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02. Letteratura Del Periodo Nara

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02. Letteratura Del Periodo Nara IL PERIODO NARA (710- 784) LA SOCIETÀ DI PERIODO NARA Imperatore Famiglia imperiale Aristocrazia kuge Kannin (Funzionari) Sudditi liberi (ryōmin) Gli hyakushō (lett., “persone dai molti diversi cognomi”, ovvero le persone comuni) Sudditi non liberi ( senmin) IL MONDO CULTURALE DI NARA http://www.ancientworlds.net/aw/Places/District/1080788 Tōdaiji di Nara Daibutsu di Nara, inaugurato nel 752 d.C. Shōsōin di Nara PRODUZIONE LETTERARIA DI PERIODO NARA PROSA: [Fudoki (風土記 713-723 ca.); cinese (soprattutto), sino-giapponese] Kojiki (古事記 712); sino -giapponese Nihongi (o Nihon Shoki 日本書紀 720); cinese POESIA (in sino-giapponese) : Man’yōshū (万葉集 dopo il 759) KOJIKI (712) E NIHONGI (O NIHON SHOKI, 720) ELEMENTI COMUNI DELLE DUE OPERE Scopo : glorificazione del passato “giapponese” e legittimazione del potere imperiale Coronamento ideologico dell’opera di riforma Ispirazione fondamentale : tradizione autoctona e Shintō Nel caso del Nihongi , importante peso dell’influenza cinese a livello stilistico KOJIKI 古事記 “Io ho udito che le cronache imperiali e le parole d’origine che si trovano in tutte le famiglie, non sono conformi alla verità e contengono molti errori. Se non si correggono questi errori nel tempo attuale, non passeranno molti anni che la verità andrà distrutta. Ciò non è altro che la trama della nazione, la gran base del governo del re. Perciò ho pensato così: scegliendo e annotando le successioni imperiali, investigando le parole antiche, cancellando la falsità, stabilirò la verità per tramandarla alle epoche che verranno.” Prefazione in cinese di Ō no Yasumaro Fonti: • Fonti ufficiali precedenti, non sopravvissute: Teiki (Cronaca degli imperatori) e Kuji (Avvenimenti antichi), VI secolo • Fonti orali, anche locali Lingua: sino-giapponese (kanji con uso fonetico e semantico) “Nei tempi antichi farsi intendere parlando era semplice. Come mettere le parole per iscritto resta un dilemma. Se i caratteri li si usa per quello che significano, nel narrare i vocaboli non toccano le nostre corde più intime, ma se li si asserve tutti alle sonorità della lingua il testo si fa troppo lungo. Per cui ho scelto talora di mescolare nella stessa frase caratteri usati per quello che significano con caratteri usati per esprimere i suoni, talora di scrivere soltanto con caratteri usati per quello che significano.” Prefazione in cinese di Ō no Yasumaro Primo volume: kamiyo o jindai 神代 Secondo volume: 15 sovrani leggendari , a partire dal “mitico” fondatore del Giappone, Imperatore Jinmu (660 a.C. ) fino al 300 d.C. ca. Terzo volume: imperatori “storici”, dal 300 d.C. fino al VII secolo NIHON SHOKI 日本書紀 “Storia del Giappone”, dalle origini al 697, in 30 volumi Considerato la prima autentica opera storiografica (non interpretativa) giapponese Modello : storiografie cinesi Prima opera del corpus dei Rikkokushi 六国史. Diversità rispetto al Kojiki : Diversità linguistica Diversità di intenti Diversità di posizione all’interno del canone letterario giapponese POESIA IN GIAPPONESE IN PERIODO NARA WAKA 和歌 (vs SHI 詩) Waka come poesia giapponese (yamato 大和 + uta 歌) Waka come tanka (misoshitomoji 三十一文字: 5-7-5-7-7) Altri tipi di metro Chōka 長歌 (“poesia lunga”) • Numero di versi indeterminato con alternanza 5757 … e chiusura in 577 • Le poesie più recenti in questo metro sono normalmente seguite dallo hanka , un tanka che compendia il tema del chōka Sedōka 旋頭歌 (“poesia che torna a capo”) • In origine, canto dialogico o recitativo fra due persone • Due emistichi con schema 577577 CARATTERISTICHE DEL WAKA Metro : unica regolarità Suddivisione in ku (kami no ku 上の句: 5-7-5; shimo no ku 下の句: 7-7) Kotobagaki Figure retoriche Alcune tipiche anche della nostra tradizione retorica (anastrofe, metafora, interrogazione retorica…) Altre specifiche della poesia giapponese (jokotoba , makurakotoba, kakekotoba, engo ): alcune si perdono dopo il periodo Nara, altre si affermano dopo JOKOTOBA 序言葉 Frase/formula introduttiva Con legame semantico (ushin no jo 有心の序) • Aki no ta no/ ho no he ni kirau/ asakasumi/ izue no kata ni / waga koi yamamu • Nel campo d’autunno/ la bruma mattutina/ avvolge le spighe/ In quale direzione / il mio amore andrà ad estinguersi? Con legame fonetico (mushin no jo 無心の序) • Ad es., la formula “kaze fukeba/ okitsu shiranami/ tatsu” (quando soffia il vento/ le bianche onde/ si levano al largo) usata per modificare il toponimo Tatsutayama (monte Tatsuta) MAKURAKOTOBA 枕詞 Parole introduttive (simile al jo ma più breve) In periodo Nara, spesso l’associazione è ormai stereotipata ed è difficile individuarne l’origine. Es.: • Hisakata no (“lontano”) è tipicamente associato a sora , kumo , hikari , ecc … -> associazione comprensibile • A yama si antepone invece spesso ashikiki no , il cui significato è andato perduto Non è normalmente necessario per la comprensione dell’enunciato: caratterizzazione espressiva KAKEKOTOBA 掛詞 “Parola perno ”: parola che assume un doppio significato, giocando su una omofonia e funge da legame Es.: “matsu ”, usato con il doppio significato di “pino” e “aspettare” • Hototogisu/ hito matsuyama ni/ nakunakereba (“Quando si sente cantare il cuculo sul monte Pino, dove si aspetta l’amato) Altro es.: mikokoro o yoshino “La Maestà predilige Yoshino” con gioco sul toponimo “Yoshino” e il verbo yosu (“prediligere”) ENGO 縁語 Consiste nell’inserire nel componimento termini che si rimandano fra loro dal punto di vista semantico, spesso giocando con sinonimi e ambiguità Ad es ., inserire in un componimento termini che rimandano a una ambientazione invernale come “ghiaccio”, “svanire”, “sciogliersi”, suggerendo però che si riferiscano a una storia d’amore infelice LA POESIA GIAPPONESE ARCAICA Prime poesie prodotte in giapponese: • Kiki kayō 記紀歌謡 (circa 190) • Poesie dei Fudoki (circa 20) Origine nell’ oralità Contenuti : • Ispirazione magico/religiosa • Narrazione di vicende umane, esperienze e momenti di vita • Ancora assente il tema della natura • Ancora non usata come espressione lirica di sentimenti individuali (anche le poesie d’amore, sono legate agli utagaki ) Fra i più celebri kiki kayō , ce n’è uno di Yamato Takeru: • Yamato wa/ kuni no mahoroba/ tatanazuku/ aokaki/ yamagomoreru/ yamato shi uruwashi • Yamato,/ la più mirabile tra le province,/ le montagne ti congono/ verde recinto/ continuo/ ah, il bel Yamato ! Primo waka , secondo la tradizione, è sempre un kiki kayō : • Yatsumo tatsu/ Izumo yaegaki/ tsumagomi ni/ yaegaki tsukuru/ sono yaegaki o • Un ottuplice recinto a Izumo/ dove le otto nubi si levano/ per ritirarmi con mia moglie/ un ottuplice recinto formano/ ah, quell’ottuplice recinto! IL CONCETTO DI KOTODAMA 言霊 Idea del potere performativo della parola Concetto antropologico, ma possibile riflesso anche nelle caratteristiche stilistiche della poesia: abbondanza di jo e makurakotoba Il kotodama è menzionato esplicitamente in alcuni componimenti anche più tardi, ad esempio quello nel Man’yōshū di Kakinomoto no Hitomaro Shikishima no/ Yamato no kuni wa/ kotodama no/ tasukuru kuni zo/ masakiku ari koso Il paese/ di Yamato/ è il paese/ soccorso dal kotodama:/ possa essere prospero! IL MAN’YŌSHŪ 万葉集 Prima raccolta, non ufficiale, in sino-giapponese Lingua: man’yōgana 万葉仮名 Dopo il 759 (attribuito a Ōtomo no Yakamochi) Circa 4500 poesie in 20 volumi (oltre 500 autori identificati) Eterogeneità metrica : • tanka 短歌 o waka 和歌 (dominante) • chōka 長歌 • sedōka 旋頭歌 • Metri irregolari Eterogeneità tematica (senza preciso ordine) • zōka 雑歌 (“poesie varie”) • sōmonka 相 聞 歌 (“poesie di mutua comunicazione”) • banka 挽歌 (“elegie”) Eterogeneità degli autori: incluse anche poesie di gente comune Ne esistono di vari generi e di autori disparati (persino contadini) In alcuni casi, pur trattandosi di poesie anonime, vi si possono individuare delle personalità poetiche Fra le più celebri, si annoverano le azumauta 東 歌 e sakimori uta 防人歌 • Dubbi di attribuzione PRINCIPALI SEZIONI CRONOLOGICHE DEL MAN’YŌSHŪ Primo periodo (629-672) Autori: soprattutto membri della famiglia imperiale (in alcuni casi attribuzione a imperatori leggendari) Passaggio dalla poetica impersonale e collettiva dei kiki kayō a una poesia “lirica” (espressione di sentimenti) Introduzione in poesia dell’elemento naturalistico (non più solo come elemento animistico o magico, ma estetico) Quando arriva la primavera/ non più prigioniera dell’inverno/ gli uccelli che non cantavano/ tornano a cantare / i fiori che non sbocciavano /sbocciano ma/ i monti sono così folti /che se ci si inoltra non riusciamo a cogliere i fiori/ l’erba è così alta e invadente/ che se li cogliamo non riusciamo a vederli bene / Ma quando guardiamo le foglie/ dei monti in autunno/ raccogliendo quelle gialle/ le apprezziamo/ lasciando sui rami quelle verdi/ sospiriamo/ avrei da ridire solo su quest’ultima cosa/ ma, io, preferisco i monti in autunno! Principessa Nukata Secondo periodo (673-710): Allargamento delle tematiche trattate (anche attraverso le influenze della letteratura cinese) Introduzione della poesia celebrativa Metrica più regolare Arricchimento degli espedienti retorici Emergere di poeti professionisti Periodo di Kakinomoto no Hitomaro , considerato il più grande poeta della raccolta: specializzato nel chōka , produsse componimenti su varie tematiche • Elegie • Poesie di carattere privato • Poesie di viaggio Quando, vibrante come arco di catalpa, sentii la notizia/ non sapevo che dire/ non sapevo che fare/ non riuscendo ad acquietarmi/ al solo suono di quella notizia/ e pensando almeno/ la millesima parte/ del mio dolore/
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