Mostrar mensagens com a etiqueta Hans Christian Andersen. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Hans Christian Andersen. Mostrar todas as mensagens

terça-feira, 25 de junho de 2019

Da Natureza

Vincent Van Gogh, Sunny Lawn in a Public Park (1888, Merzbacher Collection, Zurique)
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«O livro da natureza conhece todos os anos uma nova tiragem»
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Hans Christian Andersen.
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Citação retirada do livro Dicionário de Citações e Provérbios, de Luis Señor González, publicado pelo Correio da Manhã, em 2004, p. 431.

quarta-feira, 10 de junho de 2015

Para o dia de Portugal

Forte Nossa Senhora da Graça, Elvas (imagem daqui)
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«Que transição, ao entrar em Portugal, vindo de Espanha! Era como sair da Idade Média para entrar no presente. via à minha volta casas acolhedoras caiadas de branco, matas cercadas por sebes, campos cultivados e nas grandes estações podia-se tomar qualquer refresco. Aqui haviam chegado também, como uma brisa, as comodidades dos tempos modernos da Inglaterra, ou do restante mundo civilizado. De um beleza pitoresca, com lindas casas brancas no meio da verdura, luzia ao alto, na nossa frente, a primeira cidade portuguesa, Elvas.»
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Hans Christian Andersen, Uma Visita a Portugal em 1864, in Portugal na Pintura, Viagens na Nossa Terra.

sexta-feira, 22 de maio de 2015

Com saudades de Sintra

D. Carlos de Bragança, Castelo dos Mouros e Penha Verde vistos da Piedade (1885, Museu Nacional de Arte Contemporânea - Museu do Chiado)
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«À esquerda continua a ver-se a mata da Pena e lá no alto, entre as nuvens, o castelo edificado pelos mouros com a sua grande torre quadrada e outras mais pequenas. Tudo aqui é de uma beleza endémica. Veio-me ao pensamento a gramática latina de Baden por onde aprendi nos meus tempos de rapaz e onde se lia: "Tempe é um belo vale na Tessália" e penso agora se Tempe poderia oferecer algo mais belo do que Sintra.»
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Hans Christian Andersen, Uma visita a Portugal, in Portugal na Pintura, Viagens na Nossa Terra, p. 77.

sexta-feira, 24 de abril de 2015

Flores e liberdade

(link)
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“Just living is not enough," said the butterfly, "one must have sunshine, freedom, and a little flower.” 
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quarta-feira, 11 de fevereiro de 2015

Da Eternidade I

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«He was shifting some sharp, flat pieces of ice to and fro, trying to fit them into every possible pattern, for he wanted to make something with them. It was like the Chinese puzzle game that we play at home, juggling little flat pieces of wood about into special designs. Kay was cleverly arranging his pieces in the game of ice-cold reason. To him the patterns were highly remarkable and of the utmost importance, for the chip of glass in his eye made him see them that way. He arranged his pieces to spell out many words; but he could never find the way to make the one word he was so eager to form. The word was "Eternity." The Snow Queen had said to him, "If you can puzzle that out you shall be your own master, and I'll give you the whole world and a new pair of skates." But he could not puzzle it out.
(...)

P J Lynch (via çizgili masallar)
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All of a sudden, little Gerda walked up to the palace through the great gate which was a knife-edged wind. But Gerda said her evening prayer. The wind was lulled to rest, and the little girl came on into the vast, cold, empty hall. Then she saw Kay. She recognized him at once, and ran to throw her arms around him. She held him close and cried, "Kay, dearest little Kay! I've found you at last!"
But he sat still, and stiff, and cold. Gerda shed hot tears, and when they fell upon him they went straight to his heart. They melted the lump of ice and burned away the splinter of glass in it. He looked up at her, and she sang:
"Where roses bloom so sweetly in the vale,
There shall you find the Christ Child, without fail."

Nika Goltz (via Indigo Xix)
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Kay burst into tears. He cried so freely that the little piece of glass in his eye was washed right out. "Gerda!" He knew her, and cried out in his happiness, "My sweet little Gerda, where have you been so long? And where have I been?" He looked around him and said, "How cold it is here! How enormous and empty!" He held fast to Gerda, who laughed until happy tears rolled down her cheeks. Their bliss was so heavenly that even the bits of glass danced about them and shared in their happiness. When the pieces grew tired, they dropped into a pattern which made the very word that the Snow Queen had told Kay he must find before he became his own master and received the whole world and a new pair of skates.»

Anastasia Arkhipova (via Myth & Moor)
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Hans Christian Andersen, The Snow Queen
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Ver também outras ilustrações para o conto The Snow Queen aqui, aqui, aqui e aqui.

segunda-feira, 22 de dezembro de 2014

Natal I: Rosas

George Sloane, The Story of the Rose (1902)
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«That summer the roses bloomed their splendid best. The little girl had learned a hymn in which there was a line about roses that reminded her of their own flowers. She sang it to the little boy, and he sang it with her: 
"Where roses bloom so sweetly in the vale,
There shall you find the Christ Child, without fail."»
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Hans Christian Andersen, The Snow Queen.
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(link)

sexta-feira, 28 de novembro de 2014

Nuremberga

Alfredo Roque Gameiro, Nuremberga (1885)
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«Nuremberg is a wonderful old city, and looks as if it had been cut out of an old picture-book. The streets seem to have arranged themselves according to their own fancy, and as if the houses objected to stand in rows or rank and file. Gables, with little towers, ornamented columns, and statues, can be seen even to the city gate; and from the singular-shaped roofs, waterspouts, formed like dragons, or long lean dogs, extend far across to the middle of the street. Here, in the market-place, stood Knud, with his knapsack on his back, close to one of the old fountains which are so beautifully adorned with figures, scriptural and historical, and which spring up between the sparkling jets of water. A pretty servant-maid was just filling her pails, and she gave Knud a refreshing draught; she had a handful of roses, and she gave him one, which appeared to him like a good omen for the future. From a neighboring church came the sounds of music, and the familiar tones reminded him of the organ at home at Kjøge; so he passed into the great cathedral. The sunshine streamed through the painted glass windows, and between two lofty slender pillars. His thoughts became prayerful, and calm peace rested on his soul. He next sought and found a good master in Nuremberg, with whom he stayed and learnt the German language.»
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Hans Christian Andersen, Under the Willow-tree (1853).

sexta-feira, 7 de novembro de 2014

Jardins

Paul Klee, Magic Garden (Zaubergarten) (Março 1926, Guggenheim)
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«But the first ball was not the last, and Emily could not stand it; it was a good thing, therefore, that summer brought with it rest, and exercise in the open air. The family had been invited by the old Count to visit him at him castle. That was a castle with a garden which was worth seeing. Part of this garden was laid out quite in the style of the old days, with stiff green hedges; you walked as if between green walls with peep-holes in them. Box trees and yew trees stood there trimmed into the form of stars and pyramids, and water sprang from fountains in large grottoes lined with shells. All around stood figures of the most beautiful stone—that could be seen in their clothes as well as in their faces; every flower-bed had a different shape, and represented a fish, or a coat of arms, or a monogram. That was the French part of the garden; and from this part the visitor came into what appeared like the green, fresh forest, where the trees might grow as they chose, and accordingly they were great and glorious. The grass was green, and beautiful to walk on, and it was regularly cut, and rolled, and swept, and tended. That was the English part of the garden.»
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Hans Christian Andersen, The Porter’s Son (1866)

quinta-feira, 30 de outubro de 2014

Cidades, flores e jardins

Yevgeniya Yeretskaya (link)
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«In the big city it was so crowded with houses and people that few found room for even a small garden and most people had to be content with a flowerpot, but two poor children who lived there managed to have a garden that was a little bigger than a flowerpot. These children were not brother and sister, but they loved each other just as much as if they had been. Their parents lived close to one another in the garrets of two adjoining houses. Where the roofs met and where the rain gutter ran between the two houses, their two small windows faced each other. One had only to step across the rain gutter to go from window to window.»
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Hans Christian Andersen, The Snow Queen.

sábado, 11 de outubro de 2014

Sobre cardos, um conto de Andersen

Kevin Menck, Thistles (2011)
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No blogue (In)Cultura vi uma bela fotografia que me lembrou este conto de Andersen, que li recentemente:
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The Thistle’s Experiences

Belonging to the lordly manor-house was beautiful, well-kept garden, with rare trees and flowers; the guests of the proprietor declared their admiration of it; the people of the neighborhood, from town and country, came on Sundays and holidays, and asked permission to see the garden; indeed, whole schools used to pay visits to it.
Outside the garden, by the palings at the road-side, stood a great mighty Thistle, which spread out in many directions from the root, so that it might have been called a thistle bush. Nobody looked at it, except the old Ass which drew the milk-maid’s cart. This Ass used to stretch out his neck towards the Thistle, and say, “You are beautiful; I should like to eat you!” But his halter was not long enough to let him reach it and eat it.
There was great company at the manor-house — some very noble people from the capital; young pretty girls, and among them a young lady who came from a long distance. She had come from Scotland, and was of high birth, and was rich in land and in gold — a bride worth winning, said more than one of the young gentlemen; and their lady mothers said the same thing.
The young people amused themselves on the lawn, and played at ball; they wandered among the flowers, and each of the young girls broke off a flower, and fastened it in a young gentleman’s buttonhole. But the young Scotch lady looked round, for a long time, in an undecided way. None of the flowers seemed to suit her taste. Then her eye glanced across the paling—outside stood the great thistle bush, with the reddish-blue, sturdy flowers; she saw them, she smiled, and asked the son of the house to pluck one for her.
“It is the flower of Scotland,” she said. “It blooms in the scutcheon of my country. Give me yonder flower.”
And he brought the fairest blossom, and pricked his fingers as completely as if it had grown on the sharpest rose bush.
She placed the thistle-flower in the buttonhole of the young man, and he felt himself highly honored. (...).
“I am something more than I knew of,” said the Thistle to itself. “I suppose my right place is really inside the palings, and not outside. One is often strangely placed in this world; but now I have at least managed to get one of my people within the pale, and indeed into a buttonhole!”
The Thistle told this event to every blossom that unfolded itself, and not many days had gone by before the Thistle heard, not from men, not from the twittering of the birds, but from the air itself, which stores up the sounds, and carries them far around — out of the most retired walks of the garden, and out of the rooms of the house, in which doors and windows stood open, that the young gentleman who had received the thistle-flower from the hand of the fair Scottish maiden had also now received the heart and hand of the lady in question. They were a handsome pair — it was a good match.
“That match I made up!” said the Thistle; and he thought of the flower he had given for the buttonhole. Every flower that opened heard of this occurrence.
“I shall certainly be transplanted into the garden,” thought the Thistle, and perhaps put into a pot, which crowds one in. “That is said to be the greatest of all honors.”
And the Thistle pictured this to himself in such a lively manner, that at last he said, with full conviction, “I am to be transplanted into a pot.”
(...)
And the Thistle thought so long of the thistle of Scotland, to whose family he said he belonged, that he fancied at last that he had come from Scotland, and that his parents had been put into the national escutcheon. That was a great thought; but, you see, a great thistle has a right to a great thought.
(...)
And the summer went by, and the autumn went by. The leaves fell from the trees, and the few flowers left had deeper colors and less scent. The gardener’s boy sang in the garden, across the palings:

“Up the hill, down the dale we wend,
That is life, from beginning to end.”

The young fir trees in the forest began to long for Christmas, but it was a long time to Christmas yet.
“Here I am standing yet!” said the Thistle. “It is as if nobody thought of me, and yet I managed the match. They were betrothed, and they have had their wedding; it is now a week ago. I won’t take a single step-because I can’t.”
A few more weeks went by. The Thistle stood there with his last single flower large and full. This flower had shot up from near the roots; the wind blew cold over it, and the colors vanished, and the flower grew in size, and looked like a silvered sunflower.
One day the young pair, now man and wife, came into the garden. They went along by the paling, and the young wife looked across it.
“There’s the great thistle still growing,” she said. “It has no flowers now.”
“Oh, yes, the ghost of the last one is there still,” said he. And he pointed to the silvery remains of the flower, which looked like a flower themselves.
“It is pretty, certainly,” she said. “Such an one must be carved on the frame of our picture.”
And the young man had to climb across the palings again, and to break off the calyx of the thistle. It pricked his fingers, but then he had called it a ghost. And this thistle-calyx came into the garden, and into the house, and into the drawing-room. There stood a picture — “Young Couple.” A thistle-flower was painted in the buttonhole of the bridegroom. They spoke about this, and also about the thistle-flower they brought, the last thistle-flower, now gleaming like silver, whose picture was carved on the frame.
And the breeze carried what was spoken away, far away.
“What one can experience!” said the Thistle Bush. “My first born was put into a buttonhole, and my youngest has been put in a frame. Where shall I go?”
And the Ass stood by the road-side, and looked across at the Thistle.
“Come to me, my nibble darling!” said he. “I can’t get across to you.”
But the Thistle did not answer. He became more and more thoughtful — kept on thinking and thinking till near Christmas, and then a flower of thought came forth.
“If the children are only good, the parents do not mind standing outside the garden pale.”
“That’s an honorable thought,” said the Sunbeam. “You shall also have a good place.”
“In a pot or in a frame?” asked the Thistle.
“In a story,” replied the Sunbeam.
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quarta-feira, 27 de agosto de 2014

Espelhos Mágicos II

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Which Has to Do with a Mirror and its Fragments

Now then! We will begin. When the story is done you shall know a great deal more than you do know.

He was a terribly bad hobgoblin, a goblin of the very wickedest sort and, in fact, he was the devil himself. One day the devil was in a very good humor because he had just finished a mirror which had this peculiar power: everything good and beautiful that was reflected in it seemed to dwindle to almost nothing at all, while everything that was worthless and ugly became most conspicuous and even uglier than ever. In this mirror the loveliest landscapes looked like boiled spinach, and the very best people became hideous, or stood on their heads and had no stomachs. Their faces were distorted beyond any recognition, and if a person had a freckle it was sure to spread until it covered both nose and mouth.

"That's very funny!" said the devil. If a good, pious thought passed through anyone's mind, it showed in the mirror as a carnal grin, and the devil laughed aloud at his ingenious invention.

All those who went to the hobgoblin's school - for he had a school of his own - told everyone that a miracle had come to pass. Now, they asserted, for the very first time you could see how the world and its people really looked. They scurried about with the mirror until there was not a person alive nor a land on earth that had not been distorted.

Then they wanted to fly up to heaven itself, to scoff at the angels, and our Lord. The higher they flew with the mirror, the wider it grinned. They could hardly manage to hold it. Higher they flew, and higher still, nearer to heaven and the angels. Then the grinning mirror trembled with such violence that it slipped from their hands and fell to the earth, where it shattered into hundreds of millions of billions of bits, or perhaps even more. And now it caused more trouble than it did before it was broken, because some of the fragments were smaller than a grain of sand and these went flying throughout the wide world. Once they got in people's eyes they would stay there. These bits of glass distorted everything the people saw, and made them see only the bad side of things, for every little bit of glass kept the same power that the whole mirror had possessed.

A few people even got a glass splinter in their hearts, and that was a terrible thing, for it turned their hearts into lumps of ice. Some of the fragments were so large that they were used as window panes-but not the kind of window through which you should look at your friends. Other pieces were made into spectacles, and evil things came to pass when people put them on to see clearly and to see justice done. The fiend was so tickled by it all that he laughed till his sides were sore. But fine bits of the glass are still flying through the air, and now you shall hear what happened.
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Hans Christian Andersen, The Snow Queen

segunda-feira, 14 de julho de 2014

Avelãs

(link)
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«Close to where they stood grew a hazel-bush, covered with beautiful nuts. They soon gathered some, cracked them, and ate the fine young kernels, which were only just ripe. But there was another surprise and fright in store for them. Out of the thicket stepped a tall old woman, her face quite brown, and her hair of a deep shining black; the whites of her eyes glittered like a Moor’s; on her back she carried a bundle, and in her hand a knotted stick. She was a gypsy. The children did not at first understand what she said. She drew out of her pocket three large nuts, in which she told them were hidden the most beautiful and lovely things in the world, for they were wishing nuts. Ib looked at her, and as she spoke so kindly, he took courage, and asked her if she would give him the nuts; and the woman gave them to him, and then gathered some more from the bushes for herself, quite a pocket full. Ib and Christina looked at the wishing nuts with wide open eyes.»
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Hans Christian Andersen, Ib and Little Christina (1855)
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Tomás Yepes, Bodegón con dulces y frutos secos (c. 1650)

segunda-feira, 30 de junho de 2014

Arte, imaginação e geografia

Peder Severin Kroyer, Landscape from Stenbjerg with moon (1889, Skagens Museum)
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António Carneiro, Contemplação (1911, Museu do Chiado – Museu Nacional de Arte Contemporânea)
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Louis Moland escreveu, a propósito de Hans Christian Andersen: «l'imagination du conteur danois, à dire vrai, est parfois vertigineuse. Une remarque que l'on a faite déjà et que nous pouvons répéter à son occasion, c'est que, par l'éclat et la hardieuse de l'invention poétique, les peuples du Nord rivalisent avec les peuples de l'Orient. Il n'y a pour lutter de merveilles avec le brûlant soleil de l'Inde, de la Perse et de l'Arabie, que la neige et la brume de l'Irlande, de la Norwége, de la Suède et du Danemark.» (in Andersen, Contes Danois, Librairie Garnier Frères, Paris).
Por outro lado, Denis Huisman escreveu também: «A influência do meio geográfico é igualmente muito nítida na obra de arte (...). Provou-se que a obra de arte era apenas o reflexo do meio geográfico, tal como a arquitectura, onde se vêem os traços mais marcados do meio botânico, geológico e morfológico.» (Denis Huisman, A Estética, Edições 70, 1997, p. 106)
E, por fim, José de Figueiredo, a propósito da presença de Columbano na Exposição de 1900, disse: «Pois embora isto pareça um paradoxo, a verdade é que, com esta nossa paisagem luxuriante e este nosso sol claro, nós somos entretanto, como os russos, um povo de bruma. Sómente, emquanto a do paiz moscovita é real (…) a nossa é mais symbolica que natural. – (…) bruma mais feita de distancia d’um sonho longínquo do que dos próprios effeitos climatéricos» (José de Figueiredo, Portugal na Exposição de Paris, Lisboa, Sociedade Editora - Empresa da História de Portugal, 1901, pp. 126-127.)
O texto de José de Figueiredo é o que melhor corresponde à minha opinião. Penso que a arte e o imaginário são mais inspirados pela história e pela cultura, do que pela geografia. Porém, alguma verdade existe na hipótese de o clima, o relevo, a fauna e a vegetação, terem influência sobre a criação artística e sobre a imaginação em geral.

quarta-feira, 25 de junho de 2014

Contos de fadas e resiliência

Andersen, Contes Danois, Librairie Garnier Frères (1873).
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Descobri, num blogue de que gosto muito (Myth & Moor), esta bela frase: «Deeper meaning resides in the fairy tales told to me in my childhood than in the truth that is taught by life.» (Friedrich Schiller). Entretanto, estou agora a ler uma edição antiga dos contos de Hans Christian Andersen*. Na introdução surge uma transcrição do início da autobiografia desse escritor, a qual me impressionou sobretudo pelo facto de ser uma extraordinária história de resiliência. Andersen escreveu: «Every man's life is a fairy tale, written by God's fingers.» e «The whole world is a series of miracles, but we're so used to them we call them ordinary things.»
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Taça de chá colada pelo método Kintsugi.
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É interessante notar que as frases de Schiller e de Andersen podem ser vistas como contraditórias, mas eu penso que não. Parece-me que um dos sentidos dos contos de fadas é a maneira como eles nos inspiram a ter resiliência. Dentro do mesmo espírito, no mesmo blogue que já mencionei, há um belíssimo post (link) que refere um tema relacionado, a propósito da arte Kintsugi: «When the Japanese mend broken objects, they aggrandize the damage by filling the cracks with gold. They believe that when something's suffered damaged and has a history it becomes more beautiful.» (Billie Mobayad). Como a autora desse blogue (Terri Windling) diz: «It seems to me that this is precisely what so many traditional fairy tales are all about: the transformation of a wounded soul into a hero, the transfiguration of great calamity (a spell, a curse, the loss of home or fortune) into a new life of potential and promise».
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*Esta edição está disponível na Gallica (Bibliothèque National de France).

sábado, 25 de janeiro de 2014

As Sereias, a Sereiazinha e a Menina do Mar

Capitel Românico com sereias e peixe (século XIII, Museu de Alberto Sampaio - Link)
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«Todos os seres circulam uns nos outros, por conseguinte todas as espécies… tudo está num fluxo perpétuo… Todo o animal é mais ou menos homem; todo o mineral é mais ou menos planta; toda a planta é mais ou menos animal. Não há nada de preciso no que respeita a natureza…»
Denis Diderot, 
Citado por Cátia Mourão (2008 - Link).
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John William Waterhouse, A Mermaid (1900 - Link)
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Inicialmente, julgava-se que as sereias eram metade humanas, metade aves. Contudo, no período tardio da Antiguidade Clássica, passaram a ser concebidas como metade humanas, metade peixe, ou, como escreveu Cátia Mourão, «o hibridismo zoomórfico passeriforme começou a ceder lugar ao ictioforme». Esta historiadora, na sua tese de Douramento (2008), verificou que esta alteração poderá ser devida ao facto de se considerar que o deus fluvial Aqueloo era comummente considerado como o pai das sereias. Para além disso, a mesma historiadora notava que todos os autores antigos referiam que as sereias «viviam num meio ligado à água e que tinham nesta o seu campo de actuação principal». Existe também a possibilidade, levantada na mesma investigação, de ter existido uma contaminação iconográfica com outras divindades gregas e sírias. Foi na Idade Média que se deu a transformação definitiva das sereias em «híbridos antropo-ictiomórficos», surgindo dessa forma em iluminuras e capitéis esculpidos, tal como no da Catedral de Sainte Eulalie d'Elne, em França, datado do Séc. XI. Embora fossem criaturas de conotação negativa, com o tempo, passaram a ser entendidas cada vez mais como seres pacíficos e de conotação positiva, verdadeiros elos de ligação entre a humanidade e a vida marinha.
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Edmund Dulac, The Mermaid - The Prince (1911 - Link)
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«The Sea King had been a widower for many years, and his aged mother kept house for him. (...) She was, however, deserving of very great praise, especially for her care of the little sea-princesses, her grand-daughters. They were six beautiful children; but the youngest was the prettiest of them all; her skin was as clear and delicate as a rose-leaf, and her eyes as blue as the deepest sea; but, like all the others, she had no feet, and her body ended in a fish's tail. All day long they played in the great halls of the castle, or among the living flowers that grew out of the walls. (...) Outside the castle there was a beautiful garden (..). Each of the young princesses had a little plot of ground in the garden, where she might dig and plant as she pleased. One arranged her flower-bed into the form of a whale; another thought it better to make hers like the figure of a little mermaid; but that of the youngest was round like the sun, and contained flowers as red as his rays at sunset. She was a strange child, quiet and thoughtful; and while her sisters would be delighted with the wonderful things which they obtained from the wrecks of vessels, she cared for nothing but her pretty red flowers, like the sun, excepting a beautiful marble statue. It was the representation of a handsome boy, carved out of pure white stone, which had fallen to the bottom of the sea from a wreck. (...)» 
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Hans Christian Andersen, The Little Mermaid (1837 - Link)
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Rene Lalique, Sea Girl Statuette (1919 - Link)
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«Com muito cuidado para não fazer barulho levantou-se e pôs-se a espreitar escondido entre duas pedras. E viu um grande polvo a rir, um caranguejo a rir, um peixe a rir e uma menina muito pequenina a rir também. A menina, que devia medir um palmo de altura, tinha cabelos verdes, olhos roxos e um vestido feito de algas encarnadas. E estavam os quatro numa poça de água muito limpa e transparente toda rodeada de anémonas. E nadavam e riam».
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Sophia de Mello Breyner Andresen, A Menina do Mar (1958 - Link)
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Bibl. Cátia Mourão, AVTEM NON SVNT RERVM NATVRA, Figurações heteromórficas em mosaicos hispano-romanos, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, Dissertação de Doutoramento em História da Arte da Antiguidade, 2010.

quinta-feira, 23 de janeiro de 2014

A Princesa e a Ervilha

(Link)
«Once upon a time there was a prince who wanted to marry a princess; but she would have to be a real princess. He travelled all over the world to find one, but nowhere could he get what he wanted. There were princesses enough, but it was difficult to find out whether they were real ones. There was always something about them that was not as it should be. So he came home again and was sad, for he would have liked very much to have a real princess.
One evening a terrible storm came on; there was thunder and lightning, and the rain poured down in torrents. Suddenly a knocking was heard at the city gate, and the old king went to open it.
It was a princess standing out there in front of the gate. But, good gracious! what a sight the rain and the wind had made her look. The water ran down from her hair and clothes; it ran down into the toes of her shoes and out again at the heels. And yet she said that she was a real princess.
“Well, we’ll soon find that out,” thought the old queen. But she said nothing, went into the bed-room, took all the bedding off the bedstead, and laid a pea on the bottom; then she took twenty mattresses and laid them on the pea, and then twenty eider-down beds on top of the mattresses.
On this the princess had to lie all night. In the morning she was asked how she had slept.
“Oh, very badly!” said she. “I have scarcely closed my eyes all night. Heaven only knows what was in the bed, but I was lying on something hard, so that I am black and blue all over my body. It’s horrible!”
Now they knew that she was a real princess because she had felt the pea right through the twenty mattresses and the twenty eider-down beds.
Nobody but a real princess could be as sensitive as that.
So the prince took her for his wife, for now he knew that he had a real princess; and the pea was put in the museum, where it may still be seen, if no one has stolen it.
There, that is a true story».
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Hans Christian Andersen (1835 - Link)
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The Princess and the Pea (Jesperhus Flowerpark Link)

segunda-feira, 7 de janeiro de 2013

Tudo o que olhar

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«Everything you look at can become a fairy tale and you can get a story from everything you touch».
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terça-feira, 11 de dezembro de 2012

Música e Pintura

Gustave Doré, Caricature de Berlioz (1850).
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«Where words fail, music speaks».
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