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Entre Ombre Et Lumière : Les Voix Féminines Dans Les Métamorphoses

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Entre Ombre Et Lumière : Les Voix Féminines Dans Les Métamorphoses Entre ombre et lumière : les voix féminines dans les Métamorphoses Hélène Vial Fondée sur l’articulation entre les passions des âmes et les métamorphoses des corps, l’esthétique des Métamorphoses d’Ovide délivre à la fois une vision audacieuse du monde et une conception neuve de l’entreprise poétique, le texte ovidien étant investi d’une très forte dimension réflexive due notamment à la correspondance exacte entre son sujet, la métamorphose, et sa forme, une écriture de la variation1. Or, la densité métalittéraire du poème est particulièrement grande dans les passages où se trouvent associés deux motifs qui constituent le sujet même du présent volume : celui de la voix et celui de la féminité. D’une part, la question de la voix est centrale dans les Métamorphoses ; d’autre part, les mythes féminins y sont très nombreux et d’une grande richesse symbolique ; et quand le poète relie l’une aux autres, la voix féminine apparaît dotée d’une capacité particulièrement saillante « à être inductric[e] de poésie », comme le disait l’appel à communication du séminaire qui a donné naissance à ce livre2, autrement dit à faire signe vers l’écriture et à parler du projet poétique dans son entier. C’est cette capacité qui constitue l’objet de mon analyse : dans la foule des silhouettes mythiques qui traversent les Métamorphoses et dont la voix nous est donnée à entendre, y a-t- il une spécificité féminine ? Et plus précisément, que nous disent sur la conception ovidienne de la poésie les paroles prononcées par ces figures féminines de l’ombre et du mystère3 que le labyrinthe de mots4 des Métamorphoses abrite en ses replis comme autant d’incarnations de sa propre « grammaire fantasmatique »5, de cette « équivalence […] entre écriture et passion »6 qui le constitue tout entier ? Que nous disent, aussi, les atténuations voire les silences de ces voix, où vient souvent se concentrer la teneur métapoétique de l’épisode concerné ? Avant de tenter de répondre à ces questions en abordant successivement trois grands types de figures mythiques présentées dans l’ordre croissant de leur capacité explicite à incarner l’activité poétique – les amoureuses, les magiciennes, les poétesses –, je souhaiterais en évoquer une qui me semble surplomber et éclairer toutes les autres : la Renommée (en latin Fama)7, instance féminine qu’Ovide décrit – ou plutôt dont il décrit la demeure, car elle- même ne prend pas corps – au début du livre XII, alors qu’elle est sur le point de propager la nouvelle de la guerre de Troie : Il est au milieu de l’univers, entre la terre, la mer et les régions célestes, sur les limites de ces trois mondes, un lieu d’où l’on voit tout ce qui se passe dans tous les pays (unde quod est usquam […] inspicitur), même les plus éloignés, et où toutes les voix pénètrent dans les oreilles prêtes à les recevoir (penetratque cauas uox omnis ad aures). C’est là qu’habite la Renommée. Elle a choisi, pour y établir 1 Cf. à ce sujet H. Vial, La Métamorphose dans les Métamorphoses d’Ovide. Étude sur l’art de la variation, Paris, Les Belles Lettres, « Études anciennes », 2010. 2 http://celis.univ-bpclermont.fr/spip.php?article417. 3 Je fais ici allusion à l’intitulé de la séance du séminaire dans laquelle a pris place ma communication : « Figures de l’ombre et du mystère ». 4 Cf. dans les Métamorphoses (titre abrégé infra sous la forme Mét.) l’image du labyrinthe de Crète, métaphore possible du poème lui-même (VIII, 157-168). 5 L’expression est de R. Galvagno, Le Sacrifice du corps. Frayages du fantasme dans les Métamorphoses d’Ovide, Paris, Panormitis, 1995, p. 389. 6 J. Fabre-Serris, Mythe et Poésie dans les Métamorphoses d’Ovide. Fonctions et Significations de la mythologie dans la Rome augustéenne, Paris, Klincksieck, 1995, p. 398. 7 Je renvoie sur ce personnage – car c’en est un à part entière – à l’étude récente et magistrale de P. Hardie, Rumour and Renown. Representations of “Fama” in Western Literature, Cambridge - New York, Cambridge University Press, « Cambridge Classical Studies », 2012, et en particulier au chapitre 5 (« Fama in Ovid’s Metamorphoses »), p. 150 et suivantes. sa résidense, un somme élevé (summa […] in arce) ; elle a fait percer autour de sa demeure des avenues innombrables (innumeros […] aditus), mille ouvertures diverses (mille foramina) ; mais il n’y a pas une seule porte pour en fermer l’accès ; nuit et jour cette demeure est ouverte (patet). Elle est tout entière d’un bronze sonore ; tout entière elle vibre (tota fremit), elle renvoie les paroles (uoces […] refert) et répète ce qu’elle entend (iterat […] quod audit). À l’intérieur pas un coin où règnent le calme et le silence. Pourtant ce ne sont point des cris, mais de sourds murmures (paruae murmura uocis), semblables à ceux de la mer, entendus de loin, ou aux derniers grondements que produit le tonnerre, lorsque Jupiter a entrechoqué les sombres nuages. Toute une foule (turba) se presse dans l’atrium ; un peuple léger (leue uulgus) y va et vient ; mille fausses nouvelles (commenta […] milia rumorum) y circulent en tous sens, mêlées aux vraies, et on entend rouler des paroles confuses (confusa […] uerba). Parmi ces rumeurs les unes remplissent de leurs récits (sermonibus) les oreilles des oisifs, les autres colportent ailleurs ce qui se dit (narrata) ; les mensonges (ficti) vont en croissant et tout conteur nouveau qui garantit la vérité (nouus […] auctor) de ce qu’il a appris y ajoute quelque chose. Là résident la Crédulité, l’Erreur téméraire, la Fausse Joie, la Terreur à l’air consterné, la Sédition prompte à se déchaîner, les Chuchotements d’origine douteuse. La Renommée voit par elle-même tout ce qui s’accomplit (Ipsa, quid […] geratur […] uidet) dans le ciel, dans la mer et sur la terre ; elle surveille l’univers entier (totum […] inquirit in orbem)8. Nous sommes ici dans la maison des voix ; mais Fama elle-même ne parle pas : elle accueille dans cet espace complètement ouvert « toutes les voix » (uox omnis) et leur sert de caisse de résonance en même temps que de zone de passage. Mais elle est d’une nature autant « panoptique » que « panphonique » : tour de contrôle visuelle et sonore où règnent confusion et illusion, elle diffuse une sourde angoisse que vient confirmer l’évocation finale des sinistres habitants des lieux, porteurs de tous les malheurs humains. L’interprétation métapoétique de cette description est tentante. Peut-on y lire une image des innombrables instances narratives qui se rencontrent dans le poème9 ? Un commentaire interne sur la réception et la réécriture par Ovide des œuvres épiques antérieures10 ? J’y vois plus largement un abrégé du poème, avec sa foule mouvante et instable des personnages qui le traversent et l’animent, faisant de lui un monde à part entière, ouvert à toutes les influences et en même temps complètement singulier, monde dominé par l’illusion et où seules ont une incontestable réalité les passions, les souffrances dont elles s’accompagnent et les métamorphoses qu’elles provoquent– passions, souffrances et métamorphoses dites dans une langue aussi visuelle qu’auditive. Je vois également dans la demeure de Fama une incarnation singulièrement forte du sujet qui m’intéresse ici : la capacité des voix féminines – et en particulier de celles des marges11, entourées d’ombre et de mystère –, à parler de ce qu’est pour Ovide la poésie. Ces voix sont d’abord celles de certaines des nombreuses amoureuses que comptent les Métamorphoses – et, par amoureuses, j’entends toutes celles qui se trouvent prises dans une passion amoureuse ou érotique, qu’elle soit la leur ou celle d’autrui. Je laisserai de côté la première d’entre elles, Daphné, qui au livre I se métamorphose en laurier pour échapper à la poursuite d’Apollon et qui, ayant perdu sa forme et sa voix humaines, incline ses branches et agite sa cime pour signaler au dieu qu’elle accepte de devenir le symbole de la gloire 8 Mét., XII, 39-63. Les textes latins et leurs traductions sont, dans l’ensemble de cet article, ceux de la « Collection des Universités de France » (Paris, Les Belles Lettres). Pour les Métamorphoses, il s’agit de l’édition de G. Lafaye (t. I : édition revue et corrigée par J. Fabre, 2007 [1ère édition 1925] ; t. II : édition revue et corrigée par H. Le Bonniec, 2008 [1ère édition 1928] ; t. III : édition revue et corrigée par H. Le Bonniec [1ère édition 1930]). Pour limiter la taille de cet article, les extraits longs seront donnés en traduction, les mots ou expressions latins les plus importants étant ajoutés entre parenthèses. 9 Cf. notamment, sur la question des voix narratives dans les Métamorphoses, A. Barchiesi, « Voci e istanze narrative nelle Metamorfosi di Ovidio », MD, 23, 1989, p. 55-97. 10 Cf. G. Tissol, The Face of Nature. Wit, Narrative, and Cosmic Origins in Ovid’s Metamorphoses, Princeton, Princeton University Press, 1997, p. 85. 11 Et la demeure de Fama, même si elle située « au milieu de l’univers » (Orbe […] medio, Mét., XII, 39), est bien un lieu marginal, puisqu’elle se trouve « sur les limites [d]es trois mondes » terrestre, marin et céleste (triplicis confinia mundi, ibid., XII, 40). poétique12. Il n’y a en effet ni ombre ni mystère dans ce récit, si ce n’est que Daphné rejoint par le sacrifice de son corps13 un monde qu’au livre X Ovide définira, par la bouche d’un autre personnage féminin, Myrrha, comme une marge absolue et énigmatique, le monde des ni morts ni vivants : ne uiolem uiuosque superstes / mortuaque extinctos, ambobus pellite regnis / mutataeque mihi uitamque necemque negate14.
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