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D'israel (1929) a Antígona (1939)

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D'israel (1929) a Antígona (1939) D’ISRAEL (1929) A ANTÍGONA (1939) L’APROPIACIÓ ESPRIUANA DE MITES BÍBLICS I CLÀSSICS, ENTRE LA LLUM I EL NEGUIT Tesi doctoral d’Eduard Juanmartí i Generès Direcció de Víctor Martínez-Gil Departament de Filologia Catalana Universitat Autònoma de Barcelona Setembre de 2015 AGRAÏMENTS En presentar aquesta tesi doctoral em plau d’expressar el meu agraïment més sentit a totes aquelles persones i institucions que durant aquests anys de treball m’han ajudat a trobar informació o m’han orientat en la meva lectura d’aspectes concrets o més generals de l’obra espriuana. Per ordre alfabètic, aquestes persones són Carles Alemany, Susanna Álvarez, Rosa Boncompte, Montserrat Caba (Centre de Documentació i Estudi Salvador Espriu), Glòria Casals, Josep Casas, Rosamaria Cendrós, Jordi Cerdà, Montserrat Comas (Biblioteca Museu Víctor Balaguer), Miquel Edo, Pilar Frago (Arxiu Nacional de Catalunya), Enric Gallén, Julià Guillamon, Teresa Guiluz, Pau Magraner, Josep Massot, Joaquim Molas, Ricard Pedreira (Fundació Xavier Nogués), Lluís Permanyer, Agustí Pons, Pere Raventós, Antoni Rubio, Eulàlia Salvat (Fundació Salvat), Jordi Sarsanedas, Genís Sinca, Àngels Taribó, Amàlia Tineo, Joaquim Triadú i Font, Joaquim Triadú i Vila d’Abadal, Alícia Vacarizo (Fundació Palau) i Anton Maria Vilarrúbias. També és just reconèixer que sense el suport familiar i del director de tesi aquesta tasca no hauria estat possible o, en tot cas, no hauria estat tan plaent com ha estat per a mi. PROJECTE DE RECERCA Aquesta Tesi Doctoral s’ha realitzat dins del Projecte de Recerca Salvador Espriu: estudi genètic i interartístic de la seva obra (FFI2011-25037) del Ministeri d’Economia i Competitivitat. 1. INTRODUCCIÓ 1.1 Hipòtesi i textos estudiats Com el títol i el subtítol volen indicar, en aquest treball em proposo demostrar una hipòtesi doble. D’una banda, afirmo que l’apropiació de mites bíblics i clàssics que Salvador Espriu fa en les seves primeres obres, des d’Israel (1929) fins a l’Antígona de 1939 (1955), respon a les inquietuds fonamentals de l’autor en aquells anys i, encara més, evoluciona en funció d’aquests interessos. Una descripció diacrònica —quins mites tria i com els reelabora en cada moment— mostrarà aquesta evolució general d’Espriu en els deu primers anys de la seva carrera literària. En aquest sentit, hauré de fer alguna al·lusió a títols que no contenen represes mitològiques, com ara El doctor Rip o Laia, per assegurar que en certes explicacions d’aspectes concrets es tenen en compte les baules intermèdies. D’altra banda, plantejo que la consideració de les nocions de llum i neguit, que precisaré tot seguit, són punts de referència útils per explicar, no només el treball de reelaboració mitològica sinó, més en general, les obres d’Espriu i l’evolució que hi ha entre elles, sigui per la presència o l’absència d’aquestes idees, per la forma que puguin adoptar o per la distància que l’autor agafa respecte a elles, o a una d’elles, segons els casos. Val a dir que tant la combinació d’una línia analítica diguem-ne sectorial —els mites— amb una perspectiva d’estudi temàtica —la llum i el neguit— com l’anivellament dels mites clàssics i els bíblics són opcions metodològiques que poden tenir sentit en l’intent de comprensió d’una obra literària total, on forma i sentit són indestriables en cada títol i en el conjunt. No debades, Joaquim Molas va poder traçar un suggerent esquema per a una comprensió del corpus espriuà en tres cicles o reflexions bàsiques (la vida, el jo, el món) que conformen un univers mític personal que, d’altra banda, inclou tant el món bíblic com el grec i, encara, el sinerenc, de creació pròpia (MOLAS 2005). I, en un pla més general, és reconeguda la funcionalitat antropològica del mite com a eina de supervivència humana davant del que genera inquietud en la impossibilitat de comprendre tota la realitat, especialment la que s’intueix més transcendent (BLUMENBERG 2003: 11-40). 3 D’altra banda, però, Espriu estableix, des de la seva primera pàgina publicada, la “Portada” del recull d’esbossos bíblics Israel, una jerarquia entre Israel i Grècia que atorga clarament la superioritat als semites en tant que poble on s’ha desenvolupat la lliçó més elevada que hagi donat mai la història de la humanitat: la llum singular i inextingible de la idea monoteista, que troba la seva culminació en la figura de Jesús de Natzaret, fundador del cristianisme. Enfront d’aquesta veritat fonamental, Grècia té també un gran interès per la seva mitologia, una mitologia que dóna peu a un pensament filosòfic sublim que té un encís immarcescible. És des d’aquest partit pres per l’autor que es pot entendre millor l’apropiació de mites que opera entre 1929 i 1939, període objecte del meu estudi. Per a Espriu, la mitologia, concretament la grega, és interessant per dos motius. Des del punt de vista del fons, perquè engendra pensament, filosofia, especulació, i, per tant, pot ajudar a entendre el món. Des del punt de vista de la forma, sedueix per la seva elegància, la seva fastuositat i la seva decadència amable. Els mites grecs, però també els bíblics, són, per al jove Espriu, un terreny propici per especular sobre el neguit inherent a la condició humana. Aquesta noció de neguit, obsessivament repetida en l’obra narrativa d’aquells anys, és central en la comprensió dels textos espriuans de l’època. Provisionalment, el neguit espriuà pot ser entès com un estat d’insatisfacció permanent i de recerca de sentit a la vida, en el marc de la reflexió d’algú que té un plantejament radicalment moral i, molt sovint, moralista.1 Aquest neguit, alhora, adopta diverses formes en els mites que estudio. Algunes d’aquestes formes de neguit són la decadència o degradació d’un món i d’uns personatges; la consciència, el remordiment, el sentit de culpa, la por de la mort per part dels individus; les passions que destrueixen l’home, com ara la carnal i la material, i la seva solidificació en institucions com el matrimoni o l’ordre social; les grans dificultats, si no la impossibilitat, de sintetitzar dues concepcions que se sobreposen, com són el cristianisme autèntic i la religió aparent i oficial; l’ànim que es persegueix a ell mateix, situació que pot atènyer la neurosi obsessiva; o el filtre, 1 En el qüestionari que l’any 1933 promogué la Revista de Catalunya en ocasió del centenari de la Renaixença, proposa com a ideal vital prioritari l’“assoliment de la pau” i, en ser demanat sobre com voldria el demà de Catalunya, avantposa la regeneració moral a la plenitud intel·lectual, que en podria ser una conseqüència: “Desitjaria per a la nostra terra la cura radical de les seves tares. De la immodèstia, i de l’enveja, sobretot. I que esdevingués, en l’hora gloriosa, una petita, però íntegra i intensa foguera de l’esperit” (EE/1: 3-4, el subratllat és meu). 4 sovint falsificador, de la tradició literària i cultural en general. Més enllà de les seves múltiples manifestacions, hom pot intentar lliurar el combat contra aquest neguit de diverses maneres: l’autocontrol, l’evasió, la sublimació estètica, la pietat o el sacrifici. Aquesta hipòtesi de treball es concreta cronològicament en la distinció de quatre fases en l’apropiació espriuana de mites bíblics i grecs entre 1929 i 1939, en les quals predominen successivament una formulació inicial dualista que contraposa creença i mancaments (mites bíblics d’Israel), l’expressió intensa del neguit pròpiament dit (mites molt majoritàriament grecs d’Aspectes i d’Ariadna al laberint grotesc), la lluita per l’autocontrol i la supervivència (mite de Fedra) i la superació ètica d’aquesta dinàmica de lluita interior (mite d’Antígona). No debades el gest pietós d’Antígona, acompanyada d’Eumolp, es tenyeix d’uns ressons bíblics, i particularment evangèlics, que vénen a tancar el cercle obert des de la “Portada” d’Israel. Tot seguit dono la llista dels textos objecte d’estudi, amb indicació de l’obra a la qual pertanyen, del mite a què es refereixen i de la manera com hi remetré al llarg de la meva exposició. Citaré sempre de la primera edició de cada text en volum. Aquestes edicions están referenciades a la bibliografia.2 Les citacions són literals, errors inclosos. Només excepcionalment tinc en compte les versions posteriors a la primera i, quan és el cas, ho indico explícitament. 1. El capítol “Jahel” d’Israel (1929), referit al mite homònim; hi remetré com a Jah i amb indicació de la part3 i de la pàgina. 2. El capítol “Ruth” de la mateixa obra, referit al mite homònim; hi remetré com a Ruth i amb indicació de la part i de la pàgina. 3. El capítol “El santuario de Silo” de la mateixa obra, referit al mite del sacerdot Elí; hi remetré com a San i amb indicació de la pàgina. 4. El capítol “Abigail” de la mateixa obra, referit al mite homònim; hi remetré com a Abig i amb indicació de la part i de la pàgina. 2 Han estat digitalitzades i es poden consultar fàcilment a l’adreça electrònica http://www.catedramariustorres.udl.cat/autors/item.php?acr_item=espr001 [data consulta: 7.8.15]. 3 Totes les indicacions de parts o capitolets són regularitzades en números romans, independentment que a l’original es facin servir números romans (cas dels esbossos d’Israel o de les narracions d’Ariadna al laberint grotesc), xifres aràbigues (cas de les narracions d’Aspectes) o bé no s’indiquin més que amb un espaiat doble (cas de la “nouvelle” Fedra). 5 5. El capítol “Abisag” de la mateixa obra, referit al mite homònim; hi remetré com a Abis i amb indicació de la part i de la pàgina.
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