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06. Il Genji Monogatari E I Monogatari Post Genji

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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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  • The Tale of Genji” and Its Selected Adaptations

    The Tale of Genji” and Its Selected Adaptations

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Anna Kuchta Instytut Filozo!i, Uniwersytet Jagielloński Joanna Malita Instytut Religioznawstwa, Uniwersytet Jagielloński Spirit possession and emotional suffering in „The Tale of Genji” and its selected adaptations. A study of love triangle between Prince Genji, Lady Aoi and Lady Rokujō Considered a fundamental work of Japanese literature – even the whole Japanese culture – !e Tale of Genji, written a thousand years ago by lady Murasaki Shikibu (a lady-in-waiting at the Imperial Court of the empress Shōshi1 in Heian Japan2), continues to awe the readers and inspire the artists up to the 21st century. %e amount of adaptations of the story, including more traditional arts (like Nō theatre) and modern versions (here !lms, manga and anime can be mentioned) only proves the timeless value and importance of the tale. %e academics have always regarded !e Tale of Genji as a very abundant source, too, as numerous analyses and studies have been produced hitherto. %is article intends to add to the perception of spiri- tual possession in the novel itself, as well as in selected adaptations. From poems to scents, from courtly romance to political intrigues: Shikibu covers the life of aristocrats so thoroughly that it became one of the main sour- ces of knowledge about Heian music3. Murasaki’s novel depicts the perfect male, 1 For the transcript of the Japanese words and names, the Hepburn romanisation system is used. %e Japanese names are given in the Japanese order (with family name !rst and personal name second).