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Les Onze Mille Verges O Il Nuovo Sade. Guillaume Apollinaire Éditeur Del

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Les Onze Mille Verges O Il Nuovo Sade. Guillaume Apollinaire Éditeur Del Dipartimento di Filologia, Letteratura e Linguistica Corso di Laurea Magistrale in Letterature e Filologie Europee Tesi di laurea in Letteratura francese Les onze mille verges o il nuovo Sade. Guillaume Apollinaire éditeur del Divin Marchese RELATORE Prof. Gianni Iotti CORRELATORE Prof.ssa Hélène de Jacquelot du Boisrouvray CANDIDATA Jessica Chia 1 A me stessa: un giorno incontrata sulla strada del Nord, a cui ho voluto regalare la limpidezza dell'incertezza, la sicurezza nell'accettarla. A voi: per avermi mostrato l'appoggio inesauribile di chi non mi abbandonerà mai e per avermi donato la libertà della scelta. E poi a te, che sei il mio Conte. Per avermi riempito la vita. 2 Vien da pensare che sia tutto intriso di sperma e di lacrime. (Pavese C., Schiuma d'onda in Dialoghi con Leucò) 3 Sommario Introduzione ...................................................................................................... 6 Capitolo I ......................................................................................................... 15 De Sade: l'uomo, il reietto, l'eletto, il divino. Breve storia della sua interpretazione critica .................................................................................... 15 1.1 Nuovi paradigmi storici e ideologici tra XVII e XVIII secolo .............. 17 1.2 Il romanzo libertino: la persecuzione della virtù in tinte noir ................ 28 1.3 Donatien-Alphonse-François: l'uomo..................................................... 41 1.4 La leggenda. «Come farla quest’analisi di sangue e di fango?» ............ 73 Capitolo II ....................................................................................................... 91 La purificazione del Marchese ...................................................................... 91 2.1 Guillaume Apollinaire profeta di una nuova ricezione .......................... 91 2.2 La divinizzazione: il Surrealismo ......................................................... 105 Capitolo III ................................................................................................... 134 La discesa agli inferi: Apollinaire presenta la sua antologia sadiana ...... 134 3.1 L'edizione delle opere infernali ............................................................ 138 3.2 Justine e Juliette: i due volti del caos sadiano ...................................... 145 4 3.3 Libertini, encore un effort! ................................................................... 162 3.4 «L'incesto non è che una sorpresa di vocabolario» .............................. 174 Capitolo IV .................................................................................................... 185 L’erotismo sadiano di Apollinaire ............................................................... 185 4.1 L’espressione del desiderio e dell’erotomania in Apollinaire .............. 190 4.2 L’amore carnale nelle opere in prosa di Guillaume .............................. 200 a. L’odor di femina e il Don Juan ........................................................... 202 b. La “Passione” di un hospodar ............................................................ 210 Conclusioni .................................................................................................... 218 Bibliografia ................................................................................................... 223 5 Introduzione Au-delà de toi, au-delà de moi, par le corps, dans le corps, au-delà du corps, nous voulons voir quelque chose. Ce quelque chose est la fascination érotique, ce qui me tire hors de moi et me porte vers toi: ce qui me fait aller au-delà de toi. Nous ne savons pas de science certaine ce que c'est, sauf que c'est quelque chose qui est plus. Plus que l'histoire, plus que le sexe, plus que la vie, plus que la mort. (Paz O., Un au-delà érotique: le marquis de Sade)1 Donatien-Alphonse-François comte de Sade, Guillaume Albert Vladimir Alexandre Apollinaire de Kostrowitzky. Due nomi, due volti, due secoli lontani, due vite agli antipodi, due trame letterarie che potrebbero non incrociarsi mai. Se non fosse per la passione peculiare da parte di quest'ultimo per quelle lettere dannate, condannate agli inferi, per quella dedizione verso una vera e propria bibliothèque de l'enfer che lo ha condotto sulle tracce del Marchese. Ecco in che modo due autori così lontani si sono incontrati in questo progetto di ricerca; progetto che parte oggettivamente dalla figura del Marchese di Sade, con un'attenzione particolare all'aspetto della sua ricezione e alla critica letteraria corrispondente al periodo del Surrealismo, per sfumare verso un accenno all’interpretazione di fine XX secolo. Dopo questa premessa introduttiva, sarà poi lo sguardo apollinairiano a portare avanti il discorso sul Marchese, la divinizzazione che ad egli consacrò e la sua lettura critica che ha lasciato in eredità in una raccolta dedicata, appunto, ad una scelta di autori immorali. 1 1 Paz O., Un au-delà érotique: le marquis de Sade, trad. fr. Masson J.-C., Éditions Gallimard, Paris, 1994, p. 28. 6 Il soggetto di questa tesi si prefigge dunque di penetrare nel mondo della ricezione sadiana, cogliendone problematiche letterarie, etico-filosofiche e storico-politiche per cercare di attuarne una riflessione sull'assimilazione della sua eredità. Tale ricezione, sensibilmente mutata nei secoli attraverso picchi d'interesse e costanti censure, ha iperbolizzato il suo destino. Come già asserito il termine nodale di paragone è rappresentato da uno scrittore quale Apollinaire perché fu proprio il primo a portare ad un cambiamento nella storia della ricezione di Sade, venendone a sua volta conseguentemente influenzato, nello spirito e nella penna. Il poeta, precursore del Surrealismo e iniziatore del mito del Divin marchese, sarà presentato come voce di riferimento per l’opera sadiana, percorrendo una critica binaria ai testi dello scrittore di Justine scelti e curati dallo stesso Apollinaire nella sua raccolta pubblicata per la «Bibliothèque des Curieux» e dedicata a L'œuvre du marquis de Sade, nella quale egli si prodiga di riportare e commentare parti significative di alcuni suoi romanzi. Si perverrà dunque a delineare un “Sade apollinairiano” cercando di capire quali dei tanti Sade Apollinaire abbia regalato al futuro pubblico surrealista, rendendolo inconsapevolmente il nuovo mito a baluardo di una nascente “psicopatologia sessuale del surrealismo”: un Sade pornografo? Rivoluzionario? Psichiatrico? Un uomo del suo tempo scagliato contro il suo tempo? Nel secolo in cui il discorso psicopatologico regna, Apollinaire e i surrealisti sono stati i primi a proclamare la sua opera come capitale, assegnandole lo statuto supremo di opera letteraria, definizione 7 fino ad allora negatale. La sola maniera per farlo accettare fu quella di presentare i suoi testi come documenti: in questo modo Apollinaire lo presenta al pubblico, corredando l'opera del Marchese di note e commenti, diritto accordato ad ogni testo facente parte al mondo delle lettere. Oggi sappiamo che Sade ci ha lasciato un'eredità importante: dobbiamo leggerlo perché è uno dei tanti specchi che ci sono dati per conoscere noi stessi, perché il divin marchese «est spécialiste de la maladie mortelle»2. Malgrado le ambiguità della vita dello scrittore, malgrado il disagio che la sua opera ha sempre generato, qualcosa di assolutamente inedito ci è giunto tramite la sua “elegante trivialità”; anticipatore assoluto di Freud, egli è riuscito a penetrare nella melma dell'inconscio umano, portandone alla luce le più comuni abiezioni. Profondamente ateo, testimone scomodo della Rivoluzione, sostenitore di una libertà morale e sociale che andava al di là della visione che il suo tempo potesse concepire, egli ha sempre rifiutato limiti di censura e filtri di morale, mettendo a nudo quegli aspetti di un'umanità scomoda da riconoscere. Andando oltre il ruolo di libertino è riuscito a infastidire e a toccare antri e coscienze attentando alle fondamenta di terreni morali ben saldi, ben oltre le prospettive morali tracciate dal Grand siècle e dal secolo dei Lumi. Questa ricerca terminerà infine su un aspetto trasversale alla critica sadiana, poiché lo studio proseguirà al seguito delle opere erotiche di Apollinaire. Pur limitandoci ai suoi due romanzi più esplicitamente 2 Intervista rilasciata dal docente M. Philippe Roger, direttore di studi all'EHESS di Parigi e direttore di ricerca presso il CNRS; studioso di Sade ed autore di numerose opere ed articoli, tra cui: Sade. La philosophie dans le pressoir, Éditions Grasset et Fasquelle, Paris, 1976. 8 “pornografici”, Les onze mille verges ou les amours d’un hospodar e Les exploits d’un jeune Don Juan, verranno presentati tutti quei rimandi e quelle influenze sadiane, cercando di cogliere gli aspetti presenti di osmosi letteraria e ideologica tra i due autori. Sarà esclusa da questa sede l’opera poetica di Apollinaire perché, pur essendo consistentemente ricca di latenze sadiane e di linfa erotica, meriterebbe un discorso a sé stante e un approccio di lavoro differente. Saranno comunque prese in considerazione le ricorrenze erotiche principali presenti nella sua poesia, quelle ossessioni e quelle devianze passionali che rimandano a un contesto inconscio sadico e violento. La metodologia adottata ha privilegiato il piano tematico e quello dell’analisi intertestuale, nel tentativo di gettare un ponte tra le sponde letterarie di questi due autori, accomunati da un sadismo latente che Edmond Jaloux ha definito come «un des ferments les plus naturels
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