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06. Il Genji Monogatari E I Monogatari Post Genji

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06. Il Genji Monogatari E I Monogatari Post Genji IL GENJI MONOGATARI 源氏物語 1008, Murasaki Shikibu 紫式部 STRUTTURA DELL’OPERA Perdita del manoscritto originale, ma circolazione di sezioni dell’opera sin dagli anni di composizione Versione definitiva: Fujiwara no Teika (codice Aobyōshi ): 54 capitoli, prosa e 795 waka • Capitoli 1-41: Hikaru Genji 光 源 氏 (Genji lo splendente) (1-33: giovinezza) • Capitoli 42-54: “eredi” di Genji, Kaoru Chūjō 薫中將 e Niou no miya 匂の宮 (con 3 capitoli di transizione) Non è certo se questi fossero la divisione/ordine originari (n.b.: pratica del “rizoma”) e non certi i titoli STILE: MODELLO PER LA NARRATIVA SUCCESSIVA Uso e nuova codifica del wabun: lingua colloquiale dell’aristocrazia di Heian trasformata in lingua letteraria (vocabolario ristretto ) Uso della poesia (pratica dello hikiuta 引歌) Riferimenti letterari alla narrativa precedente e (limitatamente) alla prosa cinese Come tipico dei monogatari , carattere di katari e molteplicità di punti di vista Uso di forme allusive come “cosa” o “persona” • No nomi e dettagli familiari e facilmente intuibili per il circolo di lettori (interno alla corte) IL MONDO DELLA CORTE HEIAN Mondo rappresentato: circoscritto alla corte in senso geografico e sociale (oltre che linguistico) • Lo spazio è quello della capitale (palazzo imperiale, residenza di Nijō, residenza di Sanjō, Rokujō) • Il “mondo” (yo ) e la “gente” (hitobito ) a cui si fa riferimento nell’opera si identifica con l’aristocrazia di corte. Passato vago (forse, ispirazione a metà X secolo) Quadro del mondo e dell’etichetta della corte (cerimonie, etichetta, costumi; poco accento sulla vita pubblica, eccetto che per le cerimonie sulla distribuzione di cariche, ma si intuiscono gli intrighi) Rappresentazione parziale/scarsa del resto : Quando, raramente, la scena si trasferisce fuori dalla capitale/palazzo imperiale, è in seguito a eventi infausti o negativi (es: Wakamurasaki (5), Suma (12), Ciclo di Uji) Quando, raramente, Genji ha a che fare con personaggi esterni alla corte trova gli elementi di vita quotidiana con cui ha a che fare sgradevoli Riferimenti in toni negativi alla provincia (anche se non esplicitata la minaccia politica) Riferimenti rari e non lusinghieri a non nobili (ladri e briganti, guerrieri di professione…) LA FIGURA DI GENJI Eroe costretto a vivere al di sotto del proprio rango : • Figlio dell’imperatore e di Kiritsubo 桐壺 • Oggetto dell’odio della consorte imperiale Kokiden 弘徽殿 (gelosa per il figlio Suzaku 朱雀) • Morte di Kiritsubo ed estraniamento “protettivo” di Genji dalla linea imperiale (Genji = Minamoto) Superiori doti e bellezza e abilità Esilio come maturazione (Oborozukiyo 朧月夜 e Suma 須磨) Modello di amante ideale GENJI E LA TEMATICA DELL ’AMORE Estraneità di Genji dai gradi più alti della carriera politica: focus sulle relazioni amorose Come per Narihira, amore = rincorsa di un ideale estetico e di un piacere culturale Nel caso di Genji , • La ricerca di un ideale estetico nell’amore si intreccia con la ricerca della madre perduta. • Si violano, in nome dell’amore, l’ordine politico, sociale e morale (come nella vicenda di Fujitsubo ) “Le storie d’amore banali e frivole mal si addicevano alla sua natura; pure vi era in lui una certa tendenza a farsi coinvolgere suo malgrado da ciò che poteva essere fonte di sofferenza e che lo portava talvolta ad agire in modo sconsiderato.” N.B.: Parallelo con il padre di Genji, e il suo legame con Kiritsubo: passione “irragionevole” • Modello: amore dell’imperatore cinese Xuanzong (dinastia Tang, 712-756) per Yang Guifei, causa di guerra civile e rovina Genji esce indenne dal sovvertimento dell’ordine stabilito grazie alle sue qualità superiori PRINCIPALI FIGURE FEMMINILI Centralità delle figure femminili: di svariate personalità, ruotano attorno alla figura di Genji (non sempre corrispondendo ai suoi sentimenti). Fujitsubo 藤 壺 : “complesso di Genji” nei confronti della madre Aoi 葵 e Rokujō 六条: tema della possessione (mono no ke 物の怪), in questo caso da parte di uno spirito vivente (ikiryō 生き霊) Murasaki 紫 N.B.: scarsità di descrizioni fisiche PRINCIPALI FIGURE MASCHILI OLTRE A GENJI Tō no Chūjō 頭の中將 Brano Amayo no shinasadame 雨夜の品定め: descrizione del modello di donna ideale Kaoru Chūjō 薫中將 e Niou no miya 匂の宮 Relazione con Ukifune 浮舟 (la “terza figlia”) e ciclo di Uji 宇 治 , che chiude l’opera con il capitolo Yume no ukihashi 夢の浮橋 N.B.: ideali di bellezza maschile SERIALITÀ/UNITÀ Struttura “seriale ” (episodi relativamente autonomi). Al contempo, però, unitarietà dell’opera • nella figura di Genji, • attraverso un gioco di correlazioni fra i personaggi, ripetizioni e rimandi interni (parallelo fra Genji e suo padre, parallelo fra Reizei e Kaoru, ecc.) Gioco fra tempo lineare e tempo ciclico : metatrama per l’opera. LO SFONDO FILOSOFICO DEL BUDDHISMO Il Buddhismo: Compare in forma “terrena”, nella quotidianità: • Preghiere e cerimonie magico-esorcizzanti • “Ritiro istituzionalizzato” dal mondo Si riflette in idee che compaiono nel testo • Principio del karma e idea di destino (sukuse ), idea di impermanenza • Si intreccia al tema del mono no aware FORTUNA DEL TESTO Popolarità contemporanea del testo : Testimoniata nel Murasaki Shikibu Nikki e nel Sarashina Nikki (però, anche critica in quanto letteratura “inferiore” e non edificante) Influenza sulla letteratura successiva Dopo il periodo Heian , nō , renga e narrativa Tokugawa (l’editoria Tokugawa produsse numerose edizioni dell’opera, di lusso e popolari) Nel ventesimo secolo , traduzioni commentate in giapponese moderno, omaggi/riscritture, versioni a fumetti e in animazione. I MONOGATARI SUCCESSIVI AL GENJI LA FORTUNA DEI MONOGATARI DOPO IL GENJI Nei due secoli successivi al Genji Monogatari , grande successo del genere, dimostrato da • Testimonianze dell’epoca, come il Mumyōzoshi , • Diffusione di pratiche come i monogatari awase N.B.: affermarsi di standard critici , riflessi nei giudizi letterari del Mumyōzoshi • Riduzione al minimo degli elementi sovrannaturali • Valore dato alla capacità del testo di suscitare emozioni (mono no aware ) • Importanza assegnata all’uso delle poesie nel testo I GIKO MONOGATARI 擬古物語 “Monogatari di imitazione” (non passiva) Partendo dai motivi presenti nel Genji, rielaborazione originale (parallelo con la pratica dello honkadori 本歌取り): tensione fra modello classico (ga ) e novità (zoku ), con progressione da maggiore a minore influenza del Genji • Reintroduzione di elementi fantastici • Minore approfondimento psicologico • Elementi carnali dell’amore • Elementi comici Testi che testimoniano questa evoluzione Hamamatsu Chūnagon Monogatari 浜松中納言物 語 (Storia del secondo consigliere di Hamamatsu): Torikaebaya monogatari とりかへばや物語 (Storia dei ruoli scambiati) Tsutsumi Chūnagon Monogatari 堤中納言物語 (Storie del secondo consigliere di Tsutsumi) TSUTSUMI CHŪNAGON MONOGATARI Dieci racconti brevi di autori vari (fine Heian/inizio Kamakura) Attribuzione certa solo per Ōsaka koenu gonchūnagon (Il vice consigliere di mezzo che non superò la barriera degli incontri), alla dama di corte Koshikibu • Altri racconti: probabilmente autrici femminili, tranne che per quelli più spiccatamente comici: Mushi mezuru himegimi (La principessa che amava gli insetti) e Yoshinashigoto (Quisquilia) N.B.: forse, intervento “uniformatore” della compilatice (per presenza di continuità stilistica: kaimami , commento iniziale e finale…) Elementi di continuità con il passato: Assenza di elementi fantastici Poesie e allusioni letterarie Centralità della tematica amorosa Concentrato soprattutto sul mondo della corte Elementi di novità : Brevità (normalmente, focus su un evento o motivo preciso) Maggiore varietà di situazioni e maggiore realismo Presenza di elementi comici, in particolare in Mushi mezuru himegimi I REKISHI MONOGATARI Monogatari basati sulla narrazione di fatti storici Genji Monogatari e giko monogatari : coesistenza dell’elemento realistico (ambientazione) e dell’elemento di fiction (personaggi) Rekishi monogatari : maggiore spazio all’elemento realistico Includono • Eiga Monogatari 栄花物語 • Ōkagami 大鏡 EIGA MONOGATARI (XI SECOLO) 40 maki , autore sconosciuto In ordine cronologico, dall’887, genealogie della famiglia imperiale e dei Fujiwara • Racconto di cerimonie ed eventi di vita quotidiana • Aneddoti legati alla corte • Descrizioni fisiche/psicologiche di personaggi Figura centrale: Fujiwara Michinaga (966-1027), Figura idealizzata Valore come opera storiografica ? Carenza di attendibilità e narrazione dei fatti, senza approfondire il rapporto di causa-effetto fra gli eventi ŌKAGAMI (XI-XII SECOLO) 6 maki , autore: sconosciuto Dialogo fra due ultracentenari e alcuni giovani che chiedono loro del passato Narra, con taglio biografico, il regno di 14 imperatori ed ex imperatori e 20 Fujiwara Rilevanza a Fujiwara no Michinaga Maggiore sforzo di interpretazione : storia vista come uno specchio (kagami ), da osservare e interpretare No critica dei Fujiwara, ma rappresentazione psicologica più originale e meno idealizzata. Sfaccettature nuove dell’aristocrazia.
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