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De La Cueva De Montesinos a Las Aventuras De Clavileno: Un Itinerario De Carnavalizacion Del Discurso Autoritario En El Quijote

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De La Cueva De Montesinos a Las Aventuras De Clavileno: Un Itinerario De Carnavalizacion Del Discurso Autoritario En El Quijote HISPANICA 38 (1994) De la cueva de Montesinos a las aventuras de Clavileno: un itinerario de carnavalizacion del discurso autoritario en el Quijote. Mario MARTIN-FLORES Preambulo. El presente estudio, es una aproximacion a los episodios nucleares de la segunda de Don Quijote de la Mancha1, desde La Cueva de Montesinos, (XXII-XXIV), hasta las aventuras de Clavileno (XL y XLI), a partir de un enfoque teorico, principalmente bajtiniano. Dicho acercamiento posibilita contemplar con mayor claridad el sentido mas sistematico y mas profundo de la parodia en esta gran novela. El haber escogido estos capitulos ofrece la oportunidad de incluir no solo a los personajes y topicos principales del texto, sino que en ellos se establece un sorprendente juego de contrastes. Por una parte se presenta la fallida recuperacion del pasado heroico de Don Quijote en la cueva de Montesinos. En oposicion, se plantean la desproporcionada imagineria popular de Sancho Panza en las aventuras de Clavileno. La parodizacion del mundo epico y la incertidumbre de lo real en Montesinos se complementan con el sentido subversivo de la autoridad, proveniente de la optica y el humorismo populares en Clavileno. Cervantes considera necesario mantener ambas cosmovisiones en movimiento dialecti- co, como una condicion indispensable para la creacion del mundo novelisti- co. Espero que esta perspectiva critica del Quijote, ofresca una nueva ex- periencia a los entusiastas lectores de esta opere magna. En la Cueva de Montesinos se evidencia uno de los momentos mas decisivos en torno al encantamiento de la dama (Dulcinea) y de la ilusion de Don Quijote, debido a que eata instancia se viene anticipando desde los primeros capitulos de la primera parte, se vitaliza en episodios posteriores y se prefigura simboli- camente la resolucion final de la novela. Si El Quijote, como discurso novelistico, se filtra y reduce a unos pocos enunciados primordiales, Dulcinea formara parte constitutiva como sujeto, como suplemento de la mayoria de esos enunciados. En la cueva de Montesinos se examina el grado de reapropiacion que han hecho los diferentes personajes del concepto de Dulcinea como si se tratara de un material 46 proteico. Por lo que resulta relevante cuestionar la validez de la construccion monologica2 de Dulcinea. En las aventuras en torno a la Cueva de Montesinos resulta esencial la con- frontacion mds intima de Don Quijote con los demas y aun con su propio yo, queda a nuestros ojos como un sujeto escindido intrinsecamente novelesco. A lo largo del episodio de la Cueva de Montesinos se da una sistematica desarticula- cion de los generos literarios monoglosicos por excelencia (poesia y epica), a traves de la parodizacion causada principalmente por la irrupcion de la palabra ajena en el texto. En lo estructural la aventura de la Cueva de Montesinos sirve como anecdota germinal de toda la ultima mitad de la segunda parte del texto, dicha anecdota se desarrolla en capitulos posteriores y mantiene un didlogo plurilinguistico con la mayoria de los episodios restantes del Quijote. La cueva de Montesinos se anuncia desde el capitulo decimo de la segunda parte y sus sucesos se ponderan, se desautorizan, se esclarecen, se contradicen y finalmente se carnavalizan simultaneamente a lo largo de la novela. En el relato de la cueva se presenta una extraordinaria variedad de posibi- lidades de desautorizacion de la voz narrativa en cuanto entra en tension con el subversivo papel del receptor, que en este caso son el guia y Sancho mismo. El cronotopo de la caverna habia sido signo monologico de la poesia y liri- ca: ya como ambito de autoridad, recinto sagrado, ya como oraculo o mundo ce- rrado excluyente donde se llevaba a cabo la revelacion de lo infalible e ine- xorabe. Don Quijote pretende encontrarse aun con esa significacion y describe la cueva como suntuoso palacio de cristal con luminosas salas y graves tumbas de marmol. Todas ellas son marcas de un espacio que es sede de la autoridad mas incuestionable y monologica, la del poder monarquico. Por otra parte se alude a la cueva como entidad espacial del misterio, del prodigio, como entrana de la tierra, como infierno y en muchos sentidos se pro- pone como un origen o retorno al punto de partida de lo caballeresco, ahi estan representados tanto lo carolingeo como lo arturiano. A este discurso autoritario de la cueva solamente tiene acceso Don Quijote, un descendiente lejano de la estirpe de la caballeria. Bajtin ha senalado en su ensayo: "La palabra en la nove- la" como el codigo de autoridad puede ser desmantelado en "el momento en que a este juego del simbolo, se introduce una voz ajena, un acento ajeno, u otro posi- 47 ble punto de vista, se destruye el plano poetico y es transferido al plano de la prosa" (145). Ese pasado remoto de Roncesvalles, invariable y cerrado, se abre al mundo novelesco del aqui y del ahora con la irrupcion abrupta de huespedes antipoeticos como Dulcinea, sus damas, y Don Quijote mismo. En la cueva se reutiliza el topoi poetico del descenso al Hades y la visita al infierno dantesco con un acento ajeno, el cual parodia a los textos canonicos gre- colatinos que abordan este topico3. La desautorizacion de lo clasico se hace a traves de alusiones y elusiones sagazmente prosaicas; por ejemplo a Don Quijote no le sirve Virgilio de maestro y guia por los laberintos de la cueva, "Principe de los poetas"; sino un vulgar aldeano llamado El Primo quien es absurdamente erudito, prosaico y superfluo, pero que es comentarista suplementario de las obras de Virgilio. "El primo", ademas no entra al inframundo con Don Quijote, ni es para nuestro caballero, una figura protectora sino al contrario, un escucha irreverente. Si se sigue este relato como contratexto de La divina comedia, se advierte que en lugar de leones o panteras alegoricas que cruzan el camino del poeta; Don Quijote es derribado en el umbral de la cueva por una parvada de cuervos y murcielagos, aves de mal aguero y de baja dignidad poetica. La cueva de Mon- tesinos no es el pais de las sombras y el crujir de dientes sino un amenisimo prado (locus amoenus) bajo la luz y la claridad de un dia permanente. Los habi- tantes de la cueva viven en un mundo epico, pero disociados, no se ven ni se escuchan unos a otros, resultan mutuamente ajenos. Si los personajes de la Di- vina Comedia son pura pasion tragica, los de la cueva son la mueca patetica sin el sentimiento y sin la posibilidad de la comunicacion4. Se muestran anestesiados de tono y acento: Montesinos, Belerma y Duradarte son meros significantes sin significado, mascaras vacias. Realmente en el paralelo con Beatriz Dulcinea no resulta representar a La Divina Providencia sino la necesidad, la indigencia, ya que en la primera ocasion que tiene de dirigirse a Don Quijote, le manda pedir dinero prestado. Dulcinea no es la ayuda sobrenatural ni el ser angelico sino una figura caprina emparentada mas con lo dionisiaco que con lo apolineo. Don Quijote no regresa al mundo mas libre y mas sabio sino en contra de su volun- tad, amarrado y con los ojos cerrados como si durmiera5. Americo Castro en Hacia Cervantes ha advertido que en este episodio "Don 48 Quijote eludio tanto la solucion religiosa como la generica huida al beatus ille"6. Sin embargo, el texto va mas alla en su desconstruccion de los discursos mono- logicos, deja al descubierto senales de carnavalizacion del discurso religioso como sucede en la procesion del "Sagrado Corazon incorruto de Durandarte"7. La viscera pesa "dos libras de carne momi." La parodizacion mas violenta se da cuando Don Quijote desciende al infierno (como es llamado por Sancho Panza) y asciende al tercer dia de entre los muertos: Don Quijote esta jugando con el dis- curso autoritario por excelencia, el dogma. A su ascenso el caballero es de- sautorizado por Sancho Panza y "El primo", quienes atestiguan que solo estuvo alla abajo un poco mas de una hora y no tres dias. Bajtin considera que el discurso poetico es una forma de expresion mono- logica, en este pasaje de la cueva de Montesinos ademas de parodiar los sub- generos liricos de lo bucolico, de lo alegorico-dantesco, de la poesia ascetica, del poema heroico y aun del Romancero viejo, se ironiza al poema epico. En este caso lo antipoetico va dirigido contra Eneas y Ulises como heroes canonicos que bajaron al infierno y salieron al mundo confirmados para una mision trascen- dente y con mayor autoridad ante los demas. Ironicamente es Sancho, el que se quedo en la superficie, quien sera elegido para la tarea epica de gobernar. Esta inmersion psicoanaliticamente representa un intento de busqueda y encuentro con la figura paterna, pero a diferencia de Ulises y de Eneas, Don Quijote fra- casa en el ensayo de armonizarse con el superego y conseguir el equilibrio de los tres estados del yo; de manera que permanece como un sujeto en tension y escindido. En la cueva de Montesinos, ni Don Quijote tiene ninguna ofrenda ritual que hacer a sus antepasados, ni los heroes no ofrecen dones al caballero, sino que esperan favores de el y aun como Durandarte se permiten dudar de su eficacia epica. Ademas, at salir al exterior el discurso de Don Quijote es auto- rizado burlonamente por Sancho Panza y extrapolado absurdamente por "El pri- mo". Otra figura hieratica es la de Orfeo, pues el poder poetico del logos de Don Quijote es ignorado por la dama, quien se niega a oirle y a quien parado- jicamente no puede rescatar porque en esa zona la fuerza del amor y la palabra poetica no tienen validez alguna.
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