Libretti and Cordéis: similar poetic

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

Abstract

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