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Libretti and Cordéis: similar poetic

Grant number: 14/13256-6
Support type:Scholarships abroad - Research
Effective date (Start): January 01, 2015
Effective date (End): June 30, 2015
Field of knowledge:Linguistics, Literature and Arts - Literature - Comparative Literature
Principal researcher:Francisco Claudio Alves Marques
Grantee:Francisco Claudio Alves Marques
Host: Silvano Peloso
Home Institution: Faculdade de Ciências e Letras (FCL-ASSIS). Universidade Estadual Paulista (UNESP). Campus de Assis. Assis , SP, Brazil
Research place: Università degli Studi di Roma La Sapienza, Italy  

Abstract

Most of the folklorists and researchers who study the Brazilian popular literature insist on the recurrent fact that the strophe with crossed rhymes - used, mainly, by the poets of literature of cordel - had its origin from Ariosto's eighth, style which Sá de Miranda would have introduced in Portugal, in the 16th Century, allowing Camões to realize his immoral work "Os Lusíadas". Several Brazilian poets, scholars and populars, from Gregório de Matos to Patativa do Assaré, used the eighth rhyme in Camões style in their compositions. My research consists basically in draw an itinerary of the eighth rhyme used by the popular poets from northeastern Brazil, since their practice by the provençal poets (Gace Brulé, whose Chansons have been published by Gédéon Huet in 1902), passing by Antonio Pucci (Brito di Brettagna, Madonna Lionessa, both before 1388), Boccaccio (Ninfale fiesolano, Filostrato, both written between 1344 and 1346)), Poliziano (Stanze per la Giostra di Giuliano de´Medici, 1475), Pulci (Morgante, 1478), Boiardo (Orlando Innamorato, 1483), Ariosto (Orlando furioso, 1516), Tasso (Gerusalemme Liberata, 1559-60); by the Italian popular literature called "letteratura muricciolaia"; by Sá de Miranda and Camões, in Portugal to, finally, dock on the Brazilian popular poets, heirs of the issues, of the composition techniques and of the medieval metrics. (AU)

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