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Histoires Naturelles De Jules Renard Y Maurice Ravel

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Histoires Naturelles De Jules Renard Y Maurice Ravel UNA OBRA, DOS ENFOQUES: "HISTOIRES NATURELLES DE JULES RENARD Y MAURICE RAVEL MA DEL CARMEN BROTÓNS BERNAL COVADONGA GRIJALBA CASTAÑOS Universidad de Almería RESUMEN Bajo el título de Histoires Naturelles confluyen dos campos artísticos complementarios: literario y musical. El estudio que sigue analiza las características que determinan el estilo propio del autor del texto, Jules Renard (1864-1910), aplicado al conjunto de los retratos de animales presentados como protagonistas y, en especial, a los cinco pasajes o historias que fueron objeto de tratamiento musical por Maurice Ravel (1875-1937). La captación fiel del espíritu original de Renard, que fue capaz de inspirar a un compositor de la talla de Ravel se traduce en la perfecta adecuación palabra-música y pone en evidencia que la rela- ción entre diversas manifestaciones del mundo del arte y de la cultura es siempre fecunda y enriquecedo- ra. El análisis de la obra musical y de su interpretación vocal completan el trabajo. Ambos autores pueden además tener un referente considerados desde la óptica de relación con nuestro país. Palabras clave: Jules Renard, crítica literaria, Maurice Ravel, crítica musical, interacciones artísticas. RÉSUMÉ Sous le titre Histoires Naturelles convergent deux champs artistiques complémentaires: littéraire et musical. L'étude fait l'analyse des caractéristiques qui déterminent le style propre de l'auteur du texte, Jules Renard (1864-1910), appliquée à l'ensemble des portraits d'animaux présentés comme protagonis- tes et spécialement des cinq passages ou histoires qui ont été l'objet de traitement musical par Maurice Ravel (1875-1937). Le saisi fidèle de l'esprit original de Renard, capable d'inspirer un compositeur de la taille de Ravel se traduit dans une parfaite adéquation mot-musique et met en évidence que la relation entre les diverses manifestations du monde de l'art et de la culture est toujours féconde et enrichissante. L'analyse de l'oeuvre musicale et de son interprétation vocale complètent le travail. Les deux auteurs peu- vent, aussi, avoir un référent considérés dès l'optique de relation avec notre pays. Mots-clés: Jules Renard, critique littéraire, Maurice Ravel, critique musicale, intéractions artistiques. ABSTRACT Two artistic complementary fields, literary and musical, converge under the title Histoires Naturelles. The following essay analyses the main features which determine the author's own style, Jules Renard (1864-1910), applied to the collection of animal portraits, presented as characters and, specially, to the five passages or histories that received a musical treatment by Maurice Ravel (1875-1937). The accu- rate comprehension of Renard's original spirit, which was able to inspire such a great composer as Ravel, is shown in the perfect fitting word-music, and makes evident that the relationship among different expres- sions of the worlds of art and culture is always fecund and enriching. The analysis of the musical work and its vocal interpretation completes the study. Both authors can also have a referent considered from the point of view of their relationship with our contry. Keywords: Jules Renard, Literary criticism, Maurice Ravel, Musical criticism, Artistic interactions. LA POÉTICA DE JULES RENARD, UN UNIVERSO PERSONAL. Una aproximación a la poética de Jules Renard en Histoires Naturelles nos remite al crea- dor del género de la "greguería", Ramón Gómez de la Serna (1888-1963), autor prolífico y ori- ginal dentro del panorama literario español, por las similitudes que pueden establecerse entre ambas producciones. Ramón, que tuvo el privilegio de ser uno de los cuatro únicos extranjeros miembros de la Academia del Humor de Francia y que se declaraba admirador de Renard, define la greguería como "El atrevimiento a definir lo indefinible o a capturar lo pasajero", "lo único que no nos pone tristes, cabezones, pesarosos y tumefactos al escribirla porque su autor juega mientras la compone y tira su cabeza a lo alto y después la recoge..." (García López, 1974: 616), y también, a modo de fórmula matemática, como: "Metáfora + humor = "greguería" (Cardona, 1993: 20). Las características de estilo comunes a ambos autores se centran en el valor que otorgan a la intuición, a la primera impresión, que termina por sobreponerse al pensamiento racional, dejando la realidad trastocada con la irrupción de lo incoherente o lo arbitrario en un ejercicio ingenioso de asociación de ideas. Podrían considerarse herederos de la escuela filosófica griega de los "cínicos", cuya contribución literaria más importante es la parodia y la sátira. Veamos algunos ejemplos de aproximación de estilos y contenidos: -La serpiente mide el bosque para saber cuántos metros tiene y decírselo al ángel de las estadísticas. (Gómez de la Serna, 1993: 127) -LE SERPENT-1: Trop long.- 1¡: La dix-millionième partie du quart du méridien terrestre. (HN.: 83) -La pulga posee el mejor muelle saltarín (Gómez de la Serna, 1993: 198) -LA PUCE.- Un grain de tabac à ressort. (HN: 105) -La golondrina es escritura, palotes y comas reunidos por la pluma expedita del escriba esparcido del destino. (Gómez de la Serna, 1993: 239) -LES HIRONDELLES. Elles me donnent ma leçon de chaque jour. [...] Elles tracent une raie droite, posent une virgule au bout, et brusquement, vont à la ligne. (HN: 149) Podrían multiplicarse los ejemplos en aras de elaborar un estudio comparado que queda, por el momento, fuera de nuestro objetivo. 1 .-Utilizaremos para las citas más repetidas, las siglas: HN: Histoires Naturelles, J: Journal. Al realizar el análisis de las Histoires Naturelles (1896), la consulta a otras dos obras de Renard, el Journal (1965) o la Correspondance (1927), va a ser de gran ayuda dado que, cual- quier aproximación a una obra literaria supone un "approche critique où l'on dégage la vérité du texte en fonction de ce que l'auteur a voulu y mettre" (Gengembre, 1966: 5). El narrador se pre- senta aquí como un cazador de imágenes2 y, a modo de un incruento safari fotográfico, exhibe sus trofeos en una galería de retratos de 82 animales que, como si de un mosaico se tratara, van configurando todo el conjunto. Del género del bestiario existen abundantes ejemplos que han contribuido a resaltar las posibilidades de connivencia de otros dos campos artísticos, el literario y el pictórico3. Desde las fábulas de Esopo y Fedro, pasando por las historias de la Edad Media, el Roman de Renart, los cuentos infantiles, etc., puede trazarse una línea conductora en la que la presencia de animales convertidos en personajes de la literatura universal, gracias a la pluma de autores de prestigio, parece estar siempre vigente. La fábula se utilizó como recurso didáctico para el desarrollo de la memoria y como vehí- culo para inculcar, de manera amena, los principios morales, ya sea de una forma explícita, mediante "moralejas" situadas al final o, de íorma implícita, por los matices ejemplarizantes que se desprenden del texto. Pero el propósito de Renard, que sin duda admiró a La Fontaine4, como a muchos otros autores franceses, se aleja de este género en sus Histoires Naturelles. Tampoco pretende escribir Máximas, al estilo de las de La Rochefoucaud5, aunque algún autor los haya comparado. No estamos, en ningún caso, ante textos a la manera de Les Caractères de La Bruyère, si bien compartiera su forma de plasmar, en retratos satíricos y certeros, a los hombres y la sociedad francesa de fines del siglo XVII, hasta el punto de querer parecerse a él, aunque sin renunciar a su propio estilo: La Bruyère, le seul dont dix lignes au hasard ne deçoivent jamais. (J, 28-2-1908) Moi, changer quelque chose au style de La Fontaine, de La Bruyère, de Molière? Pas si bête. (J, 20 novembre 1896) Un La Bruyère en style moderne, voilà ce qu'il faudrait être. (J, 21 octobre 1889) Écrire un livre de Caractères selon La Bruyère, mais comique. (J, 19 novembre 1900) Con respecto a la ambiciosa obra de Buffon de título similar, Histoire Naturelle, no ha lugar a confusion, sus objetivos son muy distintos: Buffon pone la naturaleza al servicio del hombre y la ciencia y Renard se ocupa de acortar distancias entre el hombre y el animal: Buffon a décrit les animaux pour faire plaisir aux hommes. Moi, je voudrais etre agréable aux animaux mêmes. Je voudrais, s'ils pouvaient lire mes petites Histoires Naturelles que cela les fit sourire. (J, 19-sept.l895) 2.-Era un gran aficionado a la caza, aunque denota cierto arrepentimiento por practicarla."Homme de lettres, homme de pen- sée, homme supérieur, tu viens encore d'assassiner quelqu'un! Tâche de t'enorgueillir si tu peux" (Renard, 1927: 224). 3.-La primera edición de Histoires Naturelles fue ilustrada por Vallotton; la de 1899 por Toulouse-Lautrec. 4.-A quien cita a propósito de "Les Fourmies" II. (HN: 99). Justamente un "retrato" que guarda bastante similitud estructu- ral con la fábula tradicional. 5.-Autor que gozaba también del favor de Renard, en lo que coincide con Ramón, quien había declarado: "A la Máxima es a lo que menos se quiere parecer la "greguería" A pesar de su carácter no didáctico Renard apunta con humor: "Non seulement les Histoires Naturelles seront lues dans les écoles, mais encore leur auteur laissera à postérité une mémoire de maître d'école" (Renard, 1927,1: 224). El título ya es, en sí mismo, algo ambiguo, dado que puede interpretarse como historias naturales, por lo sencillas y carentes de artificiali- dad, o también como historias acerca de la naturaleza. La paradoja radica en el hecho de pre- sentar a los animales, seres de la naturaleza, con rasgos que se alejan bastante de la naturalidad, por lo que muy bien podría hablarse del "artificio de las historias naturales", que configura un texto que se mueve entre el realismo, el hiper-realismo y la fantasía irónica.
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