‘Só se sente nos ouvidos o próprio coração’

In An Apprentice or the Book of Pleasures Clarice Lispector employs elements of Greek Mythology in the composition of the protagonists of her drama, as we can see in the direct allusion of Odissey XII, where Odysseus escapes the seduction of the siren’s songs by binding himself to the masthead of his ship. In the claretian drama, the search for the self, starting from the other, is the link that both unites, divides, and reverses the Homeric characters, being Loreley the siren who teaches her charms to Ulisses, the teacher of philosophy, who thus turns from seducer to apprentice. To comprehend the poetic-philosophical core of the process of recognition of the consciousness of both characters that surfaces and then is recomposed, I shall revisit the analysis made by Benedito Nunes in both O Drama da Lingaguem and O Dorso do Tigre

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