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Il Tieste Di Ugo Foscolo E L'estetica Teatrale Di Melchiorre Cesarotti. Per UNIVERSITE SORBONNE-NOUVELLE PARIS 3 Ecole doctorale 122, Europe latine-Amérique latine EA 3979 LECEMO Doctorat en Etudes Italiennes et Romanes En cotutelle avec UNIVERSITE DU LUXEMBOURG Doctorat de Lettres Matteo SCAGNETTI Il Tieste di Ugo Foscolo e l’estetica teatrale di Melchiorre Cesarotti. Per la storia e le implicazioni di un’inconciliabilità ideologica e filosofica Directeurs : Prof. Claudio CICOTTI (Université du Luxembourg) Prof. Christian DEL VENTO (Université Sorbonne Nouvelle Paris3) Date de soutenance : 17 mai 2019 Composition du jury : M. le Prof. Claudio CICOTTI (Université du Luxembourg) M. le Prof. Christian DEL VENTO (Université Sorbonne Nouvelle Paris 3) Mme le Prof. Maria Pia DE PAULIS-DALEMBERT (Université Sorbonne Nouvelle Paris 3) M. le Prof. Enzo NEPPI (Université Grenoble-Alpes) Mme le Prof. Paola RANZINI (Avignon Université) Mme le Prof. Nathalie ROELENS (Université du Luxembourg) 2 3 Summary Tieste by Ugo Foscolo and Melchiorre Cesarotti’s idea of theatre : An ideological and philosophical incompatibility This work analyzes the tragedy written by Ugo Foscolo (1778-1827) at the end of his adolescence : Tieste. The drama has not been sufficiently studied yet, but presents various and important elements of interest. The idea of literature emerging from it is definitely new, and Tieste tries untrodden ways, incompatible with the dominant idea of tragedy at its epoch. Most of all, Tieste marks a rebellion against the aesthetic canons of Melchiorre Cesarotti (1730-1808), a well-known philosopher who had a deep influence in the theatrical field and who had established the standards of a good tragedy. Cesarotti‟s parameters were still those of the Enlightenment, and imposed a moral message to every tragedy, whose characters should be rewarded or punished on the basis of their goodness or their wickedness. For Cesarotti, a character would have encountered an unfavourable fate only as a consequence of a moral crime. His virtue, instead, would have avoided any danger. In Foscolo, on the contrary, there is no providence, and the destiny of human beings doesn‟t depend on their behaviour. Virtuous characters are powerless and succumb without even understanding why, while the evil tyrant triumphs, moved only by his sadism. The evil is ineffable and inexplicable, and Reason, which solves every problem in Cesarotti‟s Weltanschauung, is now helpless and meaningless. Foscolo‟s first tragedy therefore represents the transition from an Ancien Régime world view to the phantoms and the nightmares of the contemporary age, when no certitude is possible anymore. Keywords : Tragedy, Transition from the Ancien Régime to contemporary age, Italy, France, Enlightenment, Rebellion, New, Ineffability of Evil 4 Résumé Tieste d’Ugo Foscolo et l’esthétique théâtrale de Melchiorre Cesarotti. Pour l’histoire et les implications d’une incompatibilité idéologique et philosophique Ce travail approfondit la pièce théâtrale de jeunesse de Ugo Foscolo (1778-1827), célèbre poète italien vécu entre la fin du XVIIIème siècle et les premières décennies du XIXème. La pièce en question, le Tieste, n‟est pas seulement remarquable pour le jeune d‟âge de l‟auteur, encore adolescent, mais parce qu‟elle dévoile une idée de la littérature encore inconnue à son époque. Le Tieste est une tragédie qui ne respecte pas les conventions généralement acceptées à son temps, et ceci sur le double niveau du style et du contenu, tout à fait modernes et définitivement affranchis de la philosophie des Lumières. Afin de démontrer l‟envergure de l‟opération du poète vénitien, cette thèse se concentre sur le rapport entre l‟idéologie et, pourrait-on même dire, les préceptes du philosophe padouan Melchiorre Cesarotti (1730-1808), et la tragédie de Foscolo. Les idées de Cesarotti sur le théâtre étaient une sorte de Bible, qui prévoyait pour la tragédie des caractéristiques bien précises, autant qu‟une vision optimiste de la vie et de la société humaine, avec la victoire (du moins morale) des personnages vertueux et la défaite des personnages cruels. Le Tieste démonte morceau par morceau les caractéristiques qui selon Cesarotti font une bonne tragédie, en mettant en scène deux personnages qui devraient être positifs mais se révèlent confus et impuissants, tandis que le dictateur, impitoyablement, détruit les autres personnages, sans une vraie raison, comme un metteur en scène sadique qui joue avec ses marionnettes. L‟inexplicabilité du mal et son ineffabilité marquent la fin d‟un monde Ancien Régime pour permettre à l‟homme de s‟interroger sur ses peurs les plus profondes. C‟est là la valeur du Tieste, qui peut être donc considéré comme un texte qui ouvre à l‟époque contemporaine. Mots-clès : Tragédie, Passage de l’Ancien Régime à la contemporanéité, Italie, France, Illuminisme, Rébellion, Nouveau, Ineffabilité du mal 5 6 INDICE INTRODUZIONE 7 CAPITOLO I: CESAROTTI NELLE BIOGRAFIE FOSCOLIANE 15 CAPITOLO II: I TEORICI SETTECENTESCHI DELLA TRAGEDIA 27 CAPITOLO III: L‟ESTETICA TEATRALE DI CESAROTTI 51 III.1 Il Ragionamento sopra il diletto della Tragedia 51 III.2 Il Ragionamento sopra le origini e i progressi dell’Arte Poetica 61 III.3 Equivoci estetico-filosofici 68 III.4 L‟Avvertimento preliminare a La Morte di Ettore 76 III.5 Cesarotti, Foscolo e i classici. Qualche considerazione di massima 78 CAPITOLO IV: CESAROTTI NELL‟EPISTOLARIO FOSCOLIANO 91 CAPITOLO V: IL TIESTE E IL RAGIONAMENTO SOPRA IL DILETTO DELLA TRAGEDIA 143 V.1 Breve compendio 143 V.2 Lo stile 149 V.3 I personaggi 162 V.3.1 Tieste 162 V.3.2 Erope 190 V.3.3 Ippodamia 207 V.3.4 Atreo 215 V.4 Agli antipodi del Ragionamento 232 CAPITOLO VI: IL CONFRONTO CON CESAROTTI TRADUTTORE DI VOLTAIRE 241 VI.1 Semiramide 241 VI.2 Maometto 264 BIBLIOGRAFIA ESSENZIALE 289 7 8 INTRODUZIONE Il biografo foscoliano non ha mai avuto vita facile: la sua indagine tra le carte polverose del passato è come un percorso ad ostacoli nella notte, una strada piena di curve che si popola di ombre che l‟attraversano; difficile capire quali siano vere, quali un semplice miraggio e quali invece si presentino sfocate dalle tenebre, deformate a causa dell‟oscurità. La metafora è ardita ma efficace e quanto mai opportuna quando ci si accinga a districarsi tra i cunicoli di un novello labirinto di Cnosso. La gioventù del poeta zacintio, in particolare, è avvolta nel mistero e caratterizzata più da recessi oscuri che da zone luminose, chiare, nitide. Pochissime testimonianze sono rimaste sulla fanciullezza di Foscolo, tanto che i suoi spostamenti sono stati ricostruiti solo a grandi linee, dai primi vagiti sparsi «all‟etra» nella «selvosa Zacinto», passando per il soggiorno spalatino, fino all‟arrivo in laguna. Grazie agli studi accurati di Bruno Rosada, la critica accetterà forse definitivamente la tesi di un unico viaggio tra Zante e Venezia nel 1792, anziché l‟idea del doppio spostamento fino ad allora predominante,1 ma nemmeno il Rosada, pur setacciando ogni archivio e tentando di ricostruire con massima precisione le 1 Sono le note considerazioni di B. Rosada, Foscolo scolaro a Venezia, in Atti dei convegni foscoliani (Venezia, ottobre 1978) [d‟ora in avanti AF], Roma, Istituto Poligrafico e Zecca dello Stato, 1988, vol. I. pp. 111 e sgg. Muovendomi negli anni giovanili di Foscolo non potrò trascurare l‟importante studio, sempre di Rosada, La giovinezza di Niccolò Ugo Foscolo, Padova, Antenore, 1992. Tutti i biografi hanno toccato l‟adolescenza foscoliana, ma sempre di sfuggita, e altrimenti non poteva essere, visto che pochissimi documenti permettono di fissare qualche certezza nel periodo che va dalla nascita alla Raccolta Naranzi del 1794, la quale ci ha tramandato la prima testimonianza scritta dell‟autore, con le poesie e con la celebre dedica al cugino Costantino. Anche la Raccolta ha però contorni indefiniti, perché la sua prima edizione apparve postuma a Lugano nel 1831, con il titolo Poesie Inedite di Niccolò Ugo Foscolo tratte da un Manoscritto originale, Lugano, Gius. Ruggia e C., 1831; il manoscritto è andato perduto, l‟edizione si presenta incompleta e nulla è dato sapere sul periodo preciso in cui le poesie furono composte. La ricostruzione biografica rimane estremamente incerta almeno fino al primo soggiorno felsineo e agli interventi presso la Società di Istruzione Pubblica veneziana del 1797. Oltre agli studi di Rosada è comunque possibile rifarsi ai saggi di Mate Zorič sul periodo spalatino degli anni Ottanta, Ancora sul soggiorno di Foscolo a Spalato, in «Studia Romanica et Anglica Zagrabiensa», VIII, 1959, pp. 31-39, Due note su Ugo Foscolo e la Dalmazia, ivi, XV-XVI, 1963, pp. 151-183 e L’educazione del Foscolo a Spalato, in AF, pp. 81-106, oltre che, per i primi tempi in laguna, alle ormai classiche ricostruzioni di C. Antona Traversi e di A. A. Michieli. 9 tappe del quinquennio veneto, ha saputo rivelare quale sia stato in quel periodo l‟iter scolastico dell‟adolescente, né disponiamo ancora – né forse disporremo mai –, per quanto se ne sia discusso e si siano formulate ipotesi, di una ricostruzione pienamente attendibile delle prime amicizie, dei primi contatti con il mondo letterario e sui primordi di una carriera poetica destinata ad avere un posto di rilievo in tutte le antologie scolastiche. Il biografato non semplifica le cose; le prime missive, come quelle a Gaetano Fornasini, sono alquanto vaghe quando accennano alle composizioni appena partorite o in fase di stesura, ma più vaghi ancora sono gli abbozzi tracciati dal poeta quando negli anni maturi parla della sua giovinezza. Oltre ad essere rari, sconfinano nell‟aneddotico o nel caricaturale, con poca cura della verità storica. Tutti i foscolisti sanno quanta confusione e quante ipotesi affrettate abbiano generato parole come quelle contenute nella famosa lettera del 1808 a Vincenzo Monti: Nella mia fanciullezza fui tardo e caparbio; malfermo spesso per malinconia, e talvolta feroce ed insano per ira: fuggiva dalle scuole e ruppi la testa a due maestri; vidi appena un collegio e ne fui cacciato.
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