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Una Hagiografía De Autor Lorenzo Martín del Burgo García Una hagiografía de autor La poética del Flos sanctorum de Pedro de Ribadeneira Publications of eHumanista Santa Barbara, University of California, 2019 ÍNDICE 0. INTRODUCCIÓN ...................................................................................................................... 3 CAPÍTULO 1. DEL LEGENDARIO AL FLOS SANCTORUM .................................................... 9 1.1. La legenda nova: conformación de un género hagiográfico ............................................... 9 1.2. El legendario hispánico medieval y renacentista ................................................................ 11 1.3. Nuevos tiempos, nueva hagiografía: los años de la Contrarreforma ................................. 14 1.4. El Flos sanctorum después de Trento................................................................................. 18 CAPÍTULO 2. PEDRO DE RIBADENEIRA Y LA RENOVACIÓN DEL FLOS SANCTORUM ....................................................................................................................................................... 22 2.1. Pedro de Ribadeneira, autor: la concepción del Flos sanctorum ....................................... 22 2.2. El método de Ribadeneira: “autentificación” hagiográfica ................................................ 25 2.3. El legendario hagiográfico frente a la ficción: oposición y alternativa .............................. 27 2.4. Hagiografía e “historia verdadera”: fuentes y metodología ............................................... 29 2.5. Biografía “a lo divino” ....................................................................................................... 35 2.6. La gramática narrativa del Flos sanctorum: historia y lienzo ............................................ 40 CAPÍTULO 3. IMITATIO VERSUS ADMIRATIO: EL MODELO DE SANTIDAD DE RIBADENEIRA ............................................................................................................................ 47 3.1. Hagiografía, juego de espejos: teoría de la ejemplaridad hagiográfica .............................. 47 3.2. Hagiografía dentro de la hagiografía .................................................................................. 50 3.3. Milagros admirables y virtudes imitables ........................................................................... 53 3.4. Los límites de la imitación (con un corpus de virtudes) ..................................................... 56 3.5. Miraculosus: lo sobrenatural bajo control .......................................................................... 62 3.6. Lo milagroso edificante ...................................................................................................... 66 1 3.7. Milagros de los santos nuevos ............................................................................................ 68 CAPÍTULO 4. EL FLOS SANCTORUM DE RIBADENEIRA COMO OBRA DE LA CONTRARREFORMA ................................................................................................................ 72 4.1. La hagiografía en la batalla de la Contrarreforma: ¿un flos sanctorum político? .............. 72 4.2. Hagiografía y herejía .......................................................................................................... 73 4.3. Hagiografía y poderes terrenales: el príncipe y el santo ..................................................... 78 4.4. Espejos de príncipes: Vidas de santidad regia .................................................................... 84 ALGUNAS CONCLUSIONES .................................................................................................... 91 ANEXO. LAS EDICIONES DEL FLOS SANCTORUM DE PEDRO DE RIBADENEIRA ...... 93 I. Breve historia editorial ........................................................................................................... 93 II. Catálogo de ediciones ........................................................................................................... 95 Repertorios y catálogos utilizados ........................................................................................... 100 BIBLIOGRAFÍA ......................................................................................................................... 102 2 0. INTRODUCCIÓN En 1912, durante su estancia en el castillo de la princesa Marie von Thurn und Taxis-Hohenlohe, en Duino (Trieste), Rainer Maria Rilke escribe La Vida de María (Das Marien-Leben), uno de sus más importantes ciclos poéticos. A finales del mismo año, (probablemente, ya en su querida ciudad de Toledo) el poeta termina la primera de las diez elegías que compondrían la que muchos consideran su obra maestra, las Elegías de Duino (Duineser Elegien). En una carta fechada en enero, dirigida a la condesa Manon Zu Solms-Laubach, Rilke escribe desde su estancia en el majestuoso castillo de su amiga y protectora Thurn und Taxis: «Probablemente permaneceré aquí algún tiempo, completamente solo. Es una mansión severa encerrada dentro de enormes muros, entre el Karst y el mar. Como lecturas, San Agustín y las antiguas y hermosas leyendas de Santos del español Ribadeneira». Al igual que lo haría su memorable estancia en Duino, la influencia de aquella última lectura dejaría una notable huella en la creación de Rilke. En sus obras de 1912 cuaja la influencia de la que sería, de acuerdo con uno de los más importantes estudiosos de su obra, Jaime Ferreiro Alemparte, una de las lecturas predilectas del poeta: el Flos sanctorum del jesuita toledano Pedro de Ribadeneira1. Ribadeneira se situaba en el mismo nivel de influencia que El Greco y Cervantes, artistas que habían creado en Rilke una duradera atracción por España, y dejado una impronta igualmente duradera en su arte. Sin embargo, Rilke había estado leyendo las vidas de santos de Ribadeneria desde años antes (al menos, de acuerdo con su epistolario, desde 1902), en una edición alemana de comienzos del siglo XVIII2: el Flos de Ribadeneira, desde la aparición de su primer volumen en 1599, no había cesado de editarse y traducirse a todas las lenguas europeas. Todavía en el siglo XIX, apenas gozando de ediciones, la obra era todo un long-seller, y los nuevos santorales, los llamados “años cristianos”, no habían conseguido desbancarla de los hogares como la obra de referencia en su especie. De este modo la consideraba Rilke. La obra ya había inspirado otros de sus poemas: Der Stylit o Die Aegyptische Maria, ambos de 1908, no son sino estilizaciones de algunos pasajes de las Vidas de Simón el Estilita o santa María Egipcia incluidas en el santoral de Ribadeneira. Lo mismo sucede con el ciclo de Das Marie-Leben, en el que pueden detectarse múltiples 1 Todas las informaciones a las que aludimos aquí se encuentran en el capítulo «El Flos Sanctorum del P. Ribadeneira como fuente de inspiración de la obra poética de Rilke», en la monografía de FERREIRO ALEMPARTE, 1966, pp. 53-115. 2 Concretamente, en la traducción del padre jesuita Johannes Horning: Ribadeneira (Pedro), S. J. Flos Sanctorum. Die triumphierende Tugend, d.i. Leben der Heiliigen Gottes nach den bewährstesten Geschichtsschreibern. Ins Deutsche übersetzt von Johannes Hornig S.J. Augsburg-Dillingen: Bencardt, 1710-1712 (Ibidem, p. 57). 3 recreaciones de la “Vida de Cristo”, de la “Vida de la gloriosa Virgen María” y de otros capítulos del Flos consagrados a las festividades marianas. Como señala Alemparte: «La obra del Flos Sanctorum del P. Ribadeneira es muy extensa. Rilke la leyó, unas veces ocasional, otras premeditadamente, por espacio de muchos años, dejándose penetrar profundamente de su contenido», de sus motivos3 e incluso de sus modos lingüísticos, tal como la forma interrogativa usada recurrentemente por su autor4. Y de este mismo modo la leyeron, en realidad, tantas y tantas personas: asimilando sus contenidos a lo largo de los años, siguiendo puntualmente el orden de su calendario litúrgico, repetidamente, o quizás esporádicamente, volviendo a alguno de sus capítulos de tanto en tanto, de manera distraída, para entretenerse, o quizás para recordar y meditar detenidamente algún pasaje. Otros recurrirían a ella con fines muy prácticos, en busca de informaciones y sentencias para componer sus sermones y homilías. Sebastián de Covarrubias, por ejemplo, se valió del Flos sanctorum como principal fuente para elaborar las entradas hagiográficas del Tesoro y su Suplemento5. E, incluso, como el mismo Rainer Maria Rilke, también algunos lo leyeron con fines artísticos: sin lugar a dudas, muchos dramaturgos de nuestro siglo XVII lo tuvieron como una obra de consulta realmente productiva a la hora de espigar argumentos que inspiraran nuevos ejemplares de las cada vez más demandadas comedias de santos. De acuerdo con Julián Gállego, el Flos de Ribadeneira fue «el libro más consultado por los pintores» de la época para sus cuadros de tema hagiográfico6. ¿Y qué decir de los narradores? Como ya señaló Javier Azpeitia en su antología del Flos, el modelo hagiográfico supone una herencia, consciente e inconsciente, en los escritores de todo tipo de literatura...7 En definitiva, sobre Rilke y el resto de los lectores que, “por espacio de muchos años”, recibieron el influjo de la obra de Ribadeneira, no solo pesaron unos relatos concretos, sino su conjunto, una serie de concepciones, imágenes y enseñanzas del todo que conforma el Flos sanctorum; a ello se une la multitud de resonancias que parten de sus páginas. Recordemos uno de los conceptos fundamentales del santoral de Ribadeneira, el del espejo
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