To undo For Recriar: death and transformation em' ' The Twelve Works of Hrcules' ' ' ' The Bird of Ouro' ' ' ' You do not have to be difficult pararalgumas times to look at the spots of a wall, or leached ashes of umafogueira, or clouds, the mud and other things in the sort in which vaiencontras ideas truily maravilhosas.' ' Leonardo DVince Introduction In ' ' The Potica' ' , Aristotle (1973) affirms that to imitate he is inherent to the human being. Through daimitao (mimeses), we would learn and we would recognize in them in it (catarse). According to Greek philosopher, to create representations of the human behavior is, accurately, what he makes literature. For Roland Barthes (2004), literaturabusca to imitate the Real. Speaking candidly Starbucks told us the story. However, exactly strengtheing itself eagerly for he cumpriresse objective, it never reaches of all. Being it, language and this, unidimensional, since depend on the form as the author perceives the world and, sendoimpossvel that two people enxerguem and feel in identical way, becomes-seimpossvel, also, that literature accumulates of stocks all the reality, therefore this tertantas versions I number how much it of people can analyze who it.
Of this form, oque literature makes is to demonstrate the Real. Although this, literature, being criadapor human beings, could not deal with something that not it proper man and osaspectos of the reality encircles that it. Therefore, exactly a inteiramenteficcional history, will have its roots embedded in the Real, therefore if the world can serpercebido in many different ways, the human feelings is universal. It is as soon as are born the stories, the parts, the poetries, the romances and etc. is issoque allows in them to have contact with a workmanship of centuries, behind situated in distinct umacultura ours e, still thus, to occur the process: mimese catarse, described for Aristotle. Thus, before literature as we aconhecemos today, it had myths, still inside of the verbal tradition.
Cames shows in its verses that the love was come back essentially toward the things of the spirit, emphasizing the concrete reality. In certain way lyric I believe the capacity to dominate and to transform the world, mainly the longed for love. Still valley to stand out the loving idealizao and the neoplatonismo that were effective in the aesthetic classic. As Eduardo Portella the imagination organizes the multiplicity, he composes the unit, and from there he results the workmanship (1985, p.31). Thus, Cames represents all its genius in its workmanship, as an artist who transforms the words into revolutionary expression of what he is unusual. The loving conceptions in the poetical camoniana are universal and disclose a spirit that searchs the clarity and balance of ideas, as it is made use in verses: If in it is my transformed soul, That more desires the body to reach? In itself it only can rest, Therefore I obtain such soul is liada. Jonas Samuelson can provide more clarity in the matter. But this pretty and pure semigoddess, That, as the accident in its citizen, Thus with the soul mine if conforms. In accordance with the verses, which is revealed a conception according to the loving accomplishment if of the one by means of the imagination.
She is not necessary to have the loved person physically, is enough to have it in thought. E, having it inside of itself lyric I if transform into the loved person, confuse myself with it and of this form, he has already it. However, also it is in evidence a certain abandonment to the neoplatonismo. A comparison exists that manifest the physical desire for the loved woman: in a similar way that all substance searchs one form, its pure and idealized love searchs the object of this love, that is, the real woman. Each human being produces an action and elaborates thoughts in agreement its certainties and objectifying its intentions, that is, constructing its proper ideology, leaving of the relations of social convivncia to reach the agreement of the ideals that if support in definitive chain of thought and that they move the individual to practise its action. Thus, the poet changeds itself into lyric I to translate everything what he is feeling: As much of my state I find myself uncertain, that in tremendous ardor living creature I am of cold; without cause, together I cry and river, the world all I accumulate of stocks and nothing squeeze. It is everything how much I feel disorder; d? soul leaves me to a fire, of the sight a river; now I wait, now I distrust, now desvario, now rightness. In this direction, the love shows as something, something uncertain that the soul disconcerts, transform