim, numa actividade lúdica, na fruição de sons, imagens e ideias.
Bygmester Finnegan, of the Stuttering Hand, freemen's mau-
rer, lived in the broadest way immarginable in his rushlit toofar-
back for messuages before joshuan judges had given us
numbers
or Helviticus committed deuteronomy (one yeastyday he sternely
struxk his tete in a tub for to watsch the future of his fates but ere
he swiftly stook it out again, by the might of moses, the very wat-
er was eviparated and all the guenneses had met their exodus so
that ought to show you what a pentschanjeuchy chap he was!)
and during mighty odd years this man of hod, cement and edi-
fices in Toper's Thorp piled buildung supra buildung pon the
banks for the livers by the Soangso. He addle liddle phifie Annie
ugged the little craythur. Wither hayre in honds tuck up your part inher. Oftwhile balbulous, mithre ahead, with goodly trowel in
grasp and ivoroiled overalls which he habitacularly fondseed, like
Haroun Childeric Eggeberth he would caligulate by multiplicab-
les the alltitude and malltitude until he seesaw by neatlight of the
liquor wheretwin 'twas born, his roundhead staple of other days
to rise in undress maisonry upstanded (joygrantit!), a waalworth
of a skyerscape of most eyeful hoyth entowerly, erigenating from
next to nothing and celescalating the himals and all, hierarchitec-
titiptitoploftical, with a burning bush abob off its baubletop and
with larrons o'toolers clittering up and tombles a'buckets clotter-
ing down.
James Joyce, Finnegans Wake, (Penguin Books,1982) pp. 4-5
O universo mítico e onírico de Joyce foi assimilado por John Cage na composição Roaratorio, ´formada por "roar" (rugido, bramido) e "oratorio" (oratório), que reune sons humanos e de animais (aves, elefantes, cães, gatos...), choros, risos, gritos, ruídos, barulhos de rios, sinos, chuvas, trovões, estilos musicais... Cage também introduz trechos de Finnegans Wake na música que, à sua maneira, é uma tradução daquele sonho "do qual todas as coisas participam, um sonho quase sempre assustador, por vezes atroz, repleto de um riso que mascara uma profunda ansiedade. É um pesadelo que finda num despertar" (*). E, Roaratorio constitui-se, por meio desse despertar, numa verdadeira epifania para Finnegans Wake.
(*)Michel Butor, Repertório,( São Paulo, Perspectiva, 1974), p.143.
Bygmester Finnegan, of the Stuttering Hand, freemen's mau-
rer, lived in the broadest way immarginable in his rushlit toofar-
back for messuages before joshuan judges had given us
numbers
or Helviticus committed deuteronomy (one yeastyday he sternely
struxk his tete in a tub for to watsch the future of his fates but ere
he swiftly stook it out again, by the might of moses, the very wat-
er was eviparated and all the guenneses had met their exodus so
that ought to show you what a pentschanjeuchy chap he was!)
and during mighty odd years this man of hod, cement and edi-
fices in Toper's Thorp piled buildung supra buildung pon the
banks for the livers by the Soangso. He addle liddle phifie Annie
ugged the little craythur. Wither hayre in honds tuck up your part inher. Oftwhile balbulous, mithre ahead, with goodly trowel in
grasp and ivoroiled overalls which he habitacularly fondseed, like
Haroun Childeric Eggeberth he would caligulate by multiplicab-
les the alltitude and malltitude until he seesaw by neatlight of the
liquor wheretwin 'twas born, his roundhead staple of other days
to rise in undress maisonry upstanded (joygrantit!), a waalworth
of a skyerscape of most eyeful hoyth entowerly, erigenating from
next to nothing and celescalating the himals and all, hierarchitec-
titiptitoploftical, with a burning bush abob off its baubletop and
with larrons o'toolers clittering up and tombles a'buckets clotter-
ing down.
James Joyce, Finnegans Wake, (Penguin Books,1982) pp. 4-5
O universo mítico e onírico de Joyce foi assimilado por John Cage na composição Roaratorio, ´formada por "roar" (rugido, bramido) e "oratorio" (oratório), que reune sons humanos e de animais (aves, elefantes, cães, gatos...), choros, risos, gritos, ruídos, barulhos de rios, sinos, chuvas, trovões, estilos musicais... Cage também introduz trechos de Finnegans Wake na música que, à sua maneira, é uma tradução daquele sonho "do qual todas as coisas participam, um sonho quase sempre assustador, por vezes atroz, repleto de um riso que mascara uma profunda ansiedade. É um pesadelo que finda num despertar" (*). E, Roaratorio constitui-se, por meio desse despertar, numa verdadeira epifania para Finnegans Wake.
(*)Michel Butor, Repertório,( São Paulo, Perspectiva, 1974), p.143.
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