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Il Genji Monogatari 源氏物語

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Il Genji Monogatari 源氏物語 IL GENJI MONOGATARI 源氏物語 1008, Murasaki Shikibu 紫式部 STRUTTURA DELL’OPERA Perdita del manoscritto originale, ma circolazione di sezioni dell’opera sin dagli anni di composizione Versione definitiva del testo: Fujiwara no Teika, tardo dodicesimo secolo (codice Aobyōshi ): 54 capitoli, che includono prosa e 795 waka (opera più lunga della storia della narrativa giapponese) • Capitoli 1-41: avventure amorose di Hikaru Genji 光 源氏 (Genji lo splendente) (1-33: giovinezza) • Capitoli 42-54: “eredi” di Genji, Kaoru Chūjō 薫中將 e Niou no miya 匂の宮 (con 3 capitoli di transizione) Non è certo se questi fossero la divisione/ordine originari (n.b.: pratica del “rizoma”) ALTRE PROBLEMATICHE FILOLOGICHE Problema del titolo: • compare come Genji no Monogatari nel Murasaki Shikibu Nikki • testi più tardi riportano anche le varianti Hikaru Genji Monogatari e Murasaki no Monogatari . Esistono varianti anche dei titoli dei capitoli: • Quelli “standard” sono ricavati da elementi chiave del capitolo stesso • È probabile che inizialmente fossero privi di titolo o indicati con un numero STILE Uso e nuova codifica del wabun Base: lingua colloquiale dell’aristocrazia di Heian, trasformata in lingua letteraria e poetica Vocabolario ristretto Commistione con la poesia • Uso di citazioni poetiche in prosa (attraverso parafrasi o allusioni: pratica dello hikiuta 引歌) Modello per la lingua letteraria di tutta la produzione narrativa successiva. Altri elementi stilistici che caratterizzano l’opera (e fanno da modello per la narrativa successiva) Ricchezza di riferimenti letterari alla narrativa precedente e (limitatamente) alla prosa cinese Come tipico dei monogatari , carattere di katari e molteplicità di punti di vista Uso di forme allusive come “cosa” o “persona” • L’autrice non include nomi e non spiega dettagli familiari e facilmente intuibili per il suo circolo di lettori (interno alla corte) LA FIGURA DI GENJI Come Narihira, eroe costretto a vivere al di sotto del proprio rango : • Figlio dell’imperatore e di una concubina di basso rango, Kiritsubo 桐壺, e favorito dell’imperatore • Oggetto dell’odio della consorte imperiale Kokiden 弘徽殿 (gelosa e timorosa per la carriera del figlio Suzaku 朱雀) • Kiritsubo muore quando Genji ha soli tre anni, vittima delle ritorsioni di Kokiden, e l’imperatore per proteggere Genji lo estrania dalla linea imperiale (assegnandogli il cognome Genji, o Minamoto) Come Nakatada dello Utsuho Monogatari e i protagonisti dei mamako mono , superiori doti e bellezza e abilità Come nella maggioranza delle storie precedenti, vive un esilio come esperienza, anche estetica, di maturazione, prima del conseguimento del dovuto rispetto e potere Vicenda di Oborozukiyo 朧 月 夜 e dell’esilio a Suma 須磨 Come Narihira, modello di amante ideale GENJI E LA TEMATICA DELL ’AMORE Estraneità di Genji dai gradi più alti della carriera politica: focus sulle relazioni amorose del protagonista Come per Narihira, per Genji l’amore come rincorsa di un ideale estetico e di un piacere culturale Nel caso di Genji, • La ricerca di un ideale estetico nell’amore si intreccia con la ricerca della madre perduta. • Si violano, in nome dell’amore, l’ordine politico, sociale e morale (come nella vicenda di Fujitsubo ) “Le storie d’amore banali e frivole mal si addicevano alla sua natura; pure vi era in lui una certa tendenza a farsi coinvolgere suo malgrado da ciò che poteva essere fonte di sofferenza e che lo portava talvolta ad agire in modo sconsiderato.” N.B.: Parallelo con il padre di Genji, e il suo legame con Kiritsubo: passione “irragionevole” • Modello: amore dell’imperatore cinese Xuanzong (dinastia Tang, 712-756) per Yang Guifei, che avrebbe causato la guerra civile e la rovina dell’imperatore Genji esce indenne dal sovvertimento dell’ordine stabilito grazie alle sue qualità superiori PRINCIPALI FIGURE FEMMINILI Centralità delle figure femminili: di svariate personalità, ruotano attorno alla figura di Genji (non sempre corrispondendo ai suoi sentimenti). Fujitsubo 藤 壺 : “complesso di Genji” nei confronti della madre Aoi 葵 e Rokujō 六条: tema della possessione (mono no ke 物の怪), in questo caso da parte di uno spirito vivente (ikiryō 生き霊) Murasaki 紫 N.B.: scarsità di descrizioni fisiche PRINCIPALI FIGURE MASCHILI OLTRE A GENJI Tō no Chūjō 頭の中將 Brano Amayo no shinasadame 雨夜の品定め: descrizione del modello di donna ideale Kaoru Chūjō 薫中將 e Niou no miya 匂の宮 Relazione con Ukifune 浮舟 (la “terza figlia”) e ciclo di Uji 宇 治 , che chiude l’opera con il capitolo Yume no ukihashi 夢の浮橋 N.B.: ideali di bellezza maschile SERIALITÀ/UNITÀ Struttura “seriale ” (episodi relativamente autonomi). Al contempo, però, unitarietà dell’opera • nella figura di Genji, • attraverso un gioco di correlazioni fra i personaggi, ripetizioni e rimandi interni (parallelo fra Genji e suo padre, parallelo fra Reizei e Kaoru, ecc.) Gioco fra tempo lineare e tempo ciclico , che costruisce una sorta di metatrama per l’opera. IL MONDO DELLA CORTE HEIAN Quadro del mondo e dell’etichetta della corte (cerimonie, etichetta, costumi; poco accento sulla vita pubblica, eccetto che per le cerimonie sulla distribuzione di cariche, ma si intuiscono gli intrighi) Passato vago (forse, ispirazione a metà X secolo) Mondo rappresentato: circoscritto alla corte in senso geografico e sociale (oltre che linguistico) • Lo spazio è quello della capitale (palazzo imperiale, residenza di Nijō, residenza di Sanjō, Rokujō) • Il “mondo” (yo ) e la “gente” (hitobito ) a cui si fa riferimento nell’opera si identifica con l’aristocrazia di corte. N.B. : Quando, raramente, la scena si trasferisce fuori dalla capitale/palazzo imperiale, è in seguito a eventi infausti o negativi (es: Wakamurasaki (5), Suma (12), Ciclo di Uji) Riferimenti in toni negativi alla provincia (anche se non esplicitata la minaccia politica) Riferimenti rari a non nobili e non lusinghieri (ladri e briganti, guerrieri di professione…) Quando, raramente, Genji ha a che fare con personaggi esterni alla corte (ad es., nell’episodio in cui va a trovare la nutrice malata), trova gli elementi di vita quotidiana con cui ha a che fare sgradevoli LO SFONDO FILOSOFICO DEL BUDDHISMO Il Buddhismo: Compare in forma “terrena”, nella quotidianità: • Preghiere e cerimonie magico-esorcizzanti • “Ritiro istituzionalizzato” dal mondo Si riflette in idee che compaiono nel testo • Principio del karma e idea di destino (sukuse ), idea di impermanenza • Si intreccia al tema del mono no aware Oltre al Buddhismo, morale confuciana, ma molto diluita FORTUNA DEL TESTO Popolarità contemporanea del testo : Amore per il testo testimoniata nel Murasaki Shikibu Nikki e nel Sarashina Nikki • Però, anche critica verso l’opera in quanto letteratura “inferiore” e non edificante Importante influenza su gran parte della produzione narrativa delle successive fasi del periodo Heian • Riproduzione di temi, situazioni e linguaggio del Genji e solo graduale allontanamento da tale modello con l’avviarsi del periodo Kamakura Dopo il periodo Heian Nō , renga e narrativa Tokugawa trassero spunti dal Genji Monogatari e ne rielaborarono temi e situazioni L’editoria Tokugawa produsse numerose edizioni dell’opera, di lusso e popolari: • Versioni ridotte e semplificate • Traduzioni in vernacolo • Manuali che raccoglievano i suoi episodi più importanti o waka • Versioni “eterodosse”, come il Nise Murasaki Inaka Genji Nel ventesimo secolo Numerose traduzioni commentate in giapponese moderno Omaggi/riscritture di autori come Tanizaki Jun’ichirō, Kawabata Yasunari, Mishima Yukio ed Enchi Fumiko Svariate versioni dell’opera a fumetti e in animazione. I MONOGATARI SUCCESSIVI AL GENJI LA FORTUNA DEI MONOGATARI DOPO IL GENJI Nei due secoli successivi al Genji Monogatari , grande successo del genere, dimostrato da • Testimonianze dell’epoca, come il Mumyōzoshi , • Diffusione di pratiche come i monogatari awase N.B.: affermarsi di standard critici , riflessi nei giudizi letterari del Mumyōzoshi • Riduzione al minimo degli elementi sovrannaturali • Valore dato alla capacità del testo di suscitare emozioni (mono no aware ) • Importanza assegnata all’uso delle poesie nel testo TIPOLOGIE DI MONOGATARI PRODOTTE NEL RESTANTE CORSO DEL PERIODO HEIAN Giko monogatari 擬 古 物 語 (“ monogatari d’imitazione”) • Tipo di monogatari che, sul modello del Genji, riproduce il mondo e la visione estetica/sociale della nobiltà di corte Genji : fondamentale punto di riferimento estetico e tematico Rekishi monogatari • Monogatari di tematica storica I GIKO MONOGATARI Imitazione non passiva Partendo dai motivi presenti nel Genji, rielaborazione originale: tensione fra modello classico (ga ) e novità (zoku ) • Parallelo con la pratica in poesia (di tardo periodo Heian) dello honkadori 本歌取り , nella quale il poeta scriveva una nuova poesia avvalendosi di motivi e immagini ricavati da una poesia già nota Nei testi si osserva comunque una progressione da una maggiore a una minore influenza del Genji N.B.: Fra le differenze che si affermano gradualmente rispetto al Genji, si trovano: • Reintroduzione di maggiori elementi fantastici e sovrannaturali • Minore approfondimento psicologico • Introduzione degli elementi fisici e carnali dell’amore • Introduzione di elementi comici Non necessariamente tutti gli elementi sono presenti nei testi più tardi, ma loro combinazioni Testi che testimoniano questa evoluzione Hamamatsu Chūnagon Monogatari 浜松中納言物 語 (Storia del secondo consigliere di Hamamatsu): Torikaebaya monogatari とりかへばや物語 (Storia dei ruoli scambiati) Tsutsumi Chūnagon Monogatari
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