REINVENTANDO A DISTÂNCIA
Alphabets were originally lists of archetypes,'' Zolla points out, ''ours starting from Alpha, the bull of sacrifice, and Beta, the temple and sacrificial bowl or grail.'' Such systems assign to each archetype symbols that resonate through the imagination at all levels - geometrical, musical, material, temporal, spatial. The calendar of religious celebration is an archetypal system; so are the diagrams and prayers of the Hebrew cabalists. Archetypes pervade mythology. Romulus and Remus, the twins who founded Rome, were nursed by a wolf under a fig tree. The fig tree was sacred to Venus and Dionysus; in classical lore figs were linked with crime, wolves and ritual lewdness. In Greece exiled criminals wore necklaces of figs; wolves share etymological connections with death and prostitutes; twins are linked with the fig tree in a Hindu myth. Romulus, who kills Remus, is compared by Mr. Zolla with Cain - the primal murderer, founder of cities. The linked archetypes in these tales carry power, calling upon ancient associations, revealing a culture's cosmology and its connections with more primal realms.
Zolla also believes poetry derives its power from archetypes. He invokes the English Romantic poets - Blake, Coleridge, Wordsworth, Shelley, Keats. His selection is judicious; they saw themselves as prophets whose poems were meant to exercise mythological power. ''A poet needs a mythology, a pantheon,'' says Zolla, ''as much as his ancestor the shaman did.'' Clowns also manipulate archetypes, inverting and distorting them. The archetypal religious journeys represented in the Catholic mass and the popular tales of the harrowing of hell (even Dante's ''Divine Comedy'') have counterparts in the coronation rites of Babylonian kings, in Indian tales and in Balinese drama. (Texto de Edward Rothstein, críitco de música)
Imagem de um shamanposted by Miguel Drummond de Castro | 16:59
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