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José Régio e a Ironia enquanto Vocação
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A presente dissertação tem como objetivo estudar o conceito de ironia, tal como é
entendido por José Régio (1901-1969) e trabalhado ao longo da sua obra, bem como
mostrar a sua importância no projeto literário do autor.
Na primeira parte, “A Conceção Regiana de Ironia,” procuro caracterizar em
detalhe aquilo a que José Régio se refere por ironia, partindo de um conjunto de textos do
autor que se debruçam, de modo mais ou menos direto, sobre este tema. Neste momento,
a ironia regiana começa por ser descrita como uma característica inata de personalidade,
que predispõe certas pessoas a não se comprometerem com quaisquer ideias ou ideais,
por nunca poderem chegar a um conhecimento total das coisas. Para além desta natureza
cética, a ironia regiana reflete, aqui, alguns temas românticos, nomeadamente, o desejo
de verdade, unidade e perfeição por parte do indivíduo, que coexiste com a consciência
da sua condição limitada e imperfeita. Este dualismo fundamental no sujeito regiano é
descrito como uma forma de desdobramento do ego, um conflito entre um eu que age e
um eu que critica a ação por lhe reconhecer invariavelmente falhas, fruto do
conhecimento limitado da realidade. Serão analisados poemas do autor nos quais o sujeito
poético adota esta última perspetiva crítica.
Na segunda parte, “A Vocação de Ironista,” procuro expôr o modo como Régio
tematiza o lado fenomenológico da ironia: numa primeira fase, o processo irónico assume
a forma de um desdobramento alienante do sujeito, através do qual ele se liberta das suas
condicionantes bio-psico-socio-culturais e observa a sua vida de um ponto alegadamente
exterior e neutro, momento em que é revelado o caráter factício do valor anteriormente
atribuído a essa vida. Este movimento é associado a um conhecimento mais apurado da
realidade, e este conhecimento, por sua vez, é permeado por conotações místicas. Uma
das conclusões que retiro neste ponto é que a ironia regiana pode ser entendida como um
dom divino, estando intimamente associada ao conflito religioso regiano, nomeadamente
à luta mística de emancipação do Espírito em relação à Carne. Na expressão desta luta
surge, em vários textos regianos, uma figura recorrente, a que o autor dá o nome de
«Perseguidor-Revelador,» cuja caracterização e função na temática da ironia
procuraremos também descrever.
Na terceira parte, “Deus, Diabo e Ironia,” veremos como as considerações
anteriores poderão conduzir-nos a um novo ponto de vista para a interpretação do papel do Diabo na literatura regiana, tomando como ponto central o conceito de Desprezo, o
que, por sua vez, irá influenciar a compreensão da personagem recorrente Jaime Franco
(o “Diabo em pessoa”) e as suas interações com os heróis Pedro Serra e Lelito nos
romances Jogo da Cabra Cega e A Velha Casa, respetivamente.
This dissertation aims to shed a light on how José Régio (1901-1969) understands and utilizes the concept of irony throughout his body of work, underlining its importance within the author’s literary project. In the first chapter, “A Conceção Regiana de Ironia” (Régio’s Concept of Irony) I look into a selection of the author’s writings related to the topic at hand, in an attempt to describe what José Régio really understands by irony. Here, irony starts to be seen as an innate personality trait, which predisposes those who have it to avoid adhering to any ideas or ideals, on the grounds that one can never be truly sure that they are right. In addition to this skeptical nature, Régio’s irony bears a resemblance, at this point, to Romantic themes of consciousness (namely those dealing with the troubles of the individual’s desire of truth, unity and perfection, all while recognizing oneself as limited and flawed), insofar as the ironic individual is portrayed as a being in which arises a fundamental duality: a conflict between an I who acts and an I who criticizes the action taken due to the its inevitable flaws, consequence of a limited knowledge of the world. In the second part, “A Vocação de Ironista” (The Ironist Vocation), I attempt to explain how José Régio expresses the phenomenological aspect of this form of irony in his prose and poetry. At first, the ironic process is expressed in the form of a separation of the self, in which the ironic subject frees itself from its bio-psycho-socio-cultural constraints and observes its life from an allegedly detached and neutral standpoint. Much like Hegel’s idea of self-alienation, this division results in a much more refined knowledge of the world, whereupon the unquestionable value formerly given to that life is revealed as facticious. This knowledge is also permeated with mystical connotations, and one of the conclusions I draw is that Régio’s irony can be understood, in this light, as a divine gift, and is deeply connected to the religious conflict that energizes many of the author’s writings – namely, the mystical struggle of the individual’s Spiritual self against the prison of the Flesh. In expressing this struggle, a recurring character type is often found throughout Régio’s writings: the «Perseguidor-Revelador» (Pursuer-Revelator). This figure’s traits and function in the context of our major topic will also be addressed. In the third chapter, “Deus, Diabo e Ironia” (God, Devil and Irony), we will see how the previous thesis may lead us to a new point of view regarding the interpretation of the Devil trope in Régio’s work, based on the notion of «Desprezo» (Contempt). This will, in turn, allow for a better appreciation of the recurring character Jaime Franco, who can be summed up as the devil incarnate, and his interactions with the heroes Pedro Serra and Lelito in the novels Jogo da Cabra Cega and A Velha Casa, respectively.
This dissertation aims to shed a light on how José Régio (1901-1969) understands and utilizes the concept of irony throughout his body of work, underlining its importance within the author’s literary project. In the first chapter, “A Conceção Regiana de Ironia” (Régio’s Concept of Irony) I look into a selection of the author’s writings related to the topic at hand, in an attempt to describe what José Régio really understands by irony. Here, irony starts to be seen as an innate personality trait, which predisposes those who have it to avoid adhering to any ideas or ideals, on the grounds that one can never be truly sure that they are right. In addition to this skeptical nature, Régio’s irony bears a resemblance, at this point, to Romantic themes of consciousness (namely those dealing with the troubles of the individual’s desire of truth, unity and perfection, all while recognizing oneself as limited and flawed), insofar as the ironic individual is portrayed as a being in which arises a fundamental duality: a conflict between an I who acts and an I who criticizes the action taken due to the its inevitable flaws, consequence of a limited knowledge of the world. In the second part, “A Vocação de Ironista” (The Ironist Vocation), I attempt to explain how José Régio expresses the phenomenological aspect of this form of irony in his prose and poetry. At first, the ironic process is expressed in the form of a separation of the self, in which the ironic subject frees itself from its bio-psycho-socio-cultural constraints and observes its life from an allegedly detached and neutral standpoint. Much like Hegel’s idea of self-alienation, this division results in a much more refined knowledge of the world, whereupon the unquestionable value formerly given to that life is revealed as facticious. This knowledge is also permeated with mystical connotations, and one of the conclusions I draw is that Régio’s irony can be understood, in this light, as a divine gift, and is deeply connected to the religious conflict that energizes many of the author’s writings – namely, the mystical struggle of the individual’s Spiritual self against the prison of the Flesh. In expressing this struggle, a recurring character type is often found throughout Régio’s writings: the «Perseguidor-Revelador» (Pursuer-Revelator). This figure’s traits and function in the context of our major topic will also be addressed. In the third chapter, “Deus, Diabo e Ironia” (God, Devil and Irony), we will see how the previous thesis may lead us to a new point of view regarding the interpretation of the Devil trope in Régio’s work, based on the notion of «Desprezo» (Contempt). This will, in turn, allow for a better appreciation of the recurring character Jaime Franco, who can be summed up as the devil incarnate, and his interactions with the heroes Pedro Serra and Lelito in the novels Jogo da Cabra Cega and A Velha Casa, respectively.