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ENTUSIASMO E RIVOLUZIONE Il Caso Adam Lux

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ENTUSIASMO E RIVOLUZIONE Il Caso Adam Lux DOTTORATO DI RICERCA IN LINGUE, LETTERATURE E CULTURE COMPARATE Curriculum: Miti fondatori dell’Europa nelle arti e nella letteratura CICLO XXX Settore Scientifico Disciplinare L-FIL-LET/14 ENTUSIASMO e RIVOLUZIONE Il caso Adam Lux DOTTORANDO TUTOR Dott. David Matteini Prof. Patrizio Collini Prof. Michel Delon Prof. Michael Bernsen COORDINATORE DEL DOTTORATO Prof.ssa Rita Manzini COORDINATORE DEL CURRICULUM Prof.ssa Michela Landi A.A. 2014/2017 2 INDICE GENERALE INTRODUZIONE ................................................................................................................................ 1 FILOSOFIE DELL’ENTUSIASMO Alle origini dell’entusiasmo ............................................................................................................. 15 Il sociable enthusiast di Anthony Cooper, terzo conte di Shaftesbury ......................................... 32 Enthousiasme, fanatisme, philosophie: l’entusiasmo nella Francia dei Lumi .................................... 49 L’Enthusiasmus di Adam Lux. Una riflessione sotto il segno della Aufklärung ......................... 75 MAGONZA: INTELLETTUALI E POLITICA Riformismo cattolico e Università a Magonza nel secondo Settecento ................................. 107 Leggere a Magonza: transferts culturels ed entusiasmo filosofico ............................................... 136 Jakobinerklub, entusiasmo politico: la rivoluzione magontina .................................................. 169 ADAM LUX, PARIGI, RIVOLUZIONE Adam Lux a Parigi: idealismo e rivoluzione ............................................................................... 209 Miles Revolutionis. Charlotte Corday e transfert di sacralità ........................................................... 254 CONCLUSIONE ............................................................................................................................... 285 APPENDICI ....................................................................................................................................... 307 BIBLIOGRAFIA ................................................................................................................................ 327 3 4 So, con Lévi-Strauss, che la terra è nata senza l’uomo e che morirà senza di lui; che le istituzioni, le idee, le forme artistiche che per tutta la vita ho catalogato e ho cercato di comprendere e che cercherò di studiare e di comprendere fino alla fine dei miei giorni sono, come gli uomini che le trasportano e le esprimono, niente altro che l’efflorescenza passeggera di una creazione. Mettendomi in questa posizione, nella quale i comportamenti suggeriti dalle ideologie, religiose e politiche, non hanno la minima rilevanza, trovo la forza di pensare la storia dei miei simili, della quale voglio essere testimone. Ludovico Zorzi, Parere tendenzioso sulla fase, 1981. Quanti inizi ci vogliono prima che si comincino a vedere le menzogne del proprio entusiasmo? Ben presto, un giorno o l’altro, tutti i nostri discorsi […] saranno solo discorsi, autonomi, senza riferimenti esterni. Don DeLillo, Point Omega, 2010. 5 6 INTRODUZIONE Un tentativo di “riabilitazione” Tra il 1752 e il 1774, Lessing pubblicò un ciclo di cinque saggi intesi a “riabilitare” scrittori e filosofi del passato il cui pensiero era stato deformato e falsificato, nei secoli, dall’oscurantismo dottrinale e dogmatico: le Rettungen1. Concepito inizialmente come una critica alla traduzione delle liriche oraziane condotta da Samuel Gotthold Lange negli anni Cinquanta del Settecento, col tempo il progetto si ramificò in più direzioni2. Nonostante l’eterogeneità degli scritti, tutti obbedivano alla comune volontà dell’autore di disvelare certi motivi, fino a quel momento rimasti nell’ombra, riguardanti le biografie dei personaggi a cui egli si riferiva. Come ha appuntato Nicolao Merker in un’acuta analisi delle varie declinazioni dell’Illuminismo tedesco, il filosofo si trovò davanti all’esigenza «di ricostruire il passato andando alle fonti storico- filologiche dirette, per eliminare i travisamenti che una tradizione culturale autoritaria ha frapposto fra esso e noi3». Le fonti dirette di cui parla lo studioso erano ciò che Lessing considerava documenti di prima mano e filologicamente autentici, scevri cioè da qualsiasi travisamento storico, ideologico, politico: ciò che noi oggi, nella nostra società ultra-secolare, chiameremmo “documenti di archivio”. L’intenzione di Lessing fu dunque quella di collocare e inquadrare l’uomo del presente partendo dall’analisi di comportamenti e valori rintracciati nello studio delle biografie private ed artistiche di alcuni autori “marginali” del passato, dimenticati dalla storiografia ufficiale. Si trattava di un lavoro di confine, teso tra l’antropologia culturale e la critica filosofica e sociale. 1 Cfr. G.H. Lessing, Rettungen, in Id. Werke und Briefe, Band III: Vademecum; Gedichte, Rettungen; Miss Sara Sampson; Briefwechsel über das Traumspiel; Übersetzungen. Werke 1754-1757, a cura di C. Wiedemann, Frankfurt a.M., Deutscher Klassiker Verlag, 2003. 2 È comunque vero che già nello stesso periodo Lessing pubblicò la critica Ein Vade Mecum für den Herrn Sam. Gotthold Lange, Pastor in Laublingen. Tuttavia, come ha scritto Hugh Barr Nisbet, le Rettungen «sind das positive Gegenstück zu der negativen Kritik des Vademecums; und während das Vademecum die Integrität des horazischen Textes gegen die Entstellungen des Übersetzers verteidigt hatte, verteidigen die Rettungen jetzt Horaz als Dichter und Mensch gegen die moralischen und religiösen Einwände seiner Kritiker», cfr. H.B. Nisbet, Lessing. Eine Biographie, München, Beck, 2008, p. 197. 3 N. Merker, Introduzione in I. Kant, Che cos’è l’illuminismo? Riflessione filosofica e pratica politica, a cura di N. Merker, Roma, Riuniti, 2006, p. 33. 1 Al di là del contenuto specifico dell’opera, è lecito rendere grande merito a Lessing, il quale contribuì alla ridefinizione della missione dell’Illuminismo, ora concepita come lavoro di ricerca, come un continuo processo di indagine razionale dell’evento storico e letterario. Tuttavia, come fa notare sempre Merker, questa operazione di carotaggio nella memoria «non può mai considerarsi conclusa4». Quest’ultima precisazione ci parla del carattere non assoluto e manchevole congenito a un simile approccio storico, sempre teso all’assoluta ricerca della verità, sì, ma, proprio per questa vocazione tenacemente oggettivante, condannato a una perpetua – e consapevole – imperfezione. Tutti questi motivi per mettere sin da subito le mani avanti, rigettando ogni possibile accusa di deficienza storiografica riguardo la nostra tesi di “riabilitazione” della figura di Adam Lux, personaggio fino ad oggi scarsamente considerato dalla maggior parte della storiografia sull’Illuminismo e il Romanticismo europeo: accogliendo la lezione di Lessing e, in parte e con i dovuti aggiornamenti, della scuola di storia quantitativa della Nouvelle histoire degli Annales, abbiamo voluto riscoprire e interrogare la biografia umana e intellettuale di Adam Lux, giacobino tedesco nato nel 1765 a Magonza e morto sotto la ghigliottina nel novembre del 1793 a Parigi, allo scopo di svelare ed analizzare alcuni motivi di quella densissima stagione della storia umana. In virtù di tale ricchezza semantica suggerita dal nostro studio, dunque, apparirà naturale che alcune suggestioni non saranno prese in considerazione o, comunque, lasciate in disparte in favore della fluidità argomentativa. Oltre a questa prima presa di posizione, riteniamo anche necessario precisare che se il nostro studio presenta più fonti storico-filosofiche e d’archivio (la littérature non-littéraire) che diretti riferimenti artistici e letterari è perché questa scelta è stata dettata dal progetto generale della nostra operazione critica. È solo in conclusione, infatti, che verranno interrogati testi puramente letterari, al fine di avvalorare la nostra tesi che vuole ritrovare in Lux la pluralità di approcci, credenze e contraddizioni congeniti a tutta la letteratura a lui contemporanea e successiva. Problematizzare la vita e la formazione di un “attore minore” della storia europea ci permetterà così di indagare con uno sguardo trasversale e puramente comparatistico molti aspetti critici di un periodo tutt’oggi carico di valori e immaginari simbolici. Nell’introduzione alle sue Lezioni illuministiche, Vincenzo Ferrone, parlando dello stato dell’arte circa la ricerca storica sull’Illuminismo, ha voluto condannare la tendenza di certa storiografia ad approcciarsi allo studio della materia servendosi di univoche generalizzazioni storiche e filosofiche – duplicità di approccio che Ferrone raggruppa sotto l’espressione del 4 Ibid. 2 paradigma dell’ircocervo di hegeliana memoria. In particolare, lo storico fa riferimento a quelle scuole di pensiero che in due secoli hanno ricondotto la fenomenologia illuministica a un senso meramente teleologico che vuole il suo unico punto di fuga nella deflagrazione rivoluzionaria del 17895. Certo, nel secolo dei Lumi vi è stata una preponderante linea “radicale” – per riprendere l’espressione di Jonathan Israel – che ha contribuito all’affermazione, presso i milieux intellettuali europei, di credenze fortemente eversive che hanno infine trovato ragione proprio nel sovvertimento della monarchia francese. Eppure, come indica giustamente lo studioso, non è corretto escludere dal discorso storiografico l’ingente quantità di sfumature che ha contraddistinto questa stagione di rottura: Un nodo cruciale come l’annosa questione
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