{"id":141,"date":"2025-05-01T10:28:19","date_gmt":"2025-05-01T13:28:19","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/lysis\/?p=141"},"modified":"2025-05-28T19:03:48","modified_gmt":"2025-05-28T22:03:48","slug":"o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis","status":"publish","type":"post","link":"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/","title":{"rendered":"O Belo e o Tr\u00e1gico: “A Morte de Chatterton”, de Henry Wallis"},"content":{"rendered":"

 <\/p>\n

\"\"<\/p>\n

(WALLIS, Henry. The Death of Chatterton<\/em>. 1856. \u00d3leo sobre tela, 62 \u00d7 93 cm. Tate Britain, Londres. Dispon\u00edvel em: https:\/\/www.tate.org.uk<\/a>. Acesso em: 23 fevereiro de 2025)<\/p>\n

Observa\u00e7\u00e3o inicial: A pintura mostra o poeta rom\u00e2ntico ingl\u00eas Thomas Chatterton<\/span> (1752\u20131770), de 17 anos<\/span>, morto ap\u00f3s se envenenar com ars\u00eanico em<\/span>\u00a01770.\u00a0<\/span><\/em><\/p>\n

Na interse\u00e7\u00e3o entre arte, exist\u00eancia e finitude, a pintura A Morte de Chatterton<\/em> (1856), de Henry Wallis, se inscreve como um documento silencioso e ao mesmo tempo eloquente da condi\u00e7\u00e3o humana em sua tens\u00e3o \u00faltima entre cria\u00e7\u00e3o e aniquila\u00e7\u00e3o. Eu proponho que observemos em profundidade a imagem e para ultrapassarmos a interpreta\u00e7\u00e3o da obra apenas como um retrato rom\u00e2ntico de um jovem poeta tr\u00e1gico. H\u00e1 a\u00ed, segundo penso, uma medita\u00e7\u00e3o filos\u00f3fica sobre o suic\u00eddio enquanto gesto ontol\u00f3gico: h\u00e1 uma visada est\u00e9tica enquanto a \u00faltima forma de resist\u00eancia ao absurdo. Partindo de uma an\u00e1lise minuciosa da composi\u00e7\u00e3o pict\u00f3rica e da biografia simb\u00f3lica de Thomas Chatterton, defendo que Wallis n\u00e3o apenas pintou um cad\u00e1ver belo, mas instaurou, na forma vis\u00edvel, um discurso sobre a morte volunt\u00e1ria como signo de um mundo destitu\u00eddo de lugar para a sensibilidade radical.<\/p>\n

A figura de Chatterton, adolescente, m\u00e1rtir da pr\u00f3pria genialidade, envenenado pelo desprezo de uma sociedade que n\u00e3o soube acolher sua chama, se converte aqui em emblema de um niilismo sens\u00edvel, uma melancolia que n\u00e3o cede nem ao ressentimento nem \u00e0 apatia, mas se exprime como den\u00fancia muda. O quarto simples, quase asc\u00e9tico, onde jaz o poeta, \u00e9 um templo profano do sacrif\u00edcio moderno. A luz, que entra pela janela aberta, n\u00e3o redime a cena: apenas a exp\u00f5e, fria e verticalmente, como um exame anat\u00f4mico da alma. A teatralidade da posi\u00e7\u00e3o do corpo, o bra\u00e7o pendendo, a cabe\u00e7a lan\u00e7ada para tr\u00e1s, o torso ainda levemente tenso, n\u00e3o \u00e9 artificial: \u00e9 a pose final de algu\u00e9m que ainda quis, at\u00e9 o \u00faltimo instante, transformar o gesto terminal em obra. N\u00e3o \u00e9 uma morte comum; \u00e9 uma composi\u00e7\u00e3o.<\/p>\n

\u00c9 neste ponto que a minha leitura do quadro se posiciona: o suic\u00eddio, tal como representado por Wallis, se configura como um fen\u00f4meno est\u00e9tico de resist\u00eancia \u00e0 dissolu\u00e7\u00e3o do sentido. Ele n\u00e3o \u00e9 fraqueza! \u00c9 excesso: excesso de lucidez, excesso de exig\u00eancia moral, excesso de verdade. Que fique claro: n\u00e3o falo do Chatteront de carne e osso, mas falo do Chartterton de Wallis. O Chatterton de Wallis, o poeta \u00f3rfico, n\u00e3o morreu porque n\u00e3o havia mais caminhos, mas porque nenhum caminho estava \u00e0 altura daquilo que intu\u00eda como vida verdadeira. A morte, ent\u00e3o, longe de ser fuga, \u00e9 afirma\u00e7\u00e3o \u00faltima: um “n\u00e3o” t\u00e3o absoluto ao mundo emp\u00edrico que se torna, paradoxalmente, um “sim” \u00e0 realidade ideal que nunca se realizou.<\/p>\n

A an\u00e1lise fenomenol\u00f3gica da pintura revela camadas de intencionalidade visual: a disposi\u00e7\u00e3o dos objetos, o contraste entre os tons quentes da pele e o azul frio das roupas, a aus\u00eancia de movimento humano ao redor, tudo remete ao isolamento fundamental do sujeito diante da liberdade. N\u00e3o h\u00e1 testemunhas, e essa aus\u00eancia \u00e9 a prova do abismo. Chatterton morre sozinho, como morre o homem moderno: diante de si mesmo, com sua interioridade como tribunal e como abismo. A janela, aberta ao mundo exterior, n\u00e3o \u00e9 convite, mas ironia: a cidade continua, indiferente. O mundo n\u00e3o morre com o poeta.<\/p>\n

Do ponto de vista ontol\u00f3gico, essa imagem tensiona a rela\u00e7\u00e3o entre ser e aparecer. O corpo morto aparece, mas o ser que nele residia, sua pot\u00eancia criadora, seu desespero, sua esperan\u00e7a, escapou a toda visibilidade. Wallis, contudo, tenta capturar esse tra\u00e7o fugidio: e \u00e9 aqui que reside o car\u00e1ter sublime da obra. O que se v\u00ea \u00e9 menos a morte de um indiv\u00edduo que o colapso de uma \u00e9poca em um corpo: o romantismo de Chatterton \u00e9 o canto do cisne de uma sensibilidade que o mundo utilit\u00e1rio do s\u00e9culo XIX j\u00e1 n\u00e3o podia acolher.<\/p>\n

Por fim, penso que a representa\u00e7\u00e3o do suic\u00eddio na pintura pode ser, por sua vez, pensada como uma forma de liberdade est\u00e9tica. Mas a\u00ed surgem algumas quest\u00f5es: pode a arte, ao representar o suic\u00eddio com tamanha beleza, n\u00e3o estar estetizando a pr\u00f3pria ideia de sa\u00edda do real? N\u00e3o d\u00e1 para responder aqui esta quest\u00e3o, mas a resposta pode ser elaborada passando por um exame das categorias do tr\u00e1gico e do belo em di\u00e1logo com Schopenhauer, Nietzsche, Camus e Simone Weil, e pode culminar na ideia de que A Morte de Chatterton<\/em> n\u00e3o ensina que o suic\u00eddio \u00e9 desej\u00e1vel, mas que h\u00e1 uma dignidade poss\u00edvel no gesto de quem escolhe n\u00e3o pactuar com o mundo que nega a beleza e o pensamento.<\/p>\n

Assim, gostaria apenas de deixar uma provoca\u00e7\u00e3o: a pintura de Wallis \u00e9, simultaneamente, um t\u00famulo e um espelho: sepulcro do poeta, mas reflexo da alma humana quando levada ao limite de sua integridade \u00e9tica e est\u00e9tica.<\/p>\n

Prof. (e aluno) Alexandre H. Reis<\/p>\n

 <\/p>\n

Aqui um poema (uma balada) de Chatterton. E um convite a quem tiver a capacidade po\u00e9tica de traduzi-lo para o portugu\u00eas.<\/p>\n

\n
\n
<\/div>\n<\/div>\n<\/div>\n
\n
\n
In Virgyne the sweltrie sun gan sheene,
\nAnd hotte upon the mees did caste his raie;
\nThe apple rodded from its palie greene,
\nAnd the mole peare did bende the leafy spraie;
\nThe peede chelandri sunge the livelong daie;
\n‘Twas nowe the pride, the manhode of the yeare,
\nAnd eke the grounde was dighte in its mose defte aumere.The sun was glemeing in the middle of daie,
\nDeadde still the aire, and eke the welken blue,
\nWhen from the sea arist in drear arraie
\nA hepe of cloudes of sable sullen hue,
\nThe which full fast unto the woodlande drewe,
\nHiltring attenes the sunnis fetive face,
\nAnd the blacke tempeste swolne and gatherd up apace.Beneathe an holme, faste by a pathwaie side,
\nWhich dide unto Seyncte Godwine’s covent lede,
\nA hapless pilgrim moneynge did abide,
\nPore in his viewe, ungentle in his weede,
\nLonge bretful of the miseries of neede,
\nWhere from the hail-stone coulde the almer flie?
\nHe had no housen theere, ne anie covent nie.Look in his glommed face, his sprighte there scanne;
\nHowe woe-be-gone, how withered, forwynd, deade!
\nHaste to thie church-glebe-house, asshrewed manne!
\nHaste to thie kiste, thie onlie dortoure bedde.
\nCale, as the claie whiche will gre on thie hedde,
\nIs Charitie and Love aminge highe elves;
\nKnightis and Barons live for pleasure and themselves.The gatherd storme is rype; the bigge drops falle;
\nThe forswat meadowes smethe, and drenche the raine;
\nThe comyng ghastness do the cattle pall,
\nAnd the full flockes are drivynge ore the plaine;
\nDashde from the cloudes the waters flott againe;
\nThe welkin opes; the yellow levynne flies;
\nAnd the hot fierie smothe in the wide lowings dies.Liste! now the thunder’s rattling clymmynge sound
\nCheves slowlie on, and then embollen clangs,
\nShakes the hie spyre, and losst, dispended, drown’d,
\nStill on the gallard eare of terroure hanges;
\nThe windes are up; the lofty elmen swanges;
\nAgain the levynne and the thunder poures,
\nAnd the full cloudes are braste attenes in stonen showers.Spurreynge his palfrie oere the watrie plaine,
\nThe Abbote of Seyncte Godwynes convente came;
\nHis chapournette was drented with the reine,
\nAnd his pencte gyrdle met with mickle shame;
\nHe aynewarde tolde his bederoll at the same;
\nThe storme encreasen, and he drew aside,
\nWith the mist almes craver neere to the holme to bide.<\/p>\n

His cope was all of Lyncolne clothe so fyne,
\nWith a gold button fasten’d neere his chynne;
\nHis autremete was edged with golden twynne,
\nAnd his shoone pyke a loverds mighte have binne;
\nFull well it shewn he thoughten coste no sinne:
\nThe trammels of the palfrye pleasde his sighte,
\nFor the horse-millanare his head with roses dighte.<\/p>\n

An almes, sir prieste! the droppynge pilgrim saide,
\nO! let me waite within your convente dore,
\nTill the sunne sheneth hie above our heade,
\nAnd the loude tempeste of the aire is oer;
\nHelpless and ould am I alas! and poor;
\nNo house, ne friend, ne moneie in my pouche;
\nAll yatte I call my owne is this my silver crouche.<\/p>\n

Varlet, replyd the Abbatte, cease your dinne;
\nThis is no season almes and prayers to give;
\nMie porter never lets a faitour in;
\nNone touch mie rynge who not in honour live.
\nAnd now the sonne with the blacke cloudes did stryve,
\nAnd shettynge on the grounde his glairie raie,
\nThe Abbatte spurrde his steede, and eftsoones roadde awaie.<\/p>\n

Once moe the skie was blacke, the thounder rolde;
\nFaste reyneynge oer the plaine a prieste was seen;
\nNe dighte full proude, ne buttoned up in golde;
\nHis cope and jape were graie, and eke were clene;
\nA Limitoure he was of order seene;
\nAnd from the pathwaie side then turned hee,
\nWhere the pore almer laie binethe holmen tree.<\/p>\n

An almes, sir priest! the droppynge pilgrim sayde,
\nFor sweete Seyncte Marie and your order sake.
\nThe Limitoure then loosen’d his pouche threade,
\nAnd did thereoute a groate of silver take;
\nThe mister pilgrim dyd for halline shake.
\nHere take this silver, it maie eathe thie care;
\nWe are Goddes stewards all, nete of oure owne we bare.<\/p>\n

But ah! unhailie pilgrim, lerne of me,
\nScathe anie give a rentrolle to their Lorde.
\nHere take my semecope, thou arte bare I see;
\n‘Tis thyne; the Seynctes will give me mie rewarde.
\nHe left the pilgrim, and his waie aborde.
\nVirgynne and hallie Seyncte, who sitte yn gloure,
\nOr give the mittee will, or give the gode man power.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

  (WALLIS, Henry. The Death of Chatterton. 1856. \u00d3leo sobre tela, 62 \u00d7 93 cm. Tate Britain, Londres. Dispon\u00edvel em: https:\/\/www.tate.org.uk. Acesso em: 23 fevereiro de 2025) Observa\u00e7\u00e3o inicial: A pintura mostra o poeta rom\u00e2ntico ingl\u00eas Thomas Chatterton (1752\u20131770), de 17 anos, morto ap\u00f3s se envenenar com ars\u00eanico em\u00a01770.\u00a0 Na interse\u00e7\u00e3o entre arte, exist\u00eancia e […]<\/p>\n","protected":false},"author":1325,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-141","post","type-post","status-publish","format-standard","hentry","category-noticias"],"yoast_head":"\nO Belo e o Tr\u00e1gico: "A Morte de Chatterton", de Henry Wallis - LYSIS - N\u00facleo de Estudos sobre Suic\u00eddio e Modos de Vida<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O Belo e o Tr\u00e1gico: "A Morte de Chatterton", de Henry Wallis - LYSIS - N\u00facleo de Estudos sobre Suic\u00eddio e Modos de Vida\" \/>\n<meta property=\"og:description\" content=\"  (WALLIS, Henry. The Death of Chatterton. 1856. \u00d3leo sobre tela, 62 \u00d7 93 cm. Tate Britain, Londres. Dispon\u00edvel em: https:\/\/www.tate.org.uk. Acesso em: 23 fevereiro de 2025) Observa\u00e7\u00e3o inicial: A pintura mostra o poeta rom\u00e2ntico ingl\u00eas Thomas Chatterton (1752\u20131770), de 17 anos, morto ap\u00f3s se envenenar com ars\u00eanico em\u00a01770.\u00a0 Na interse\u00e7\u00e3o entre arte, exist\u00eancia e […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\" \/>\n<meta property=\"og:site_name\" content=\"LYSIS - N\u00facleo de Estudos sobre Suic\u00eddio e Modos de Vida\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-01T13:28:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-05-28T22:03:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wp.ufpel.edu.br\/lysis\/files\/2025\/05\/Chatterton-1-400x272.jpg\" \/>\n<meta name=\"author\" content=\"lysis\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"lysis\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\"},\"author\":{\"name\":\"lysis\",\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/#\/schema\/person\/e359704130a8adcf96b381e879124d93\"},\"headline\":\"O Belo e o Tr\u00e1gico: “A Morte de Chatterton”, de Henry Wallis\",\"datePublished\":\"2025-05-01T13:28:19+00:00\",\"dateModified\":\"2025-05-28T22:03:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\"},\"wordCount\":1664,\"publisher\":{\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/#organization\"},\"image\":{\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/wp.ufpel.edu.br\/lysis\/files\/2025\/05\/Chatterton-1-400x272.jpg\",\"articleSection\":[\"Not\u00edcias\"],\"inLanguage\":\"pt-BR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\",\"url\":\"https:\/\/wp.ufpel.edu.br\/lysis\/2025\/05\/01\/o-belo-e-o-tragico-a-morte-de-chatterton-de-henry-wallis\/\",\"name\":\"O Belo e o Tr\u00e1gico: \\\"A Morte de Chatterton\\\", de Henry Wallis - 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