{"id":14659,"date":"2021-01-29T09:00:00","date_gmt":"2021-01-29T12:00:00","guid":{"rendered":"https:\/\/fjsp.org.br\/fjsp\/?page_id=14659"},"modified":"2021-02-22T16:10:47","modified_gmt":"2021-02-22T19:10:47","slug":"traducaoemfoco_andrei_cunha","status":"publish","type":"page","link":"https:\/\/fjsp.org.br\/fjsp\/traducaoemfoco_andrei_cunha\/","title":{"rendered":"Andrei Cunha &#8211; A poesia japonesa no Brasil"},"content":{"rendered":"<h5 style=\"text-align: right\"><a href=\"https:\/\/fjsp.org.br\/fjsp\/traducaoemfoco\/\">Tradu\u00e7\u00e3o em Foco<\/a> &gt; Andrei Cunha<\/h5>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"img-responsive img-fluid size-full wp-image-14660 aligncenter\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site.jpg\" alt=\"\" width=\"1200\" height=\"214\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site.jpg 1200w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-280x50.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-768x137.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-340x61.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-220x39.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-100x18.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-130x23.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/banner-site-460x82.jpg 460w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><\/p>\n<p>&nbsp;<\/p>\n<div class='cleaner'><\/div>\n<div class='videoWrapper embed-responsive embed-responsive-16by9 ratio ratio-16x9'><iframe title=\"Tradu\u00e7\u00e3o em Foco \u2013 Andrei Cunha\" width=\"700\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/wDuhDCOHsWg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n<p>&nbsp;<\/p>\n<p><span data-contrast=\"auto\">T<\/span><span data-contrast=\"auto\">odas\u00a0<\/span><span data-contrast=\"auto\">as\u00a0<\/span><span data-contrast=\"auto\">civiliza\u00e7\u00f5es <\/span><span data-contrast=\"auto\">do mundo\u00a0<\/span><span data-contrast=\"auto\">que\u00a0<\/span><span data-contrast=\"auto\">contribu\u00edram para a forma\u00e7\u00e3o d<\/span><span data-contrast=\"auto\">o que hoje chamamos de<\/span><span data-contrast=\"auto\">\u00a0cultura brasileira t\u00eam algum<\/span><span data-contrast=\"auto\">a <\/span><span data-contrast=\"auto\">modalidade<\/span><span data-contrast=\"auto\">\u00a0de express\u00e3o po\u00e9tica<\/span><span data-contrast=\"auto\">\u00a0\u2014 tanto os<\/span><span data-contrast=\"auto\">\u00a0povos ind\u00edgenas\u00a0<\/span><span data-contrast=\"auto\">quanto<\/span><span data-contrast=\"auto\"> os que chegaram depois de outros continentes.\u00a0<\/span><span data-contrast=\"auto\">A poesia japonesa chegou ao Brasil\u00a0<\/span><span data-contrast=\"auto\">trazida pelos<\/span><span data-contrast=\"auto\">\u00a0imigrantes<\/span><span data-contrast=\"auto\">, <\/span><span data-contrast=\"auto\">no in\u00edcio do s\u00e9culo XX, e desde ent\u00e3o se tornou parte de nossa tradi\u00e7\u00e3o po\u00e9tica, tamb\u00e9m<\/span><span data-contrast=\"auto\">.\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">H\u00e1 ind\u00edcios de que uma longa tradi\u00e7\u00e3o oral <\/span><span data-contrast=\"auto\">j\u00e1 existia\u00a0<\/span><span data-contrast=\"auto\">nas ilhas japonesas\u00a0<\/span><span data-contrast=\"auto\">desde a pr\u00e9-hist\u00f3ria<\/span><span data-contrast=\"auto\">\u00a0\u2014<\/span><span data-contrast=\"auto\">\u00a0na forma de\u00a0<\/span><span data-contrast=\"auto\">can\u00e7\u00f5es<\/span><span data-contrast=\"auto\">, poesia de circunst\u00e2ncia,\u00a0<\/span><span data-contrast=\"auto\">toadas<\/span><span data-contrast=\"auto\">\u00a0de trabalho,\u00a0<\/span><span data-contrast=\"auto\">encantamentos<\/span><span data-contrast=\"auto\">,\u00a0<\/span><span data-contrast=\"auto\">ora\u00e7\u00f5es<\/span><span data-contrast=\"auto\">, loas ao imperador, competi\u00e7\u00f5es repentistas e textos cerimoniais\u00a0<\/span><span data-contrast=\"auto\">ritmados<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">Ap\u00f3s a ado\u00e7\u00e3o da escrita, j\u00e1 encontramos poemas em japon\u00eas inclu\u00eddos na cosmogonia retratada no\u00a0<\/span><b><i><span data-contrast=\"auto\">Kojiki<\/span><\/i><\/b><span data-contrast=\"auto\">\u00a0(s\u00e9culo VIII)<\/span><span data-contrast=\"auto\">. O<\/span><span data-contrast=\"auto\">\u00a0exemplo mais c\u00e9lebre ocorre<\/span><span data-contrast=\"auto\">\u00a0n<\/span><span data-contrast=\"auto\">o cap\u00edtulo\u00a0<\/span><span data-contrast=\"auto\">XVI<\/span><span data-contrast=\"auto\">,\u00a0<\/span><span data-contrast=\"auto\">em que\u00a0<\/span><span data-contrast=\"auto\">temos a seguinte narrativa de como o deus Susanoo comp\u00f4s o primeiro\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>:<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">ent\u00e3o<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">[<\/span><span data-contrast=\"auto\">Susanoo<\/span><span data-contrast=\"auto\">]<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">o mandat\u00e1rio homem da ira forte<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">procurou uma regi\u00e3o na terra da emerg\u00eancia de nuvens<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">em que pudesse fazer constru\u00eddo um pal\u00e1cio<\/span><span data-contrast=\"auto\">\u00a0[&#8230;]<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">e<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">fez l\u00e1 um pal\u00e1cio<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">ent\u00e3o<\/span><span data-contrast=\"auto\">\u00a0[&#8230;]<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">quando o grande <span class='tooltipsall tooltipsincontent classtoolTips76'>kami<\/span> fez seu pal\u00e1cio<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">nuvens assomaram na regi\u00e3o<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">nisso<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">fez uma can\u00e7\u00e3o<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">que cantava<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><span data-contrast=\"auto\">oito nuvens sobem<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">muitas nuvens num cercado<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">para \u00e0 minha esposa<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">oito cercas construir:<br \/>\n<\/span><span data-contrast=\"auto\">oh! aquelas oito cercas!<span style=\"color: #c4bb3f\">*<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><span style=\"color: #bdba13\"><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">*Tradu\u00e7\u00e3o in\u00e9dita de Bruno <\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">Zitto<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0para uma nova edi\u00e7\u00e3o brasileira do\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">Kojiki<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">, a ser lan\u00e7ada em 2021 pela editora Besti\u00e1rio (Porto Alegre).<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0Texto do poema em japon\u00eas:\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">r\u00f4m<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">.\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">yakumo<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">tatsu<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0\/\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">izumo<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">yaegaki<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0\/\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">tsumagomi<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">ni<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0\/\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">yaegaki<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">tsukuru<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0\/ sono\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">yaegaki<\/span><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">wo<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">;\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">man.\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"JA-JP\" xml:lang=\"JA-JP\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u591c\u4e45\u6bdb\u591a\u90fd\u3000\u4f0a\u8c46\u6bdb\u591c\u5f0a\u8cc0\u5c90\u3000\u90fd\u9ebb\u7881\u5fae\u723e\u3000\u591c\u5f0a\u8cc0\u5c90\u90fd\u4e45\u6d41\u3000\u66fe\u80fd\u591c\u5f0a\u8cc0\u5c90\u8881<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">;\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">class.\u00a0<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"JA-JP\" xml:lang=\"JA-JP\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">\u516b\u96f2\u7acb\u3064\u3000\u51fa\u96f2\u516b\u91cd\u57a3\u3000\u59bb\u7c60\u307f\u306b\u3000\u516b\u91cd\u57a3\u4f5c\u308b\u3000\u305d\u306e\u516b\u91cd\u57a3\u3092<\/span><\/span><span class=\"TextRun SCXW60605981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW60605981 BCX0\" data-ccp-parastyle=\"footnote text\">.<\/span><\/span><span class=\"EOP SCXW60605981 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:142,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240,&quot;335559991&quot;:142}\">\u00a0<\/span><\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O\u00a0<\/span><b><i><span data-contrast=\"auto\">Man\u2019y\u00f4sh\u00fb<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><\/b><span data-contrast=\"auto\">(\u201c<\/span><span data-contrast=\"auto\">Antologia da Mir\u00edade de Folhas<\/span><span data-contrast=\"auto\">\u201d<\/span><span data-contrast=\"auto\">), primeira colet\u00e2nea\u00a0<\/span><span data-contrast=\"auto\">po\u00e9tica\u00a0<\/span><span data-contrast=\"auto\">japonesa\u00a0<\/span><span data-contrast=\"auto\">a sobreviver at\u00e9 nossos dias, foi publicad<\/span><span data-contrast=\"auto\">o<\/span><span data-contrast=\"auto\">\u00a0em torno do ano de 759. Al\u00e9m de ser a mais antiga, \u00e9 a maior cole\u00e7\u00e3o po\u00e9tica da literatura japonesa, com mais de 4.500 poemas.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Muitos poemas<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">do<\/span><span data-contrast=\"auto\">\u00a0<\/span><b><i><span data-contrast=\"auto\">Man\u2019y\u00f4sh\u00fb<\/span><\/i><\/b><b><span data-contrast=\"auto\">\u00a0<\/span><\/b><span data-contrast=\"auto\">s\u00e3o<\/span><span data-contrast=\"auto\">\u00a0atribu\u00eddo<\/span><span data-contrast=\"auto\">s<\/span><span data-contrast=\"auto\">\u00a0a \u201cpessoas do povo\u201d \u2014 ausentes de antologias posteriores, que passaram a focar unicamente na produ\u00e7\u00e3o da aristocracia.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Quando um grupo de imigrantes\u00a0<\/span><span data-contrast=\"auto\">japoneses\u00a0<\/span><span data-contrast=\"auto\">e\u00a0<\/span><span data-contrast=\"auto\">brasileiros\u00a0<\/span><span data-contrast=\"auto\">descendentes de japoneses se reuniu,\u00a0<\/span><span data-contrast=\"auto\">entre<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">os\u00a0<\/span><span data-contrast=\"auto\">anos 19<\/span><span data-contrast=\"auto\">6<\/span><span data-contrast=\"auto\">0 e 1980, para organizar uma grande antologia de verso<\/span><span data-contrast=\"auto\">s<\/span><span data-contrast=\"auto\">\u00a0em japon\u00eas escritos no Brasil, o volume veio a se chamar\u00a0<\/span><b><i><span data-contrast=\"auto\">Koronia<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">\u00a0Man\u2019y\u00f4sh\u00fb<\/span><\/i><\/b><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(o \u201c<\/span><b><i><span data-contrast=\"auto\">Man\u2019y\u00f4sh\u00fb da Col\u00f4nia<\/span><\/i><\/b><span data-contrast=\"auto\">\u201d, de 1981), o que atesta o\u00a0<\/span><span data-contrast=\"auto\">forte simbolismo que\u00a0<\/span><span data-contrast=\"auto\">essa colet\u00e2nea<\/span><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">evoca no\u00a0<\/span><span data-contrast=\"auto\">imagin\u00e1rio<\/span><span data-contrast=\"auto\">\u00a0japon\u00eas<\/span><span data-contrast=\"auto\">\u00a0\u2014<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">o livro que encerra, por assim dizer, as in\u00fameras e\u00a0<\/span><span data-contrast=\"auto\">diversas vozes da na\u00e7\u00e3o.<\/span><span data-contrast=\"auto\">\u00a0Abaixo,\u00a0<\/span><span data-contrast=\"auto\">traduzo\u00a0<\/span><span data-contrast=\"auto\">um exemplo daquilo que se convencionou chamar de\u00a0<\/span><i><span data-contrast=\"auto\">sakimoriuta<\/span><\/i><i><span data-contrast=\"auto\">,\u00a0<\/span><\/i><span data-contrast=\"auto\">ou seja,\u00a0<\/span><span data-contrast=\"auto\">um\u00a0<\/span><span data-contrast=\"auto\">poema escrito\u00a0<\/span><span data-contrast=\"auto\">por um dos<\/span><span data-contrast=\"auto\">\u00a0soldados\u00a0<\/span><span data-contrast=\"auto\">que guardavam<\/span><span data-contrast=\"auto\">\u00a0as fronteiras do imp\u00e9rio<\/span><span data-contrast=\"auto\">. O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0fala do sofrimento da separa\u00e7\u00e3o, pois o poeta se encontra longe de sua fam\u00edlia<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_14714\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-14714\" class=\"img-responsive img-fluid wp-image-14714\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu.jpg\" alt=\"\" width=\"500\" height=\"369\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu.jpg 1000w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-280x207.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-768x567.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-340x251.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-220x162.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-100x74.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-130x96.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/1-manyoshu-460x339.jpg 460w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><p id=\"caption-attachment-14714\" class=\"wp-caption-text\"><b><span data-contrast=\"auto\">Man\u2019y\u00f4sh\u00fb<\/span><\/b><span data-contrast=\"auto\">, livro 20 (Antologia da Mir\u00edade de Folhas)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Vers\u00e3o impressa antiga,<\/span><span data-contrast=\"auto\">\u00a01643.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Fonte:\u00a0<\/span><a href=\"https:\/\/dl.ndl.go.jp\/info:ndljp\/pid\/2544297\/36\" target=\"_blank\" rel=\"noopener\"><span data-contrast=\"auto\">Cole\u00e7\u00e3o Digital da\u00a0<\/span><span data-contrast=\"auto\">National\u00a0Diet Library<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0Japan<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/a><\/p><\/div>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">\u548c\u6211\u90fd\u9ebb\u6ce2\u3000\u4f0a\u591a\u4e45\u53e4\u975e\u826f\u4e4b\u3000\u4e43\u725f\u7f8e\u8c46\u5c13\u3000\u52a0\u5176\u4f50\u500d\u7f8e\u66f3\u5f16\u3000\u4f59\u5c13\u548c\u9808\u826f\u793c\u53d7<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">\u6211\u304c\u59bb\u306f\u3000\u3044\u305f\u304f\u604b\u3072\u3089\u3057\u3000\u98f2\u3080\u6c34\u306b\u3000\u5f71\u3055\u3078\u898b\u3048\u3066\u3000\u3088\u306b\u5fd8\u3089\u308c\u305a<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><i><span data-contrast=\"auto\">waga<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">tsuma<\/span><\/i><i><span data-contrast=\"auto\">\u00a0wa<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">itaku<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">koirashi<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">nomu<\/span><\/i><i><span data-contrast=\"auto\">\u00a0mizu ni\u00a0<\/span><\/i><i><span data-contrast=\"auto\">\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">kag<\/span><\/i><i><span data-contrast=\"auto\">e<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">sae<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">miete<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">yo ni\u00a0<\/span><\/i><i><span data-contrast=\"auto\">wasurarezu<\/span><\/i><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><span data-contrast=\"auto\">minha mulher deve ter<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">tanta saudade de mim<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">at\u00e9 na \u00e1gua que bebo<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">vejo seu rosto refletido<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">n\u00e3o consigo esquec\u00ea-la<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 240px;text-align: right\"><span data-contrast=\"auto\">Wakayamatobe<\/span><span data-contrast=\"auto\">\u00a0no\u00a0<\/span><span data-contrast=\"auto\">Mimaro<\/span><span data-contrast=\"auto\">, guarda de fronteira\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">(<\/span><b><i><span data-contrast=\"auto\">Man\u2019y\u00f4sh\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">, livro 20,\u00a0<\/span><span data-contrast=\"auto\">poema 4322)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Os dois principais tipos de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(\u201cpoema japon\u00eas\u201d)<\/span><span data-contrast=\"auto\">\u00a0s\u00e3o o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips68'>ch\u00f4ka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0(\u201cpoema longo\u201d) e o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips75'>tanka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0(\u201cpoema curto\u201d). O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips68'>ch\u00f4ka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0ou\u00a0<\/span><i><span data-contrast=\"auto\">nagauta<\/span><\/i><span data-contrast=\"auto\">\u00a0tem um n\u00famero indeterminado de estrofes com dois versos (de 5 e 7 s\u00edlabas, alternadamente), terminando sempre com dois versos de sete s\u00edlabas. O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips75'>tanka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">(que muitas vezes \u00e9 referido simplesmente como\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">pois \u00e9 a forma mais comum de poesia em japon\u00eas)\u00a0<\/span><span data-contrast=\"auto\">tem sempre cinco versos e um total de 31 s\u00edlabas<\/span><span data-contrast=\"auto\">;<\/span><span data-contrast=\"auto\">\u00a0a disposi\u00e7\u00e3o da m\u00e9trica obedece ao esquema 5-7-5-7-7.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><i><span data-contrast=\"auto\">-<span class='tooltipsall tooltipsincontent classtoolTips75'>tanka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0se consolidou como a forma po\u00e9tica central do sistema liter\u00e1rio japon\u00eas com a organiza\u00e7\u00e3o da colet\u00e2nea\u00a0<\/span><b><i><span data-contrast=\"auto\">Kokin\u2019wakash\u00fb\u00a0<\/span><\/i><\/b><span data-contrast=\"auto\">(\u201cAntologia de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0antigos e modernos\u201d<\/span><span data-contrast=\"auto\">, s\u00e9culo X<\/span><span data-contrast=\"auto\">)<\/span><span data-contrast=\"auto\">. As quatro esta\u00e7\u00f5es e o amor\u00a0<\/span><span data-contrast=\"auto\">eram<\/span><span data-contrast=\"auto\">\u00a0os temas mais importantes. Em especial, as flores e p\u00e1ssaros de primavera e\u00a0<\/span><span data-contrast=\"auto\">de\u00a0<\/span><span data-contrast=\"auto\">outono\u00a0<\/span><span data-contrast=\"auto\">s\u00e3o muito<\/span><span data-contrast=\"auto\">\u00a0valorizados na arte e na literatura.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_14715\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-14715\" class=\"img-responsive img-fluid wp-image-14715\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu.jpg\" alt=\"\" width=\"500\" height=\"350\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu.jpg 896w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-280x196.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-768x538.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-340x238.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-220x154.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-100x70.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-130x91.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/2-kokinwakashu-460x322.jpg 460w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><p id=\"caption-attachment-14715\" class=\"wp-caption-text\"><strong>Kokin\u2019wakash\u00fb<\/strong> (Antologia de <span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span> antigos e modernos), compilada no in\u00edcio do s\u00e9culo X.\u00a0 Livro anotado, vers\u00e3o copiada no in\u00edcio do s\u00e9culo 16 a 17. Fonte: <a href=\"https:\/\/dl.ndl.go.jp\/info:ndljp\/pid\/2545074\/22\" target=\"_blank\" rel=\"noopener\">Cole\u00e7\u00e3o Digital da National Diet Library, Japan<\/a><\/p><\/div>\n<p>&nbsp;<\/p>\n<p><span data-contrast=\"auto\">A poesia japonesa n\u00e3o \u00e9 nunca rimada, pois o n\u00famero de vogais e de possibilidades combinat\u00f3rias entre vogais e consoantes \u00e9 muito pequeno, o que banaliza consideravelmente a rima. O tra\u00e7o mais marcante da pros\u00f3dia japonesa \u00e9 a repeti\u00e7\u00e3o ou altern\u00e2ncia de versos de cinco e sete s\u00edlabas \u2014 algo que encontramos n\u00e3o apenas em poemas, mas mesmo em frases de efeito, cita\u00e7\u00f5es memor\u00e1veis, prov\u00e9rbios, t\u00edtulos de filmes, campanhas publicit\u00e1rias,\u00a0<\/span><i><span data-contrast=\"auto\">slogans<\/span><\/i><span data-contrast=\"auto\">, etc. Pode-se dizer que, em japon\u00eas, a \u201cm\u00fasica da l\u00edngua\u201d tem especial prefer\u00eancia por esse esquema r\u00edtmico.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Em portugu\u00eas, tamb\u00e9m, h\u00e1 uma hist\u00f3rica prefer\u00eancia por versos de cinco s\u00edlabas (as chamadas \u201credondilhas menores\u201d) e de sete s\u00edlabas (as \u201credondilhas maiores\u201d), mas isso n\u00e3o significa que a nossa m\u00e9trica funcione da mesma maneira que a m\u00e9trica japonesa: em portugu\u00eas, a contagem de s\u00edlabas s\u00f3 vai at\u00e9 a \u00faltima t\u00f4nica do verso, o que n\u00e3o ocorre em japon\u00eas; e nossa poesia d\u00e1 grande destaque \u00e0 altern\u00e2ncia de s\u00edlabas t\u00f4nicas e \u00e1tonas, o que \u00e9 bem menos enfatizado no Jap\u00e3o. Ainda assim, in\u00fameros poetas e tradutores brasileiros, ao traduzirem poesia japonesa para o portugu\u00eas, ou ainda quando comp\u00f5em poesia brasileira de inspira\u00e7\u00e3o japonesa, optam por estabelecer uma equival\u00eancia entre os versos de 5-7 moras do japon\u00eas e as redondilhas menor e maior de nossa versifica\u00e7\u00e3o. Isso n\u00e3o \u00e9 \u201ccerto\u201d nem \u201cerrado\u201d, do ponto de vista est\u00e9tico; \u00e9 uma op\u00e7\u00e3o v\u00e1lida como outras. Do ponto de vista fon\u00e9tico, tonal e r\u00edtmico, o verso japon\u00eas simplesmente n\u00e3o corresponde ao brasileiro, e n\u00e3o h\u00e1 justificativa \u201ccient\u00edfica\u201d para equiparar uma coisa \u00e0 outra.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">A poesia japonesa faz uso de outros recursos sonoros, como a alitera\u00e7\u00e3o e a asson\u00e2ncia. Assim, por exemplo, neste poema, a\u00a0<\/span><span data-contrast=\"auto\">teia sonora do poema japon\u00eas se baseia na repeti\u00e7\u00e3o do \/h\/ aspirado (cinco vezes) e do \/k\/ (sete vezes). Alguns interpretam essas alitera\u00e7\u00f5es como a falta de f\u00f4lego de um cora\u00e7\u00e3o aflito<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">\u4e45\u65b9\u306e\u3000\u5149\u306e\u3069\u3051\u304d\u3000\u6625\u306e\u65e5\u306b\u3000\u3057\u3065\u5fc3\u306a\u304f\u3000\u82b1\u306e\u6563\u308b\u3089\u3080<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><i><span data-contrast=\"auto\">hisakata no \/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">hikari<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">nodokeki<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/ haru no hi ni \/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">shizukokoro<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">naku<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/ hana no\u00a0<\/span><\/i><i><span data-contrast=\"auto\">chiruran<\/span><\/i><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><span data-contrast=\"auto\">na luz tranquila<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">de um dia t\u00e3o claro<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">de primavera<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">por que caem inquietas<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">as p\u00e9talas das cerejeiras?<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right\"><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><span data-contrast=\"auto\">Ki no Tomonori<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">(<\/span><b><i><span data-contrast=\"auto\">Kokin\u2019wakash\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">, livro 2, Primavera II, poema 84)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<div id=\"attachment_14709\" style=\"width: 254px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-14709\" class=\"img-responsive img-fluid wp-image-14709\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3.jpg\" alt=\"\" width=\"244\" height=\"350\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3.jpg 1000w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-280x401.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-768x1101.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-340x487.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-220x315.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-100x143.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-130x186.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/3-kinotomori-pag3-460x659.jpg 460w\" sizes=\"(max-width: 244px) 100vw, 244px\" \/><p id=\"caption-attachment-14709\" class=\"wp-caption-text\"><span data-contrast=\"auto\">Poema de Ki no\u00a0Tomonori. Do livro\u00a0<\/span><b><span data-contrast=\"auto\">Ogura\u00a0Hyakunin\u00a0Issh\u00fb<\/span><\/b><span data-contrast=\"auto\">\u00a0(<\/span><span data-contrast=\"auto\">Cem poemas de cem poetas<\/span><span data-contrast=\"auto\">)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Moronobu\u00a0Hishikawa, impresso por Hon-doiya\u00a0(Edo)\u00a0<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a01680<\/span><span data-contrast=\"auto\">.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Fonte:<\/span><span data-contrast=\"auto\">\u00a0<\/span><a href=\"https:\/\/dl.ndl.go.jp\/info:ndljp\/pid\/2541162\" target=\"_blank\" rel=\"noopener\"><span data-contrast=\"auto\">Cole\u00e7\u00e3o Digital da<\/span><span data-contrast=\"auto\">\u00a0Nation<\/span><span data-contrast=\"auto\">al<\/span><span data-contrast=\"auto\">\u00a0Diet Library,\u00a0Japan<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/a><\/p><\/div>\n<p><span data-contrast=\"auto\">O que o tradutor pode fazer, num caso desses? Tentei criar uma sonoridade \u201cnervosa\u201d com a repeti\u00e7\u00e3o dos sons \/t\/, \/d\/ e \/k\/\u00a0<\/span><span data-contrast=\"auto\">\u2014\u00a0<\/span><span data-contrast=\"auto\">como um cora\u00e7\u00e3o que bate<\/span><span data-contrast=\"auto\">\u00a0\u2014<\/span><span data-contrast=\"auto\">\u00a0e\u00a0<\/span><span data-contrast=\"auto\">d<\/span><span data-contrast=\"auto\">as vogais \/i\/ e \/<\/span><span data-contrast=\"auto\">\u00e9<\/span><span data-contrast=\"auto\">\/ \u201caberto\u201d<\/span><span data-contrast=\"auto\">\u00a0\u2014\u00a0<\/span><span data-contrast=\"auto\">sons agudos que podem remeter a um estado de esp\u00edrito angustiado. No entanto, esses usos de sons, tanto em japon\u00eas como em portugu\u00eas, dependem de uma grande dose de subjetividade e de boa vontade para provocarem no leitor o efeito desejado. Nem todo leitor vai notar as sonoridades; e dentre aqueles que notar\u00e3o, nem todos achar\u00e3o que isso \u00e9 aflitivo ou angustiante. A pr\u00e1tica da tradu\u00e7\u00e3o po\u00e9tica pressup\u00f5e que existam leitores dispostos a participarem do jogo est\u00e9tico e que deixem de lado \u2014 ao menos, pela dura\u00e7\u00e3o da leitura \u2014 o ceticismo diante das possibilidades do poema. Al\u00e9m disso, a sensibilidade a ferramentas po\u00e9ticas como a alitera\u00e7\u00e3o e a asson\u00e2ncia \u00e9 um dado cultural, que precisa de uma comunidade interpretativa espec\u00edfica de leitores para um dado tipo de poema. Esses leitores de poemas de um tipo espec\u00edfico n\u00e3o formam um grupo congruente, por exemplo, com a totalidade dos leitores japoneses nem com todos os leitores brasileiros; ou seja, quando se est\u00e1 criando efeitos sonoros em tradu\u00e7\u00f5es po\u00e9ticas, na verdade o que se est\u00e1 fazendo \u00e9 uma tentativa de recria\u00e7\u00e3o de propriedades que nem todos veem em um poema na l\u00edngua de partida, em um novo artefato que nem todos compreender\u00e3o de acordo com a intencionalidade do tradutor, na l\u00edngua de chegada.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Depois do <b><i>Kokin\u2019wakash\u00fb<\/i><\/b><\/span><span data-contrast=\"auto\">, foram organizadas mais seis antologias imperiais de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">. A oitava, o\u00a0<\/span><b><i><span data-contrast=\"auto\">Shinkokin\u2019wakash\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">\u00a0(<\/span><span data-contrast=\"auto\">\u201cNova Antologia de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0Antigos e Modernos\u201d<\/span><span data-contrast=\"auto\">, primeira d\u00e9cada do s\u00e9culo XIII<\/span><span data-contrast=\"auto\">),\u00a0<\/span><span data-contrast=\"auto\">forma com o\u00a0<\/span><b><i><span data-contrast=\"auto\">Kokin\u2019wakash\u00fb\u00a0<\/span><\/i><\/b><span data-contrast=\"auto\">e o<\/span><b><i><span data-contrast=\"auto\">\u00a0Man\u2019y\u00f4sh\u00fb\u00a0<\/span><\/i><\/b><span data-contrast=\"auto\">o grupo das \u201ctr\u00eas grandes antologias\u201d, devido \u00e0 sua grande influ\u00eancia sobre a literatura de \u00e9pocas posteriores<\/span><span data-contrast=\"auto\">.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">A concep\u00e7\u00e3o est\u00e9tica mais importante e representativa do\u00a0<\/span><b><i><span data-contrast=\"auto\">Shinkokin\u2019wakash\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">\u00a0\u00e9 o\u00a0<\/span><i><span data-contrast=\"auto\">y\u00fbgen<\/span><\/i><span data-contrast=\"auto\">, proposto\u00a0<\/span><span data-contrast=\"auto\">por<\/span><span data-contrast=\"auto\">\u00a0Fujiwara no Shunzei. O poeta brasileiro Haroldo de Campos traduz o termo<\/span><i><span data-contrast=\"auto\">\u00a0y\u00fbgen<\/span><\/i><span data-contrast=\"auto\">\u00a0como \u201ccharme sutil\u201d. Para Shunzei, o ideal do\u00a0<\/span><i><span data-contrast=\"auto\">y\u00fbgen\u00a0<\/span><\/i><span data-contrast=\"auto\">em poesia seria a evoca\u00e7\u00e3o de associa\u00e7\u00f5es n\u00e3o explicitadas nas palavras ou na forma do poema. Esse ideal viria, no s\u00e9culo XV, a ser adotado pelo grande dramaturgo Zeami para sua concep\u00e7\u00e3o do teatro n\u00f4. Como exemplo, temos este\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">do<\/span><span data-contrast=\"auto\">\u00a0Monge Jakuren<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">\u5bc2\u3057\u3055\u306f\u3000\u305d\u306e\u8272\u3068\u3057\u3082\u3000\u306a\u304b\u308a\u3051\u308a<\/span><span data-contrast=\"auto\">\u3000<\/span><span data-contrast=\"auto\">\u69d9\u7acb\u3064\u5c71\u306e\u3000\u79cb\u306e\u5915\u66ae\u308c<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><i><span data-contrast=\"auto\">sabishisa wa \/ sono iro to shi mo \/ nakarikeri<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">maki matsu yama no \/ aki no y\u00fbgure<\/span><\/i><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"text-align: center\"><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><span data-contrast=\"auto\">a melancolia<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">n\u00e3o vem das cores<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">tristes da esta\u00e7\u00e3o<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">nas montanhas, pinheiros<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">entardecer de outono<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"text-align: right\"><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><span data-contrast=\"auto\">Monge Jakuren<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">(<\/span><b><i><span data-contrast=\"auto\">Shinkokin\u2019wakash\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0livro 4, Outono I, poema 361)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Nesse\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">, o poeta se limita a dizer o que n\u00e3o causa a melancolia outonal, deixando para o leitor a tarefa de imaginar o cen\u00e1rio e de descobrir nessa imagem a sua pr\u00f3pria tristeza.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O estilo\u00a0<\/span><b><i><span data-contrast=\"auto\">Shinkokin\u2019wakash\u00fb<\/span><\/i><\/b><span data-contrast=\"auto\">\u00a0foi o modelo seguido pelos seis s\u00e9culos seguintes. Ap\u00f3s a morte de Fujiwara no Teika, seus descendentes seguiram dominando o cen\u00e1rio po\u00e9tico. Na medida em que a arte de composi\u00e7\u00e3o do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0passou a ser um meio para a exibi\u00e7\u00e3o de erudi\u00e7\u00e3o e de virtuose com jogos de palavras, a longa tradi\u00e7\u00e3o do poema japon\u00eas foi perdendo vitalidade e, finalmente, entrou em decl\u00ednio. Estava preparado o contexto em que o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> se revelaria como a fonte de renova\u00e7\u00e3o da poesia.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_14710\" style=\"width: 260px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-14710\" class=\"img-responsive img-fluid wp-image-14710\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu.jpg\" alt=\"\" width=\"250\" height=\"350\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu.jpg 1000w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-280x392.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-768x1075.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-340x476.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-220x308.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-100x140.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-130x182.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/4-shinkokinwakashu-460x644.jpg 460w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><p id=\"caption-attachment-14710\" class=\"wp-caption-text\"><b><span data-contrast=\"auto\">Shinkokin\u2019wakash\u00fb<\/span><\/b><span data-contrast=\"auto\">\u00a0(<\/span><span data-contrast=\"auto\">Nova Antol<\/span><span data-contrast=\"auto\">ogia de <span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span> Antigos e Modernos<\/span><span data-contrast=\"auto\">)<\/span><span data-contrast=\"auto\">, compilada<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">no<\/span><span data-contrast=\"auto\">\u00a0s\u00e9culo XIII<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Michitomo\u00a0Minamoto<\/span><span data-contrast=\"auto\">\u00a0et.\u00a0all.<\/span><span data-contrast=\"auto\">, 1654.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Fonte:\u00a0<\/span><a href=\"https:\/\/dl.ndl.go.jp\/info:ndljp\/pid\/2567307?tocOpened=1\" target=\"_blank\" rel=\"noopener\"><span data-contrast=\"auto\">Cole\u00e7\u00e3o Digital da\u00a0National\u00a0Diet Library,\u00a0Japan<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/a><\/p><\/div>\n<p><span data-contrast=\"auto\">O <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span><\/span><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">\u00e9 a forma mais curta de poesia do mundo, com 17 s\u00edlabas divididas em tr\u00eas\u00a0<\/span><span data-contrast=\"auto\">versos<\/span><span data-contrast=\"auto\">\u00a0de, respectivamente, 5-7-5 s\u00edlabas. Antes de ser uma forma independente, ele era o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">a parte inicial de\u00a0<\/span><span data-contrast=\"auto\">um\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(\u201cpoema encadeado\u201d), que<\/span><i><span data-contrast=\"auto\">,\u00a0<\/span><\/i><span data-contrast=\"auto\">por sua vez, tem sua origem no\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0surgiu na Corte Imperial da Era Heian (794\u20131185), mas ganhou impulso maior no s\u00e9culo XIII, entre a classe militar. Trata-se de um fazer po\u00e9tico comunit\u00e1rio que precisa de ao menos dois participantes. Antes de iniciarem as rodadas de composi\u00e7\u00e3o, os poetas definem o n\u00famero de estrofes que o poema ter\u00e1. O primeiro terceto obedece \u00e0 m\u00e9trica 5-7-5; o d\u00edstico final, 7-7.\u00a0<\/span><span data-contrast=\"auto\">Um\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">pode ter 36 estrofes, cem estrofes, mil estrofes, ou diversas outras configura\u00e7\u00f5es.\u00a0<\/span><span data-contrast=\"auto\">Infelizmente, n\u00e3o existem tradu\u00e7\u00f5es de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0publicadas no Brasil.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Os primeiros exemplos de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0propriamente ditos datam do s\u00e9culo XII. Nessa \u00e9poca, o h\u00e1bito de fazer poemas encadeados era visto como um passatempo menos s\u00e9rio do que a composi\u00e7\u00e3o do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">. A primeira \u201cidade de ouro\u201d do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0corresponde \u00e0 era do regente Nij\u00f4\u00a0<\/span><span data-contrast=\"auto\">Yoshimoto<\/span><span data-contrast=\"auto\">\u00a0(1320\u20131388), que conferiu prest\u00edgio a essa forma po\u00e9tica, propondo crit\u00e9rios de excel\u00eancia e organizando a primeira colet\u00e2nea de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0\u201cs\u00e9rio\u201d, o\u00a0<\/span><b><i><span data-contrast=\"auto\">Tsukubash\u00fb<\/span><\/i><\/b><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(<\/span><i><span data-contrast=\"auto\">c.<\/span><\/i><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">1356).<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Os exemplos mais c\u00e9lebres de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0pertencem ao s\u00e9culo seguinte e est\u00e3o associados \u00e0 atividade po\u00e9tica do monge\u00a0<\/span><span data-contrast=\"auto\">S\u00f4gi<\/span><span data-contrast=\"auto\">\u00a0(1421\u20131502). Aos quarenta anos de idade, esse poeta realizou uma s\u00e9rie de viagens pelo Jap\u00e3o, ensinando composi\u00e7\u00e3o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0aos daimios do interior e escrevendo tratados de poesia e di\u00e1rios de viagem. Depois de estudar com um mestre da escola Nij\u00f4, passou a dar palestras sobre as obras da literatura cl\u00e1ssica.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">De volta a Quioto aos cinquenta anos de idade,\u00a0<\/span><span data-contrast=\"auto\">S\u00f4gi<\/span><span data-contrast=\"auto\">\u00a0construiu uma pequena cabana de palha em um ponto isolado e passou a se dedicar inteiramente \u00e0 poesia, conduzindo sess\u00f5es de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0e dando aulas de composi\u00e7\u00e3o \u00e0 alta nobreza. Em 1488, com quase setenta anos, foi designado pelo xogum para presidir as sess\u00f5es de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0do templo de\u00a0<\/span><span data-contrast=\"auto\">Kitano<\/span><span data-contrast=\"auto\">\u00a0\u2014 \u00e0 \u00e9poca, a mais alta honra a que um autor de poesia encadeada podia almejar. No mesmo ano,\u00a0<\/span><span data-contrast=\"auto\">S\u00f4gi<\/span><span data-contrast=\"auto\">\u00a0e seus disc\u00edpulos\u00a0<\/span><span data-contrast=\"auto\">Sh\u00f4haku<\/span><span data-contrast=\"auto\">\u00a0e\u00a0<\/span><span data-contrast=\"auto\">S\u00f4ch\u00f4<\/span><span data-contrast=\"auto\">\u00a0se reuniram em Minase, no antigo pal\u00e1cio do imperador Gotoba. Em homenagem ao falecido imperador, que fora um importante poeta e defensor das artes, eles compuseram<\/span><b><i><span data-contrast=\"auto\">\u00a0Minase\u00a0<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">sangin<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">hyakuin<\/span><\/i><\/b><span data-contrast=\"auto\">\u00a0(\u201cCem estrofes de tr\u00eas poetas em Minase\u201d),\u00a0<\/span><span data-contrast=\"auto\">um\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0de estilo solene e s\u00e9rio, considerado como o exemplo mais perfeito dessa forma po\u00e9tica.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_14711\" style=\"width: 333px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-14711\" class=\"img-responsive img-fluid wp-image-14711\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho.jpg\" alt=\"\" width=\"323\" height=\"400\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho.jpg 1000w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-280x347.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-768x952.jpg 768w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-340x422.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-220x273.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-100x124.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-130x161.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/5-matsuo-basho-460x570.jpg 460w\" sizes=\"(max-width: 323px) 100vw, 323px\" \/><p id=\"caption-attachment-14711\" class=\"wp-caption-text\"><span data-contrast=\"auto\">Retrato de\u00a0Matsuo\u00a0Bash\u00f4<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><b><span data-contrast=\"auto\">Sh<\/span><\/b><b><span data-contrast=\"auto\">\u00f4<\/span><\/b><b><span data-contrast=\"auto\">z<\/span><\/b><b><span data-contrast=\"auto\">\u00f4<\/span><\/b><b><span data-contrast=\"auto\">shu<\/span><\/b><span data-contrast=\"auto\">\u00a0(Cole\u00e7\u00e3o de Retratos)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Ilustra\u00e7\u00e3o de\u00a0Nobumitsu\u00a0Kurihara\u00a0(1794-1870)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Fonte:\u00a0<\/span><a href=\"https:\/\/dl.ndl.go.jp\/info:ndljp\/pid\/1287792\" target=\"_blank\" rel=\"noopener\"><span data-contrast=\"auto\">Cole\u00e7\u00e3o Digital da\u00a0National\u00a0Diet Library,\u00a0Japan<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/a><\/p><\/div>\n<p><span data-contrast=\"auto\">A obra de\u00a0<\/span><span data-contrast=\"auto\">S\u00f4gi<\/span><span data-contrast=\"auto\">\u00a0tem um estilo\u00a0<\/span><span data-contrast=\"auto\">s\u00f3brio e despojado<\/span><span data-contrast=\"auto\">, capaz tamb\u00e9m de ostentar a eleg\u00e2ncia que o poeta aprendeu com o estudo dos autores da Antiguidade<\/span><i><span data-contrast=\"auto\">.\u00a0<\/span><\/i><span data-contrast=\"auto\">O ponto alto de sua produ\u00e7\u00e3o art\u00edstica se revela em sua capacidade de construir\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0harmoniosos em\u00a0<\/span><span data-contrast=\"auto\">colabora\u00e7\u00e3o com seus disc\u00edpulos, habilidade reconhecida por seus contempor\u00e2neos e pelas gera\u00e7\u00f5es posteriores.\u00a0\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Na Antiguidade, o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">de tend\u00eancia c\u00f4mica era chamado de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips63'>haikaiuta<\/span><\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(\u201cpoemas de brincadeira\u201d)<\/span><span data-contrast=\"auto\">. Na Idade M\u00e9dia japonesa (s\u00e9culos XII a XVII), a palavra\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">passa a ser usada na express\u00e3o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips41'><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span> no <span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">para designar um poema\u00a0<\/span><span data-contrast=\"auto\">encadeado\u00a0<\/span><span data-contrast=\"auto\">de conte\u00fado c\u00f4mico. Na Era Edo (s\u00e9culos XVII a XIX), o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0viria a se separar do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">\u201cs\u00e9rio\u201d<\/span><span data-contrast=\"auto\">, evoluindo para um g\u00eanero independente.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">No s\u00e9culo XVII,\u00a0<\/span><span data-contrast=\"auto\">Matsunaga<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Teitoku<\/span><span data-contrast=\"auto\">\u00a0(1571\u20131654) fundou a escola\u00a0<\/span><span data-contrast=\"auto\">Teimon<\/span><span data-contrast=\"auto\">, que estabelecia regras de composi\u00e7\u00e3o e de aprecia\u00e7\u00e3o do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips41'><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span> no <span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/span><\/i><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">\u00c9 ent\u00e3o que o<\/span><span data-contrast=\"auto\">\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0se torna moda por todo o pa\u00eds \u2014 e quem sustenta o fen\u00f4meno s\u00e3o os poetas de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">. O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0da escola\u00a0<\/span><span data-contrast=\"auto\">Teitoku<\/span><span data-contrast=\"auto\">\u00a0\u00e9 caracterizado pela comicidade e vulgaridade, com o emprego de g\u00edria e\u00a0<\/span><i><span data-contrast=\"auto\">kango<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">(palavras de origem chinesa, que a poesia cl\u00e1ssica deveria evitar), distanciando-se, assim, das concep\u00e7\u00f5es est\u00e9ticas do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">, embora mantendo muitos elementos da t\u00e9cnica de composi\u00e7\u00e3o da poesia mais s\u00e9ria.\u00a0 Os versos de\u00a0<\/span><span data-contrast=\"auto\">Teitoku<\/span><span data-contrast=\"auto\">\u00a0ainda s\u00e3o de car\u00e1ter humor\u00edstico.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">N\u00e3o satisfeito com o estilo de\u00a0<\/span><span data-contrast=\"auto\">Teitoku<\/span><span data-contrast=\"auto\">, um grupo liderado pelo poeta de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Nishiyama<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">S\u00f4in<\/span><span data-contrast=\"auto\">\u00a0(1605\u20131682), de \u00d4saka, cria uma escola chamada\u00a0<\/span><span data-contrast=\"auto\">Danrin<\/span><span data-contrast=\"auto\">, que se caracteriza pelos\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0experimentais, livres e inovadores. Enquanto a escola\u00a0<\/span><span data-contrast=\"auto\">Teimon<\/span><span data-contrast=\"auto\">\u00a0ainda preserva em grande medida a eleg\u00e2ncia da poesia cl\u00e1ssica<\/span><i><span data-contrast=\"auto\">,\u00a0<\/span><\/i><span data-contrast=\"auto\">a escola\u00a0<\/span><span data-contrast=\"auto\">Danrin<\/span><span data-contrast=\"auto\">\u00a0se dedica radicalmente ao jogo de palavras e, com isso, pela primeira vez o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0se torna livre da concep\u00e7\u00e3o est\u00e9tica do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">mais ortodoxo<\/span><span data-contrast=\"auto\">.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">a primeira estrofe do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips41'><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span> no <span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span>,<\/span><\/i><span data-contrast=\"auto\">\u00a0tinha tr\u00eas\u00a0<\/span><span data-contrast=\"auto\">versos<\/span><span data-contrast=\"auto\">\u00a0de 5-7-5 s\u00edlabas e se tornou, com o tempo, uma parte \u00e0 qual se dava especial import\u00e2ncia, quase independente do resto do poema. Foi com o poeta Matsuo Bash\u00f4 que o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0adquiriu o\u00a0<\/span><i><span data-contrast=\"auto\">status<\/span><\/i><span data-contrast=\"auto\">\u00a0de verdadeira forma art\u00edstica. Bash\u00f4 (1644\u20131694) desenvolveu um novo estilo, no fim do s\u00e9culo XVII, que transcendia a dicotomia entre o s\u00e9rio e o c\u00f4mico, adotando uma postura humanista e buscando uma dimens\u00e3o espiritual para compreender a realidade \u2014 tudo isso, dentro do limitado espa\u00e7o do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span><\/span><\/i><span data-contrast=\"auto\">. O legado do poeta no contexto da literatura japonesa \u00e9 imenso, e suas m\u00faltiplas facetas tiveram diferente apelo para cada uma das gera\u00e7\u00f5es posteriores.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Bash\u00f4 \u00e9 o poeta japon\u00eas mais traduzido no Brasil. De um levantamento realizado por alunos do curso de Letras Japon\u00eas da Universidade Federal do Rio Grande do Sul, pudemos identificar, dentre os 31 livros de poesia japonesa publicados comercialmente no Brasil, oito t\u00edtulos dedicados inteiramente \u00e0 obra de Bash\u00f4, sem contar a sua presen\u00e7a em antologias de v\u00e1rios autores. Al\u00e9m disso, existe uma biografia de Bash\u00f4 escrita por um importante poeta brasileiro, Paulo Leminski, e muitos outros autores brasileiros afirmam considerar Bash\u00f4 como uma importante refer\u00eancia em seu fazer po\u00e9tico.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">No final da Era Edo, poemas de tr\u00eas\u00a0<\/span><span data-contrast=\"auto\">versos<\/span><span data-contrast=\"auto\">\u00a0de 5-7-5 s\u00edlabas j\u00e1 eram\u00a0<\/span><span data-contrast=\"auto\">compostos<\/span><span data-contrast=\"auto\">\u00a0independentemente do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips41'><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span> no <span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span>.\u00a0<\/span><\/i><span data-contrast=\"auto\">Grandes poetas, como Yosa Buson (1716\u20131784) e Kobayashi Issa (1763\u20131828) compunham poemas de tr\u00eas versos<\/span><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><span data-contrast=\"auto\">a que n\u00e3o se seguia uma s\u00e9rie de versos encadeados<\/span><i><span data-contrast=\"auto\">.\u00a0<\/span><\/i><span data-contrast=\"auto\">O estilo do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0dito cl\u00e1ssico j\u00e1 estava consolidado nesse est\u00e1gio. \u00c9 a partir\u00a0<\/span><span data-contrast=\"auto\">do fim do s\u00e9culo XIX, com a obra do poeta modernista Masaoka<\/span><span data-contrast=\"auto\">\u00a0Shiki<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0que o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span>,<\/span><\/i><span data-contrast=\"auto\">\u00a0isolado do\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips41'><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span> no <span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">torna-se objeto de estudo e ganha import\u00e2ncia enquanto forma liter\u00e1ria. Shiki decide mesmo\u00a0<\/span><span data-contrast=\"auto\">cunhar<\/span><span data-contrast=\"auto\">\u00a0um novo nome para a forma po\u00e9tica:\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">uma fus\u00e3o da primeira s\u00edlaba de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">e da segunda s\u00edlaba de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span>.\u00a0<\/span><\/i><span data-contrast=\"auto\">Seria um erro considerarmos que o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">na concep\u00e7\u00e3o de Shiki,\u00a0<\/span><span data-contrast=\"auto\">seja um sin\u00f4nimo de\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">, ainda que ele tenha suas ra\u00edzes nesse estilo po\u00e9tico<\/span><span data-contrast=\"auto\">.<\/span><span data-contrast=\"auto\">\u00a0O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0\u00e9 uma po\u00e9tica comunit\u00e1ria<\/span><span data-contrast=\"auto\">; o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">por sua vez,<\/span><span data-contrast=\"auto\">\u00a0\u00e9 uma arte individual.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Encontramos\u00a0<\/span><span data-contrast=\"auto\">um<\/span><span data-contrast=\"auto\">\u00a0exemplo bastante sofisticado do uso expressivo de sons n<\/span><span data-contrast=\"auto\">este<\/span><span data-contrast=\"auto\">\u00a0haicai<\/span><span data-contrast=\"auto\">\u00a0de Shiki<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px;text-align: left\"><span data-contrast=\"auto\">\u67ff\u304f\u3078\u3070<\/span><span data-contrast=\"auto\">\u3000<\/span><span data-contrast=\"auto\">\u9418\u304c\u9cf4\u308b\u306a\u308a<\/span><span data-contrast=\"auto\">\u3000<\/span><span data-contrast=\"auto\">\u6cd5\u9686\u5bfa<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><i><span data-contrast=\"auto\">kaki<\/span><\/i><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><i><span data-contrast=\"auto\">kueba<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">kane<\/span><\/i><i><span data-contrast=\"auto\">\u00a0ga\u00a0<\/span><\/i><i><span data-contrast=\"auto\">narunari<\/span><\/i><i><span data-contrast=\"auto\">\u00a0\/\u00a0<\/span><\/i><i><span data-contrast=\"auto\">h\u00f4ry\u00fbji<\/span><\/i><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"text-align: center\"><span data-contrast=\"auto\">ao comer um caqui<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">ou\u00e7o o sino do templo<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">H\u00f4ry\u00fbji<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"text-align: right\"><span data-contrast=\"auto\">Masaoka Shiki<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\"><br \/>\n<\/span><span data-contrast=\"auto\">(<\/span><span data-contrast=\"auto\">1895 \u2014 5155 \/ outono<\/span><span data-contrast=\"auto\">)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:3,&quot;335551620&quot;:3,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Este \u00e9, merecidamente, o poema mais famoso<\/span><span data-contrast=\"auto\">\u00a0de Shiki<\/span><span data-contrast=\"auto\">. Muitos tentaram explicar a superposi\u00e7\u00e3o de um gosto (o caqui) a um som (o sino) e a presen\u00e7a imaginada, ainda que majestosa, do grande templo, em termos de causa e consequ\u00eancia, como se o sabor da fruta fosse capaz de evocar uma mem\u00f3ria, uma imagem,\u00a0<\/span><span data-contrast=\"auto\">um som,\u00a0<\/span><span data-contrast=\"auto\">ou mesmo uma alucina\u00e7\u00e3o. Mas talvez o que Shiki esteja tentando fazer, aqui, seja algo ao mesmo tempo menos complicado e mais sutil: a repeti\u00e7\u00e3o\u00a0<\/span><span data-contrast=\"auto\">da consoante<\/span><span data-contrast=\"auto\">\u00a0\/k\/ quatro vezes\u00a0<\/span><span data-contrast=\"auto\">(que pode ter a fun\u00e7\u00e3o de aludir ao som da mordida)\u00a0<\/span><span data-contrast=\"auto\">e a sequ\u00eancia de vogais \/a\/-\/i\/-\/u\/-\/e\/ cria um ritmo acelerado que se interrompe, de repente, com a express\u00e3o verbal\u00a0<\/span><i><span data-contrast=\"auto\">narunari<\/span><\/i><i><span data-contrast=\"auto\">,\u00a0<\/span><\/i><span data-contrast=\"auto\">que tem um efeito quase mim\u00e9tico com rela\u00e7\u00e3o ao pr\u00f3prio som do sino.<\/span><span data-contrast=\"auto\">\u00a0O \u00faltimo verso, preenchido totalmente pelo formid\u00e1vel nome do belo templo, retoma a sequ\u00eancia de vogais, completando<\/span><span data-contrast=\"auto\">-a<\/span><span data-contrast=\"auto\">\u00a0com o som que falta (\/o\/),\u00a0<\/span><span data-contrast=\"auto\">e conferindo um ritmo solene, lento, hier\u00e1tico, ao final do poema (os acentos circunflexos marcam vogais longas, de valor duplo).\u00a0<\/span><span data-contrast=\"auto\">O poema \u00e9 baseado na experi\u00eancia de Shiki ao ouvir o sino de um templo enquanto comia um caqui (sua fruta favorita). O sino, no entanto, era o do templo\u00a0<\/span><span data-contrast=\"auto\">T\u00f4daiji<\/span><span data-contrast=\"auto\">, n\u00e3o o do templo\u00a0<\/span><span data-contrast=\"auto\">H\u00f4ry\u00fbji<\/span><span data-contrast=\"auto\">. No dia seguinte \u00e0 sua experi\u00eancia original, Shiki visitou o templo\u00a0<\/span><span data-contrast=\"auto\">H\u00f4ry\u00fbji<\/span><span data-contrast=\"auto\">\u00a0e decidiu que seria um local mais adequado para o seu poema do que o\u00a0<\/span><span data-contrast=\"auto\">T\u00f4daiji<\/span><span data-contrast=\"auto\">, por causa de seus famosos pomares de caqui<\/span><span data-contrast=\"auto\">. Neste ponto, eu me permito imaginar que n\u00e3o apenas a fama das \u00e1rvores frut\u00edferas, e sim a beleza das vogais, tenha sido determinante na mudan\u00e7a operada pelo poeta.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_14712\" style=\"width: 363px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-14712\" class=\"img-responsive img-fluid wp-image-14712\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki.jpg\" alt=\"\" width=\"353\" height=\"400\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki.jpg 603w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-280x318.jpg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-340x386.jpg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-220x250.jpg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-100x113.jpg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-130x147.jpg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/6-masaoka-shiki-460x522.jpg 460w\" sizes=\"(max-width: 353px) 100vw, 353px\" \/><p id=\"caption-attachment-14712\" class=\"wp-caption-text\"><span data-contrast=\"auto\">Retrato\u00a0<\/span><span data-contrast=\"auto\">de\u00a0<\/span><span data-contrast=\"auto\">Masaoka\u00a0Shiki<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><b><span data-contrast=\"auto\">Meiji\u00a0Bungaku\u00a0Kenkyu<\/span><\/b><span data-contrast=\"auto\">\u00a0(Estudos da Literatura Meiji)<\/span><span data-contrast=\"auto\">, vol.2<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:2,&quot;335551620&quot;:2,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><br \/><span data-contrast=\"auto\">Fonte: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Masaoka_Shiki.jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a><\/span><\/p><\/div>\n<p><span data-contrast=\"auto\">E o que posso fazer, eu, tradutor, com esse <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> t\u00e3o perfeito?\u00a0<\/span><span data-contrast=\"auto\">Consegui uma alitera\u00e7\u00e3o no primeiro verso, com tr\u00eas \/k\/, e outra no segundo, com dois \/s\/; al\u00e9m disso, fiz quest\u00e3o de manter o terceiro verso intacto, com sua sonoridade lenta e majestosa.\u00a0<\/span><span data-contrast=\"auto\">N<\/span><span data-contrast=\"auto\">\u00e3o consegui fazer muito mais que isso<\/span><span data-contrast=\"auto\">&#8230;<\/span><span data-contrast=\"auto\">\u00a0n\u00e3o fui capaz de incluir em minha vers\u00e3o muitas das nuances de sentido que eu leio no verso japon\u00eas.\u00a0<\/span><span data-contrast=\"auto\">No entanto, para al\u00e9m do poema e de sua tradu\u00e7\u00e3o\u00a0<\/span><i><span data-contrast=\"auto\">stricto sensu,\u00a0<\/span><\/i><span data-contrast=\"auto\">eu me permiti, nos limites do presente texto, acrescentar um par\u00e1grafo interpretativo que direciona a aten\u00e7\u00e3o do leitor para diversos elementos, tanto do poema japon\u00eas como de sua tradu\u00e7\u00e3o,\u00a0<\/span><span data-contrast=\"auto\">e\u00a0<\/span><span data-contrast=\"auto\">que<\/span><span data-contrast=\"auto\">, na minha opini\u00e3o,<\/span><span data-contrast=\"auto\">\u00a0enriquecem sua leitura e sua frui\u00e7\u00e3o.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">A maioria dos te\u00f3ricos de tradu\u00e7\u00e3o que se debru\u00e7aram sobre a quest\u00e3o da poesia \u00e9 contr\u00e1ria ao uso de guias de leitura e<\/span><span data-contrast=\"auto\">\u00a0de<\/span><span data-contrast=\"auto\">\u00a0explica\u00e7\u00f5es; isso, segundo muitos, seria intromiss\u00e3o do tradutor, e estaria \u201cmatando\u201d ou \u201cabafando\u201d o poema. Ora, em primeiro lugar, em resposta a essas cr\u00edticas, eu proponho que o tradutor, ao apresentar o poema japon\u00eas \u00e0 leitora brasileira, dev<\/span><span data-contrast=\"auto\">e<\/span><span data-contrast=\"auto\">\u00a0se preocupar<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">n\u00e3o em criar um meio est\u00e9ril e ass\u00e9ptico para que o poema \u201cfale por si mesmo\u201d, mas\u00a0<\/span><span data-contrast=\"auto\">antes em causar encantamento e interesse. E isso, eu creio, \u00e9 tarefa que<\/span><span data-contrast=\"auto\">, ainda que imperfeitamente,<\/span><span data-contrast=\"auto\">\u00a0o meu par\u00e1grafo explicativo pode\u00a0<\/span><span data-contrast=\"auto\">ajudar o poema traduzido a\u00a0<\/span><span data-contrast=\"auto\">desempenhar. Em segundo lugar, eu desejo propor que a tradu\u00e7\u00e3o de um poema n\u00e3o \u00e9 um trabalho meramente t\u00e9cnico<\/span><span data-contrast=\"auto\">\u00a0ou neutro<\/span><span data-contrast=\"auto\">, como muitos parecem defender: ele\u00a0<\/span><span data-contrast=\"auto\">\u00e9 sempre o resultado de uma interpreta\u00e7\u00e3o pessoal, subjetiva, do tradutor frente \u00e0 leitura do poema. Nesse sentido, o poema japon\u00eas, apresentado com sua\u00a0<\/span><span data-contrast=\"auto\">vers\u00e3o em portugu\u00eas<\/span><span data-contrast=\"auto\">\u00a0e guia de leitura ao lado, \u00e9 uma forma mais transparente de propor\u00a0<\/span><span data-contrast=\"auto\">\u00e0 leitora uma tradu\u00e7\u00e3o po\u00e9tica realizada na modalidade \u201cprocesso de leitura\u201d \u2014 com suas costuras \u00e0 mostra, por assim dizer<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">A poesia tem em comum com as artes da estrutura, como a pintura,\u00a0<\/span><span data-contrast=\"auto\">a moda,\u00a0<\/span><span data-contrast=\"auto\">a escultura e a arquitetura,\u00a0<\/span><span data-contrast=\"auto\">o fato de que ela constr\u00f3i formas a partir da uni\u00e3o de diversos elementos<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">sens\u00edveis<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">Esse parentesco com as artes visuais fica ainda mais evidente quando se trata de poesia escrita<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">Al\u00e9m de ser um artefato de som, a express\u00e3o de sentimentos<\/span><span data-contrast=\"auto\">\u00a0e<\/span><span data-contrast=\"auto\">\u00a0o resultado de um pensamento, o<\/span><span data-contrast=\"auto\">\u00a0poema<\/span><span data-contrast=\"auto\">, quando<\/span><span data-contrast=\"auto\">\u00a0escrito<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0\u00e9 tamb\u00e9m uma estrutura visual.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">No caso da poesia japonesa no\u00a0<\/span><span data-contrast=\"auto\">nosso\u00a0<\/span><span data-contrast=\"auto\">contexto, o fato de que a poesia tem uma dimens\u00e3o sonora e outra visual\u00a0<\/span><span data-contrast=\"auto\">teve ramifica\u00e7\u00f5es de complexidade consider\u00e1vel, devido a caracter\u00edsticas do sistema liter\u00e1rio brasileiro que n\u00e3o encontramos em outras culturas.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">No Brasil, a percebida concis\u00e3o sem ret\u00f3rica do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> japon\u00eas foi o tra\u00e7o que os modernistas adotaram como ideal<\/span><span data-contrast=\"auto\">, j\u00e1 na d\u00e9cada de 1920<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">Gra\u00e7as aos estudos de Paulo Franchetti, sabemos que a obra po\u00e9tica mais importante no contexto da recep\u00e7\u00e3o inicial do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> no Brasil foi\u00a0<\/span><b><i><span data-contrast=\"auto\">Les\u00a0<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">Ha\u00efka\u00ef<\/span><\/i><\/b><b><i><span data-contrast=\"auto\">\u00a0<\/span><\/i><\/b><span data-contrast=\"auto\">(1916), do orientalista franc\u00eas Paul-Louis\u00a0<\/span><span data-contrast=\"auto\">Couchoud<\/span><span data-contrast=\"auto\">. Mesmo o voc\u00e1bulo adotado aqui para designar a forma po\u00e9tica vem do t\u00edtulo dessa obra hoje esquecida: na Fran\u00e7a contempor\u00e2nea, o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> se chama\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span><\/span><\/i><span data-contrast=\"auto\">.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">N<\/span><span data-contrast=\"auto\">o Jap\u00e3o, o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> era, na virada do s\u00e9culo XIX para o XX, um sistema\u00a0<\/span><span data-contrast=\"auto\">po\u00e9tico<\/span><span data-contrast=\"auto\">\u00a0tradicional, com s\u00e9culos de hist\u00f3ria, e foi o realismo europeu (sobretudo o realismo nas artes pl\u00e1sticas) que foi usado como modelo por Masaoka Shiki para renovar o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> por meio de uma rea\u00e7\u00e3o contra\u00a0<\/span><span data-contrast=\"auto\">os velhos modelos<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">A<\/span><span data-contrast=\"auto\">\u00a0concis\u00e3o do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> cl\u00e1ssico \u2014 do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> de Bash\u00f4, por exemplo \u2014 \u00e9 muito mais complexa do que se pensava na Fran\u00e7a, nessa \u00e9poca. Ela depende de sofisticados elementos de intertextualidade e de tropos consagrados pelo uso para expandir suas possibilidades sem\u00e2nticas, e se apoia numa po\u00e9tica da ambiguidade, do vago e do misterioso \u2014 e n\u00e3o num ideal de precis\u00e3o, como imaginavam as vanguardas europeias.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O segundo momento da recep\u00e7\u00e3o do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> no Brasil, com os concretistas, ainda que caracterizado por um aprofundamento da reflex\u00e3o sobre o que \u00e9 um <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> \u2014 como g\u00eanero textual, como objeto visual, como po\u00e9tica, como filosofia \u2014 tamb\u00e9m dependeu de\u00a0<\/span><span data-contrast=\"auto\">desleituras<\/span><span data-contrast=\"auto\">\u00a0da metr\u00f3pole. Dessa vez, em vez de franceses hoje obscuros, foram os americanos, nas figuras de Ernest Fenollosa e de Ezra Pound, que serviram de mediadore<\/span><span data-contrast=\"auto\">s<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">O<\/span><span data-contrast=\"auto\">\u00a0ideal de concis\u00e3o \u00e9 mais uma vez enfatizado, agora a partir de uma vis\u00e3o \u201cideogram\u00e1tica\u201d da poesia.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O uso da palavra \u201cideograma\u201d<\/span><span data-contrast=\"auto\">\u00a0nesse contexto,<\/span><span data-contrast=\"auto\">\u00a0significando algo como\u00a0<\/span><span data-contrast=\"auto\">\u201c<\/span><span data-contrast=\"auto\">a ess\u00eancia da poesia<\/span><span data-contrast=\"auto\">\u00a0e sua expans\u00e3o para al\u00e9m do campo do verbal<\/span><span data-contrast=\"auto\">, incluindo o\u00a0<\/span><span data-contrast=\"auto\">campo visual<\/span><span data-contrast=\"auto\">\u201d<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0deve sua origem, em grande parte, a um texto de Ernest Fenollosa (1853\u20131908) denominado \u201cOs\u00a0<\/span><span data-contrast=\"auto\">caracteres da escrita chinesa como instrumento para a poesia<\/span><span data-contrast=\"auto\">\u201d (<\/span><span data-contrast=\"auto\">FENOLLOSA<\/span><span data-contrast=\"auto\">, 1977; publicado por Ezra Pound em 1918). Esse ensaio \u00e9 considerado por muitos como \u201cum manifesto da nova po\u00e9tica do s\u00e9culo XX\u201d (<\/span><span data-contrast=\"auto\">SAUSSY<\/span><span data-contrast=\"auto\">, 2008, p.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">1) e serviu de base para o \u201cm\u00e9todo ideogram\u00e1tico\u201d desenvolvido por Ezra Pound, uma \u201cl\u00f3gica de especificidades justapostas, \u2018detalhes luminosos\u2019 que falam por si mesmos quando o poeta os revela\u201d (<\/span><span data-contrast=\"auto\">SAUSSY<\/span><span data-contrast=\"auto\">, 2008, p.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">5)<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">A mesma mitologia foi adotada como precursora pela poesia concreta no Brasil:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 120px\"><span data-contrast=\"auto\">A poesia concreta, indo al\u00e9m da aplica\u00e7\u00e3o do processo ideogram\u00e1tico tal como praticado por Pound, introduz o espa\u00e7o no ideograma como elemento substantivo da estrutura po\u00e9tica. Assim,\u00a0<\/span><span data-contrast=\"auto\">cria-se uma nova<\/span><span data-contrast=\"auto\">\u00a0realidade r\u00edtmica e espaciotemporal. O ritmo tradicional e linear \u00e9 destru\u00eddo. (<\/span><span data-contrast=\"auto\">PIGNATARI<\/span><span data-contrast=\"auto\">, 1982, p.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">189)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Muitos<\/span><span data-contrast=\"auto\">\u00a0artistas ocidentais atribuem \u00e0 escrita ideogr\u00e1fica poderes quase m\u00e1gicos de comunica\u00e7\u00e3o visual que est\u00e3o bastante longe do uso \u2014 tanto pragm\u00e1tico como art\u00edstico\u00a0<\/span><span data-contrast=\"auto\">\u2014 que se faz realmente desses caracteres\u00a0<\/span><span data-contrast=\"auto\">n<\/span><span data-contrast=\"auto\">o Jap\u00e3o<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">Ocorre uma s\u00edntese essencialista, que trata coisas diferentes como iguais devido ao racioc\u00ednio de que todas pertenceriam \u00e0 mesma cultura:\u00a0<\/span><span data-contrast=\"auto\">nessa confus\u00e3o de conceitos,\u00a0<\/span><span data-contrast=\"auto\">o ideograma funciona internamente (em sua composi\u00e7\u00e3o) da mesma maneira que em combina\u00e7\u00e3o com outros ideogramas (formando palavras e frases), e a poesia funcionaria da mesma maneira que a estrutura interna e externa desses caracteres. Trata-se de um mantra repetido\u00a0<\/span><i><span data-contrast=\"auto\">ad nauseam\u00a0<\/span><\/i><span data-contrast=\"auto\">pelas vanguardas ocidentais: a poesia japonesa \u00e9 \u201csint\u00e9tica\u201d e \u201cideogram\u00e1tica\u201d; une a visualidade e o texto, a exemplo do que fazem os elementos mais b\u00e1sicos de sua escrita. \u00c9 um\u00a0<\/span><i><span data-contrast=\"auto\">insight\u00a0<\/span><\/i><span data-contrast=\"auto\">que permitiu uma importante renova\u00e7\u00e3o na po\u00e9tica\u00a0<\/span><span data-contrast=\"auto\">ocidental<\/span><span data-contrast=\"auto\">, mas que revela uma compreens\u00e3o muito limitada do funcionamento do po\u00e9tico\u00a0<\/span><span data-contrast=\"auto\">n<\/span><span data-contrast=\"auto\">o Jap\u00e3o \u2014 quer nas suas tradi\u00e7\u00f5es, quer na modernidade.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">O principal argumento usado normalmente contra a hip\u00f3tese de Fenollosa-Pound \u00e9 de que a maneira como a escrita\u00a0<\/span><span data-contrast=\"auto\">japonesa<\/span><span data-contrast=\"auto\">\u00a0se estrutura est\u00e1 longe de ser primariamente pictogr\u00e1fica.\u00a0<\/span><span data-contrast=\"auto\">Em sua<\/span><span data-contrast=\"auto\">\u00a0maior<\/span><span data-contrast=\"auto\">ia, os\u00a0<\/span><i><span data-contrast=\"auto\">kanji<\/span><\/i><span data-contrast=\"auto\">\u00a0\u2014<\/span><span data-contrast=\"auto\">\u00a0cerca de 85% de todos os caracteres<\/span><span data-contrast=\"auto\">\u00a0\u2014<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">s\u00e3o<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">semasiofon\u00e9ticos<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0ou fon\u00e9tico-ideogr\u00e1ficos<\/span><span data-contrast=\"auto\">. Isso significa<\/span><span data-contrast=\"auto\">\u00a0que\u00a0<\/span><span data-contrast=\"auto\">a maior parte dos ideogramas \u00e9<\/span><span data-contrast=\"auto\">\u00a0essencialmente, uma combina\u00e7\u00e3o de um elemento sem\u00e2ntico com um elemento fon\u00e9tico, o primeiro muitas vezes indicando a natureza geral do item a ser representado e o segundo especificando, por meio do som que representa, a pron\u00fancia da palavra. A maneira como esses caracteres funcionam n\u00e3o tem quase nenhuma rela\u00e7\u00e3o com a teoria de Fenollosa.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">A teoria\u00a0<\/span><span data-contrast=\"auto\">da escrita ideogram\u00e1tica<\/span><span data-contrast=\"auto\">\u00a0apresenta ainda outros problemas, se ela for utilizada para entender a po\u00e9tica\u00a0<\/span><span data-contrast=\"auto\">japonesa<\/span><span data-contrast=\"auto\">.\u00a0<\/span><span data-contrast=\"auto\">No Jap\u00e3o, o<\/span><span data-contrast=\"auto\">\u00a0uso de ideogramas \u00e9 uma preocupa\u00e7\u00e3o secund\u00e1ria com rela\u00e7\u00e3o \u00e0 oralidade do poema.\u00a0<\/span><span data-contrast=\"auto\">A<\/span><span data-contrast=\"auto\">\u00a0visualidade do poema japon\u00eas n\u00e3o deve quase nada ao ideograma. A poesia japonesa cl\u00e1ssica d\u00e1 muito mais \u00eanfase \u00e0\u00a0<\/span><i><span data-contrast=\"auto\">performance<\/span><\/i><span data-contrast=\"auto\">\u00a0oral do poema do que \u00e0 sua estrutura ideogram\u00e1tica \u2014 muitos poetas sequer fazem uso de ideogramas, recorrendo apenas aos silab\u00e1rios no momento de registr\u00e1-los.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Isso n\u00e3o quer dizer que a poesia japonesa n\u00e3o\u00a0<\/span><span data-contrast=\"auto\">d\u00e1<\/span><span data-contrast=\"auto\">\u00a0\u00eanfase \u00e0 visualidade de outras maneiras<\/span><span data-contrast=\"auto\">:<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">as artes japonesas<\/span><span data-contrast=\"auto\">\u00a0valorizam o poema como coisa, por meio da materialidade da escrita e pela \u00eanfase no gesto caligr\u00e1fico<\/span><span data-contrast=\"auto\">. A t<\/span><span data-contrast=\"auto\">radi\u00e7\u00e3o art\u00edstica\u00a0<\/span><span data-contrast=\"auto\">n\u00e3o compartimentalizou (como a Europa fez) as<\/span><span data-contrast=\"auto\">\u00a0artes em \u201cformas aut\u00f4nomas\u201d, \u201csuportes independentes\u201d, \u201cespecificidades expressivas\u201d, e outros tipos de limita\u00e7\u00e3o ret\u00f3rica do fen\u00f4meno art\u00edstico a meios separados e n\u00e3o dialogantes \u2014 quando n\u00e3o declaradamente antag\u00f4nicos.<\/span><span data-contrast=\"auto\">\u00a0Yosa Buson, um dos mais importantes haica\u00edstas japoneses, foi por muito tempo considerado antes um pintor e cal\u00edgrafo, e apenas secundariamente um poeta; foi a\u00a0<\/span><span data-contrast=\"auto\">posteridade que se encarregou de direcionar o foco ao<\/span><span data-contrast=\"auto\">\u00a0car\u00e1ter\u00a0<\/span><span data-contrast=\"auto\">pluridimensional<\/span><span data-contrast=\"auto\">\u00a0de sua obra, que combina\u00a0<\/span><span data-contrast=\"auto\">a arte do pincel com a arte da palavra para criar algo como um campo expandido de experi\u00eancia art\u00edstica.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_15339\" style=\"width: 758px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-15339\" class=\"img-responsive img-fluid wp-image-15339 size-full\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403.jpeg\" alt=\"\" width=\"748\" height=\"288\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403.jpeg 748w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-280x108.jpeg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-340x131.jpeg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-220x85.jpeg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-100x39.jpeg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-130x50.jpeg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/02\/whatsapp-image-2021-02-01-at-165403-460x177.jpeg 460w\" sizes=\"(max-width: 748px) 100vw, 748px\" \/><p id=\"caption-attachment-15339\" class=\"wp-caption-text\"><strong>Oku no Hosomichi<\/strong> (Trilhas long\u00ednquas de Oku), 1779, Itsuo Art Museum, Japan Obra de Matsuo Bash\u00f4 (1644-1694), Ilustra\u00e7\u00f5es de Yosa Buson (1716-1784) Fonte: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Oku_no_Hosomichi_by_Yosa_Buson_(Itsuo_Art_Museum).jpg\" target=\"_blank\" rel=\"noopener\">Wikimedia Commons<\/a><\/p><\/div>\n<p>&nbsp;<\/p>\n<p><span data-contrast=\"auto\">A cultura japonesa nunca perdeu muito tempo com a compartimentaliza\u00e7\u00e3o dos<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">g\u00eaneros liter\u00e1rios nem com ideais de autonomia das artes. Desde os prim\u00f3rdios, a escrita foi tratada como uma forma de express\u00e3o visual. A poesia sempre foi tratada como can\u00e7\u00e3o e vice-versa. As artes pl\u00e1sticas dialogam com a literatura que, por sua vez, est\u00e1 presente nas express\u00f5es art\u00edsticas ligadas \u00e0\u00a0<\/span><i><span data-contrast=\"auto\">performance<\/span><\/i><span data-contrast=\"auto\">, como o teatro, a m\u00fasica, a dan\u00e7a. A arquitetura n\u00e3o faz distin\u00e7\u00e3o entre o pr\u00e9dio e o jardim; o jardim conversa com o texto; o texto \u00e9 uma medita\u00e7\u00e3o sobre a paisagem; a floresta \u00e9 comparada a uma padronagem da seda&#8230; e assim por diante. Propostas ocidentais de cria\u00e7\u00e3o de uma extravagante \u201cobra de arte total\u201d n\u00e3o fazem muito sentido em um contexto japon\u00eas, porque as artes no Jap\u00e3o n\u00e3o foram nunca outra coisa que n\u00e3o totalizantes. O pressuposto \u00e9 de que tudo \u00e9 h\u00edbrido: a cerim\u00f4nia do ch\u00e1 \u00e9 uma filosofia e um evento social; o arranjo de flores \u00e9<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">um ritual<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">est\u00e9tico; o mang\u00e1 \u00e9<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">literatura, assim como o cinema; os romances t\u00eam poemas; as roupas\u00a0<\/span><span data-contrast=\"auto\">e a gastronomia dialogam com a pintura; etc. Os exemplos s\u00e3o muitos e o assunto \u00e9 inesgot\u00e1vel.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">No entanto, essa n\u00e3o \u00e9 a \u00fanica maneira de se contar essa hist\u00f3ria. Quatorze anos antes da Semana de Arte Moderna, o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> j\u00e1 havia sido trazido ao Brasil pelos imigrantes japoneses. Do\u00a0<\/span><span data-contrast=\"auto\">Kasato<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Maru<\/span><span data-contrast=\"auto\">, o primeiro navio japon\u00eas a trazer imigrantes ao porto de Santos, em 1908, desembarcou\u00a0<\/span><span data-contrast=\"auto\">Uetsuka<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Shuhei<\/span><span data-contrast=\"auto\">\u00a0(1876\u20131935), que teria escrito o primeiro <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> feito em terras brasileiras. Subsequentemente, o Brasil recebeu\u00a0<\/span><span data-contrast=\"auto\">Nempuku<\/span><span data-contrast=\"auto\">\u00a0Sato (1898\u20131979), que trouxe consigo os princ\u00edpios da escola de Masaoka Shiki. Masuda Goga, o maior haica\u00edsta brasileiro, foi disc\u00edpulo de Sato. Teruko Oda, a maior haica\u00edsta brasileira viva, foi disc\u00edpula de Goga. \u00c9 a partir das tradi\u00e7\u00f5es trazidas do Jap\u00e3o por essa linhagem de poetas que uma nova vertente de autores de <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> floresce atualmente no Brasil.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">No in\u00edcio, esses grupos eram compostos por imigrantes e descendentes de japoneses. Hoje em dia, no entanto, os clubes e agremia\u00e7\u00f5es de <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> acolhem todo tipo de s\u00f3cio, e a produ\u00e7\u00e3o po\u00e9tica se d\u00e1 tanto em japon\u00eas como em portugu\u00eas. Ao contr\u00e1rio da idealiza\u00e7\u00e3o operada pelos mediadores de l\u00edngua francesa e inglesa, que encontramos nas teorias adotadas pelos poetas brasileiros modernistas e concretistas, esses grupos desenvolveram um fazer po\u00e9tico em l\u00edngua portuguesa do Brasil que se apropria de maneira mais direta das pr\u00e1ticas dos haica\u00edstas do Jap\u00e3o. N\u00e3o \u00e9 \u00e0 toa que foi essa vertente, mais \u201chumilde\u201d e menos \u201cintelectualizada\u201d do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span>, que se esfor\u00e7ou em criar mesmo um repert\u00f3rio de palavras sazonais relacionadas \u00e0 geografia brasileira. E n\u00e3o podemos esquecer que a est\u00e9tica contempor\u00e2nea do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> valoriza o \u201chumilde\u201d, o terreno, o quotidiano, e despreza as idealiza\u00e7\u00f5es\u00a0<\/span><span data-contrast=\"auto\">intelectualizantes<\/span><span data-contrast=\"auto\">, os conceitos esfor\u00e7adamente sofisticados, as generaliza\u00e7\u00f5es metaf\u00edsicas. Essas \u00eanfases redirecionadas refletem escolhas que Shiki fez para a sua concep\u00e7\u00e3o de poesia, em oposi\u00e7\u00e3o \u00e0s tradi\u00e7\u00f5es mantidas pelos disc\u00edpulos de Bash\u00f4.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">A hist\u00f3ria da assimila\u00e7\u00e3o do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> no Brasil pode ser descrita como um processo de tradu\u00e7\u00e3o cultural. Em um sentido muito forte, trata-se de tradu\u00e7\u00e3o, de tradu\u00e7\u00e3o liter\u00e1ria, e de tradu\u00e7\u00e3o de poesia \u2014 mesmo quando n\u00e3o se trata, necessariamente, de tradu\u00e7\u00e3o de\u00a0<\/span><i><span data-contrast=\"auto\">poemas.\u00a0<\/span><\/i><span data-contrast=\"auto\">Ainda assim<\/span><span data-contrast=\"auto\">, j\u00e1 se pode perceber que, desde o final dos anos 1950, h\u00e1 uma\u00a0<\/span><span data-contrast=\"auto\">tentativa<\/span><span data-contrast=\"auto\">, por parte da comunidade\u00a0<\/span><i><span data-contrast=\"auto\">nikkei<\/span><\/i><span data-contrast=\"auto\">, no sentido de criar uma imagem cultural do Jap\u00e3o menos ligada ao exotismo e legitimada pela tradu\u00e7\u00e3o direta e por escolhas de t\u00edtulos em maior sintonia com o campo liter\u00e1rio e com o c\u00e2none japon\u00eas. Esses esfor\u00e7os nem sempre eram recompensados. Um exemplo \u00e9 este relato\u00a0<\/span><span data-contrast=\"auto\">de um importante tradutor,<\/span><span data-contrast=\"auto\">\u00a0Ant\u00f4nio\u00a0<\/span><span data-contrast=\"auto\">Nojiri<\/span><span data-contrast=\"auto\">, citado por Fabio Kato:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 120px\"><span data-contrast=\"auto\">Por cerca de tr\u00eas d\u00e9cadas,\u00a0<\/span><span data-contrast=\"auto\">Nojiri<\/span><span data-contrast=\"auto\">\u00a0foi um tradutor que conseguiu colocar no mercado um bom n\u00famero de vers\u00f5es diretas do japon\u00eas, superando as dificuldades de falta de tradutores profissionais de literatura da l\u00edngua japonesa e pouco interesse das editoras. [&#8230;]\u00a0<\/span><span data-contrast=\"auto\">Nojiri<\/span><span data-contrast=\"auto\">\u00a0deixou clara a dificuldade ao afirmar que [&#8230; poucos t\u00edtulos] foram traduzidos diretamente do japon\u00eas at\u00e9 ent\u00e3o. [&#8230; Esse] dado representa o qu\u00e3o complicado foi para\u00a0<\/span><span data-contrast=\"auto\">Nojiri<\/span><span data-contrast=\"auto\">\u00a0publicar as tradu\u00e7\u00f5es que realizava. (KATO, 2006, p. 45\u201346)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Outra figura de tradutor brasileiro de textos japoneses \u00e9 a do tradutor poeta, que usa a tradu\u00e7\u00e3o de poesia japonesa como um instrumento de pesquisa est\u00e9tica. Nesse sentido, a produ\u00e7\u00e3o brasileira de poesia japonesa traduzida est\u00e1 tanto ligada ao mundo da tradu\u00e7\u00e3o como ao mundo do fazer po\u00e9tico. Esse microcosmo liter\u00e1rio \u00e9 complexo, cheio de varia\u00e7\u00f5es, ecos e di\u00e1logos intertextuais. Diferente do que acontece no caso do tradutor profissional sem conhecimento do japon\u00eas a quem se encomenda um servi\u00e7o, o poeta tradutor possui interesses e investimentos na cultura do Jap\u00e3o, e essa modalidade de reescritura poderia ser estudada como um g\u00eanero em si. Duas tradutoras poetas deixaram sua marca na d\u00e9cada de 1980: Olga Savary e Alice Ruiz. Os primeiros trinta e cinco anos\u00a0<\/span><span data-contrast=\"auto\">de tradu\u00e7\u00e3o liter\u00e1ria do japon\u00eas nos trouxeram apenas uma autora japonesa; com as tradu\u00e7\u00f5es de Alice Ruiz, meia d\u00e9cada nos trouxe, em duas publica\u00e7\u00f5es, os poemas de onze mulheres.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Ainda assim<\/span><span data-contrast=\"auto\">, o nosso sistema liter\u00e1rio absorveu apenas alguns elementos espec\u00edficos\u00a0<\/span><span data-contrast=\"auto\">da literatura japonesa<\/span><span data-contrast=\"auto\">, valorizando nela aquilo que se acreditava ser mais produtivo em nosso contexto: o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span>, t\u00e3o aclimatado ao Brasil de hoje que possui grafia local e consta dos nossos dicion\u00e1rios. O que se omite, na maioria das vezes, \u00e9 o contexto japon\u00eas em que o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> surgiu e evoluiu. Sem conhecer a evolu\u00e7\u00e3o da poesia japonesa a partir da Antiguidade, \u00e9 mais dif\u00edcil compreender muitas das caracter\u00edsticas do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> cl\u00e1ssico \u2014 herdeiro de formas, ecos intertextuais, narrativas, princ\u00edpios est\u00e9ticos, saberes socioculturais, met\u00e1foras e outras figuras de linguagem, crit\u00e9rios de avalia\u00e7\u00e3o e formas de transmiss\u00e3o que se consolidaram antes de seu apogeu. Compreender o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> sem o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>\u00a0<\/span><\/i><span data-contrast=\"auto\">\u00e9 como apreciar a bossa-nova sem conhecer o samba \u2014 poss\u00edvel, por\u00e9m menos enriquecedor.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Ainda que possua uma tradi\u00e7\u00e3o em comum com o\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">a sensibilidade associada ao <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> \u2014 e que acreditamos, muitas vezes, ser caracter\u00edstica da poesia japonesa como um todo \u2014, n\u00e3o \u00e9 exatamente a mesma que vamos encontrar\u00a0<\/span><span data-contrast=\"auto\">em outras formas po\u00e9ticas dessa mesma literatura<\/span><span data-contrast=\"auto\">. O <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span> cl\u00e1ssico tem um escopo tem\u00e1tico bastante espec\u00edfico, mais limitado, com foco na frui\u00e7\u00e3o est\u00e9tica do mundo sens\u00edvel. O\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span><\/span><\/i><span data-contrast=\"auto\">\u00a0tamb\u00e9m pode abordar a tem\u00e1tica do sens\u00edvel; mas, al\u00e9m disso, trata de temas pouco vistos no mundo do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span>, como amor, erotismo, sexo, ci\u00fames, loucura, rela\u00e7\u00f5es familiares, introspec\u00e7\u00e3o, abandono, festivais, religi\u00e3o, vingan\u00e7a, morte, e muitos outros. No\u00a0<\/span><i><span data-contrast=\"auto\"><span class='tooltipsall tooltipsincontent classtoolTips77'>waka<\/span>,\u00a0<\/span><\/i><span data-contrast=\"auto\">encontramos muito mais melodrama, uma dic\u00e7\u00e3o bem mais ornamental, e um sentimentalismo que lembra, \u00e0s vezes, o transbordamento de emo\u00e7\u00f5es que associamos aos nossos rom\u00e2nticos.\u00a0<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Assim como ocorre com muitos outros aspectos da cultura do Jap\u00e3o, n\u00f3s brasileiros temos, historicamente, uma rela\u00e7\u00e3o de intensa atra\u00e7\u00e3o e fasc\u00ednio pela poesia japonesa. A essa atra\u00e7\u00e3o e fasc\u00ednio vem se somar o fato de que o japon\u00eas \u00e9 uma l\u00edngua de heran\u00e7a no Brasil, e que o <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span>, por exemplo, j\u00e1 \u00e9 praticado aqui h\u00e1 mais de um s\u00e9culo, tendo como que \u201cchegado\u00a0<\/span><span data-contrast=\"auto\">tr\u00eas<\/span><span data-contrast=\"auto\">\u00a0vezes\u201d em nossas terras:\u00a0<\/span><span data-contrast=\"auto\">primeiro\u00a0<\/span><span data-contrast=\"auto\">com os imigrantes<\/span><span data-contrast=\"auto\">\u00a0japoneses; depois,<\/span><span data-contrast=\"auto\">\u00a0junto com as modas francesas<\/span><span data-contrast=\"auto\">; e, por \u00faltimo,<\/span><span data-contrast=\"auto\">\u00a0via vanguardas estadunidenses.<\/span><span data-contrast=\"auto\">\u00a0Tamb\u00e9m como \u00e9 comum com outros elementos culturais do Jap\u00e3o, a poesia japonesa \u00e9 aqui, ao mesmo tempo, muito conhecida e ainda muito mal conhecida. Alguns autores, como Bash\u00f4, foram traduzidos, retraduzidos, adotados como refer\u00eancia, biografados e canonizados; outras grandes massas de hist\u00f3ria liter\u00e1ria, no entanto, permanecem totalmente ignoradas e sem tradu\u00e7\u00e3o. No presente texto, eu sequer tentei mencionar toda a poesia que veio depois de Shiki \u2014 em grande parte devido \u00e0 minha ignor\u00e2ncia e falta de expertise, mas outro tanto tamb\u00e9m porque me falta espa\u00e7o. A verdade \u00e9 que a hist\u00f3ria da poesia japonesa \u00e9 t\u00e3o caudalosa e rica que seria necess\u00e1ria uma s\u00e9rie de artigos sobre o assunto, a cargo de diversos autores, sobre diferentes aspectos, eras, escolas. Espero com este artigo ter contribu\u00eddo para despertar a curiosidade da leitora para o imenso repert\u00f3rio de possibilidades po\u00e9ticas e tradut\u00f3rias que a l\u00edngua japonesa tem a oferecer, e que\u00a0<\/span><span data-contrast=\"auto\">vai<\/span><span data-contrast=\"auto\">\u00a0muito, muito mesmo, al\u00e9m do <span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span>.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Sempre que se fala em poesia, o tradutor \u00e9 obrigado a lidar com o questionamento: \u201cMas poesia se traduz?\u201d. A piadinha de Robert\u00a0<\/span><span data-contrast=\"auto\">Frost<\/span><span data-contrast=\"auto\">\u00a0\u00e9 sempre lembrada: \u201cPoesia \u00e9 aquilo que se perde em tradu\u00e7\u00e3o\u201d. No pa\u00eds de Haroldo de Campos, felizmente, a maldi\u00e7\u00e3o de\u00a0<\/span><span data-contrast=\"auto\">Frost<\/span><span data-contrast=\"auto\">\u00a0\u00e9 menos insidiosa do que em outras culturas: sabemos, porque temos exemplos de excel\u00eancia a apontar<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0que sim, \u00e9 poss\u00edvel traduzir poesia, e a tradu\u00e7\u00e3o de poesia pode ser um tipo muito radiante, muito positivo, muito criador e muito criativo, de literatura. Podemos ainda lembrar esta reflex\u00e3o de David\u00a0<\/span><span data-contrast=\"auto\">Bellos<\/span><span data-contrast=\"auto\">:<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 120px\"><span data-contrast=\"auto\">Pense em um poeta importante, e voc\u00ea certamente pensou em um tradutor, tamb\u00e9m. [&#8230;] N\u00e3o h\u00e1 um ponto de corte entre escrever poemas, escrever tradu\u00e7\u00f5es, ou escrever tradu\u00e7\u00f5es de poemas. As formas po\u00e9ticas \u2014 o soneto, a balada, o rond\u00f3, o pantum, o\u00a0<\/span><span data-contrast=\"auto\">gazal<\/span><span data-contrast=\"auto\">\u00a0\u2014 migraram entre l\u00ednguas t\u00e3o diversas quanto o franc\u00eas, o italiano, o russo, o persa, o ingl\u00eas e o malaio, ao longo dos \u00faltimos oito s\u00e9culos. [&#8230;] Todas as chamadas \u201ctradi\u00e7\u00f5es po\u00e9ticas\u201d s\u00e3o feitas de outras tradi\u00e7\u00f5es. Ao duvidoso ad\u00e1gio de que a poesia \u00e9 aquilo que se perde em tradu\u00e7\u00e3o, precisamos contrapor o fato mais demonstr\u00e1vel de que, de diversos pontos de vista, a hist\u00f3ria da poesia [&#8230;] \u00e9 a hist\u00f3ria da poesia em tradu\u00e7\u00e3o. (<\/span><span data-contrast=\"auto\">BELOS, 2011,\u00a0<\/span><span data-contrast=\"auto\">p. 44)<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559685&quot;:2268,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Com este artigo, busquei<\/span><span data-contrast=\"auto\">, dentre outras coisas,\u00a0<\/span><span data-contrast=\"auto\">demonstrar que a hist\u00f3ria da poesia no Brasil \u00e9, em parte, uma hist\u00f3ria da poesia japonesa em tradu\u00e7\u00e3o.<\/span><span data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"img-responsive img-fluid wp-image-14691 alignleft\" src=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei.jpeg\" alt=\"\" width=\"240\" height=\"240\" srcset=\"https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei.jpeg 705w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-280x280.jpeg 280w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-340x340.jpeg 340w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-220x220.jpeg 220w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-100x100.jpeg 100w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-130x130.jpeg 130w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-460x461.jpeg 460w, https:\/\/fjsp.org.br\/fjsp\/wp-content\/uploads\/2021\/01\/profile-foto-andrei-150x150.jpeg 150w\" sizes=\"(max-width: 240px) 100vw, 240px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #bf9f1d\"><strong>Andrei Cunha<\/strong><\/span><\/p>\n<p><span style=\"color: #bf9f1d\" data-ccp-props=\"{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559740&quot;:276}\">\u00a0<\/span><span style=\"color: #bf9f1d\">\u00c9 tradutor liter\u00e1rio de japon\u00eas e professor de L\u00edngua e Literatura Japonesa da Universidade Federal do Rio Grande do Sul. Nasceu em Pelotas (RS, Brasil) em 1973 e fez gradua\u00e7\u00e3o e mestrado na Universidade de\u00a0Hitotsubashi, em T\u00f3quio, no Jap\u00e3o, onde viveu de 1994 a 2001. Defendeu, em 2016, tese de Doutorado em Literatura Comparada sobre o \u201cLivro de Travesseiro\u201d de Sei\u00a0Sh\u00f4nagon\u00a0e sua adapta\u00e7\u00e3o para o cinema por Peter Greenaway. Atualmente, \u00e9 vice-presidente da Associa\u00e7\u00e3o Brasileira de Literatura Comparada. Em 2020, recebeu o Pr\u00eamio da Associa\u00e7\u00e3o Ga\u00facha de Escritores e o Pr\u00eamio A\u00e7orianos de Literatura na categoria especial por seu livro \u201cCem poemas de cem poetas\u201d (Besti\u00e1rio, 2019).\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<h4 style=\"text-align: center\"><strong><a href=\"https:\/\/fjsp.org.br\/fjsp\/traducaoemfoco_andrei_cunha_referencias\/\">2. Refer\u00eancias e Recomenda\u00e7\u00f5es &gt;&gt;<\/a><\/strong><\/h4>\n<p style=\"text-align: center\"><strong>\u00a0[ 1 ]<\/strong>\u30fb <a href=\"https:\/\/fjsp.org.br\/fjsp\/traducaoemfoco_andrei_cunha_referencias\/\"><strong>\u00a02\u00a0<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<h6 style=\"text-align: left\"><span style=\"color: #000000\">*Os usos de imagens e conte\u00fados desta p\u00e1gina s\u00e3o exclusivamente para fins educacionais e de divulga\u00e7\u00e3o de cultura japonesa, sem fins comerciais.<\/span><\/h6>\n<script type=\"text\/javascript\"> toolTips('.classtoolTips41','<span class=\"TextRun SCXW250680430 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW250680430 BCX0\">Poesia encadeada de estilo \u201cc\u00f4mico\u201d. Com o tempo, adquiriu um grau t\u00e3o grande de sofistica\u00e7\u00e3o art\u00edstica que o \u201cc\u00f4mico\u201d do nome permaneceu apenas como uma lembran\u00e7a de \u00e9poca anterior. Tipo de poesia que mestres como\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW250680430 BCX0\">Matsuo<\/span><span class=\"NormalTextRun SCXW250680430 BCX0\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW250680430 BCX0\">Bash\u00f4<\/span><span class=\"NormalTextRun SCXW250680430 BCX0\">\u00a0ensinavam.<\/span><\/span><span class=\"EOP SCXW250680430 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips63','<span class=\"TextRun SCXW156614410 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW156614410 BCX0\">Poesia cl\u00e1ssica \u201cc\u00f4mica\u201d, ou seja, que n\u00e3o seguia todas as regras da poesia dita \u201cs\u00e9ria\u201d.<\/span><\/span><span class=\"EOP SCXW156614410 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips68','<strong><em><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2  SCXW46349981 BCX0 DefaultHighlightTransition\"><span class='tooltipsall tooltipsincontent classtoolTips68'>ch\u00f4ka<\/span><\/span><\/span><\/em><\/strong><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW46349981 BCX0\">\u00a0(ou\u00a0<\/span><\/span><strong><em><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW46349981 BCX0 DefaultHighlightTransition\">nagauta<\/span><\/span><\/em><\/strong><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW46349981 BCX0\">). \u201cPoema longo\u201d. Poema em japon\u00eas com mais versos do que o\u00a0<\/span><\/span><em><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW46349981 BCX0 DefaultHighlightTransition\"><span class='tooltipsall tooltipsincontent classtoolTips75'>tanka<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW46349981 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW46349981 BCX0\">. O n\u00famero de versos \u00e9 vari\u00e1vel.<\/span><\/span><span class=\"EOP SCXW46349981 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips69','<span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\"><strong><span class='tooltipsall tooltipsincontent classtoolTips69'>haicai<\/span><\/strong>\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">(tamb\u00e9m\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\"><strong><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/strong>\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">ou\u00a0<\/span><\/span><strong><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\">hai-kai<\/span><\/span><\/strong><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">). Do franc\u00eas\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><em><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\">ha\u00efka\u00ef<\/span><\/em><span class=\"NormalTextRun SCXW9938904 BCX0\">.\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">Palavra que, em portugu\u00eas, usamos para designar o<em>\u00a0<\/em><\/span><\/span><em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\"><em>\u00a0<\/em>e o\u00a0<\/span><\/span><em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">. Designa ainda a poesia brasileira inspirada no estilo\u00a0<\/span><\/span><em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">\u00a0ou ainda na forma\u00a0<\/span><\/span><em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW9938904 BCX0\">. Voc\u00e1bulo adotado pela comunidade nipo-brasileira como tradu\u00e7\u00e3o da palavra japonesa\u00a0<\/span><\/span><span class=\"TextRun SCXW9938904 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><em><span class=\"NormalTextRun SpellingErrorV2 SCXW9938904 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span><\/span><\/em><span class=\"NormalTextRun SCXW9938904 BCX0\">.<\/span><\/span><span class=\"EOP SCXW9938904 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips70','<span class=\"TextRun SCXW39557910 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW39557910 BCX0\">\u201cC\u00f4mico\u201d ou \u201cde brincadeira\u201d. Inicialmente, um estilo de composi\u00e7\u00e3o que seguia menos regras do que o \u201cs\u00e9rio\u201d. Com o tempo, passou a designar o estilo de diferentes escolas de composi\u00e7\u00e3o de\u00a0<\/span><\/span><span class=\"TextRun SCXW39557910 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW39557910 BCX0\"><em><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/em>.<\/span><\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips72','<span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW261869290 BCX0\">Palavra criada no final do s\u00e9culo XIX por\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW261869290 BCX0\">Masaoka<\/span><span class=\"NormalTextRun SCXW261869290 BCX0\">\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW261869290 BCX0\">Shiki<\/span><span class=\"NormalTextRun SCXW261869290 BCX0\">, a partir da primeira s\u00edlaba de\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW261869290 BCX0\"><em><span class='tooltipsall tooltipsincontent classtoolTips70'>haikai<\/span><\/em>\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW261869290 BCX0\">e da segunda de\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><em><span class=\"NormalTextRun SpellingErrorV2 SCXW261869290 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips73'>hokku<\/span><\/span><\/em><span class=\"NormalTextRun SCXW261869290 BCX0\">,\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW261869290 BCX0\">para designar um poema de tr\u00eas\u00a0<\/span><span class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2 SCXW261869290 BCX0\">versos<\/span><span class=\"NormalTextRun SCXW261869290 BCX0\">\u00a0de 5-7-5 s\u00edlabas. Em ingl\u00eas,\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><em><span class=\"NormalTextRun SpellingErrorV2 SCXW261869290 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips72'>haiku<\/span><\/span><\/em><span class=\"NormalTextRun SCXW261869290 BCX0\">\u00a0<\/span><\/span><span class=\"TextRun SCXW261869290 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW261869290 BCX0\">\u00e9 a palavra equivalente ao portugu\u00eas \u201chaicai\u201d.<\/span><\/span><span class=\"EOP SCXW261869290 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips73','<span class=\"TextRun SCXW115533007 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW115533007 BCX0\">Tr\u00eas versos de 5-7-5 s\u00edlabas que podem encabe\u00e7ar\u00a0<\/span><span class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2 SCXW115533007 BCX0\">um\u00a0<\/span><\/span><em><span class=\"TextRun SCXW115533007 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2 SCXW115533007 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW115533007 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW115533007 BCX0\">, ou ainda aparecer destacados do\u00a0<\/span><\/span><em><span class=\"TextRun SCXW115533007 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW115533007 BCX0\"><span class='tooltipsall tooltipsincontent classtoolTips74'>renga<\/span><\/span><\/span><\/em><span class=\"TextRun SCXW115533007 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW115533007 BCX0\">, citados em um texto em prosa, ou mesmo apreciados como um poema aut\u00f4nomo. Palavra que poetas do per\u00edodo cl\u00e1ssico, como\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW115533007 BCX0\">Bash\u00f4<\/span><span class=\"NormalTextRun SCXW115533007 BCX0\">,\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW115533007 BCX0\">Buson<\/span><span class=\"NormalTextRun SCXW115533007 BCX0\">\u00a0e\u00a0<\/span><span class=\"NormalTextRun SpellingErrorV2 SCXW115533007 BCX0\">Issa<\/span><span class=\"NormalTextRun SCXW115533007 BCX0\">, usavam para designar um poema de tr\u00eas\u00a0<\/span><span class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2 SCXW115533007 BCX0\">versos<\/span><span class=\"NormalTextRun SCXW115533007 BCX0\">\u00a0de 5-7-5 s\u00edlabas.<\/span><\/span><span class=\"EOP SCXW115533007 BCX0\" data-ccp-props=\"{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:1,&quot;335551620&quot;:1,&quot;335559731&quot;:284,&quot;335559739&quot;:0,&quot;335559740&quot;:240}\">\u00a0<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips74','<span class=\"TextRun SCXW49989659 BCX0\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW49989659 BCX0\">\u201cPoesia encadeada\u201d. Fazer po\u00e9tico comunit\u00e1rio semelhante a uma roda de poesia, em que dois ou mais poetas v\u00e3o complementando os motes uns dos outros, de acordo com uma s\u00e9rie de regras de composi\u00e7\u00e3o, formando ao final um \u00fanico poema longo de mais de um autor. O n\u00famero final de versos \u00e9 vari\u00e1vel.<\/span><\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips75','<span class=\"NormalTextRun SCXW49015777 BCX0\">Poema em japon\u00eas com cinco\u00a0<\/span><span class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2 SCXW49015777 BCX0\">versos<\/span><span class=\"NormalTextRun SCXW49015777 BCX0\">\u00a0de 5-7-5-7-7 s\u00edlabas.<\/span>'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips76','A palavra <em><span class='tooltipsall tooltipsincontent classtoolTips76'>kami<\/span><\/em> significa \u201cm\u00edstico\u201d, \u201csuperior\u201d, \u201cdivino\u201d, estando normalmente ligada ao poder sagrado ou divino.'); <\/script><script type=\"text\/javascript\"> toolTips('.classtoolTips77','<span class=\"TextRun  BCX0 SCXW127757320\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun  BCX0 SCXW127757320\"><em>Lato sensu<\/em>,\u00a0<\/span><\/span><span class=\"TextRun  BCX0 SCXW127757320\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun  BCX0 SCXW127757320\">\u201cpoesia em japon\u00eas\u201d.\u00a0<\/span><\/span><span class=\"TextRun  BCX0 SCXW127757320\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun  BCX0 SCXW127757320\"><em>Stricto sensu<\/em>,\u00a0<\/span><\/span><span class=\"TextRun  BCX0 SCXW127757320\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><span class=\"NormalTextRun  BCX0 SCXW127757320\">o mesmo que\u00a0<\/span><\/span><span class=\"TextRun  BCX0 SCXW127757320\" lang=\"PT-BR\" xml:lang=\"PT-BR\" data-contrast=\"auto\"><em><span class=\"NormalTextRun SpellingErrorV2  BCX0 DefaultHighlightTransition SCXW127757320\"><span class='tooltipsall tooltipsincontent classtoolTips75'>tanka<\/span><\/span><\/em><span class=\"NormalTextRun  BCX0 SCXW127757320\">.<\/span><\/span>'); <\/script>","protected":false},"excerpt":{"rendered":"<p>Tradu\u00e7\u00e3o em Foco &gt; Andrei Cunha &nbsp; &nbsp; Todas\u00a0as\u00a0civiliza\u00e7\u00f5es do mundo\u00a0que\u00a0contribu\u00edram para a forma\u00e7\u00e3o do que hoje chamamos de\u00a0cultura brasileira t\u00eam alguma modalidade\u00a0de express\u00e3o po\u00e9tica\u00a0\u2014 tanto os\u00a0povos ind\u00edgenas\u00a0quanto os que chegaram depois de outros continentes.\u00a0A poesia japonesa chegou ao Brasil\u00a0trazida pelos\u00a0imigrantes, no in\u00edcio do s\u00e9culo XX, e desde ent\u00e3o se tornou parte de nossa tradi\u00e7\u00e3o [&hellip;]<\/p>\n","protected":false},"author":34,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-14659","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/pages\/14659","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/comments?post=14659"}],"version-history":[{"count":3,"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/pages\/14659\/revisions"}],"predecessor-version":[{"id":15616,"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/pages\/14659\/revisions\/15616"}],"wp:attachment":[{"href":"https:\/\/fjsp.org.br\/fjsp\/wp-json\/wp\/v2\/media?parent=14659"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}