Questões de Concurso Comentadas para oficial de chancelaria

     In January 1948, before three pistol shots put an end to his life, Gandhi had been on the political stage for more than fifty years. He had inspired two generations of Indian patriots, shaken an empire and sparked off a revolution which was to change the face of Africa and Asia. To millions of his own people, he was the Mahatma — the great soul — whose sacred glimpse was a reward in itself.

       By the end of 1947 he had lived down much of the suspicion, ridicule and opposition which he had to face, when he first raised the banner of revolt against racial exclusiveness and imperial domination. His ideas, once dismissed as quaint and utopian, had begun to strike answering chords in some of the finest minds in the world. “Generations to come, it may be,” Einstein had said of Gandhi in July 1944, “will scarcely believe that such a one as this ever in flesh and blood walked upon earth.”

      Though his life had been a continual unfolding of an endless drama, Gandhi himself seemed the least dramatic of men. It would be difficult to imagine a man with fewer trappings of political eminence or with less of the popular image of a heroic figure. With his loin cloth, steel-rimmed glasses, rough sandals, a toothless smile and a voice which rarely rose above a whisper, he had a disarming humility. He was, if one were to use the famous words of the Buddha, a man who had “by rousing himself, by earnestness, by restraint and control, made for himself an island which no flood could overwhelm.”

        Gandhi’s deepest strivings were spiritual, but he did not — as had been the custom in his country — retire to a cave in the Himalayas to seek his salvation. He carried his cave within him. He did not know, he said, any religion apart from human activity; the spiritual law did not work in a vacuum, but expressed itself through the ordinary activities of life.

       This aspiration to relate the spirit of religion to the problems of everyday life runs like a thread through Gandhi’s career: his uneventful childhood, the slow unfolding and the near-failure of his youth, the reluctant plunge into the politics of Natal, the long unequal struggle in South Africa, and the vicissitudes of the Indian struggle for freedom, which under his leadership was to culminate in a triumph not untinged with tragedy.

B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted). 

       I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

        I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

       For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.

Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)