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9788490722503 Bookblock.Pdf Quedan reservados todos los derechos de difusión, también a través de película, radio, televisión, reproducción fotomecánica, soporte de soni- do, soporte de datos electrónicos y reproducción sintetizada. El autor es responsable tanto del contenido como de la corrección. © 2014 editorial united p. c. Impreso en la Unión Europea en papel ecológico, libre de ácidos blanqueadores. www.united-pc.eu José María Gutiérrez Arranz Walter Map. Sobre las minucias de los cortesanos Índice Prefacio 1) La sátira latina: historia del género. 1.1. Historia y definición del género. 1.2. Ennio. 1.3. Lucilio. 1.4. Horacio. 1.5. Persio. 1.6. Juvenal. 1.7. La sátira menipea. Varrón. 1.8. La Apocolocyntosis de Séneca. 1.9. Petronio. 2) Introducción a Walter Map: vida y obra. 2.1. Biografía. 2.2. Su obra. 2.3. Autoría, fecha y composición de Sobre las minucias de los cortesanos. 2.4. Alcance y propósito de Sobre las minucias de los cortesanos. 2.5. El texto de Sobre las minucias de los cortesanos. 3) La sátira medieval. 3.1. Evolución de la sátira desde la antigüedad hasta la Edad Media. 3.2. La prosa satírica medieval. 3.3. La poesía satírica medieval. 4) Sobre las minucias de los cortesanos en el marco de la sátira medieval. 4.1. Sobre las minucias como sátira medieval. 4.2. La sátira latina clásica en Sobre las minucias de los cortesanos. 5) Conclusiones sobre el análisis comparativo entre los poemas satíricos latinos clásicos y el Sobre las minucias de los cortesanos de Walter Map. 6) Nuestra traducción. Primera Distinción del Libro del Maestro Walter Map Sobre las Minucias de los Cortesanos. Comparación de la Corte del Rey con el Infierno. Segunda Distinción. Tercera Distinción. Cuarta Distinción. Quinta Distinción. Apéndice sobre lo dicho por Walter Map. Referencias bibliográficas. 5 PREFACIO La sátira es un género literario que muestra todos los vicios y desmanes del ser humano desde tiempos inmemoriales. La aportación de Walter Map a este género se puede considerar como un eslabón entre la tradición clásica grecorromana y la modernidad incipiente, una suerte de vestigios del antiguo género y una denuncia permanente de lo que la sociedad tardomedieval y moderna contrae; por un lado, es la necesidad de denunciar los despropósitos de los vivos y de los muertos; por otro lado, es anunciar lo que el ser humano debe hacer y no parece estar dispuesto a hacer. Las palabras de este traductor tienen menos fuerza que las del oriundo de la nigra montana (Black Mountain, Negra Montaña, la frontera entre Gales e Inglaterra, cerca de Hereford), pero las historias de Map invitan a la reflexión sobre lo dicho por él 9 siglos antes. 6 1) La sátira latina: historia del género. 1.1. Historia y definición del género. Los antecedentes del género satírico han de remontarse excepcionalmente, no a la influencia de la literatura griega, sino precisamente (y de ahí su excepcionalidad) al propio carácter latino, que hizo que la sátira fuese una auténtica invención romana. Los romanos habían contemplado y recogido con admiración el enorme bagaje cultural griego, en el cual se incluían casi todos los géneros y obras principales que ellos tuvieron que adaptar a su propia mentalidad, amén de imitar, desarrollar y difundir. Pero hubo una excepción en este proceso, y es que para los griegos la sátira no era una forma literaria independiente. El propio Quintiliano, que realiza una comparación crítica y evalúa las literaturas griega y romana género a género, tras comprobar que los poemas elegíacos griegos y romanos eran dignos de elogio, afirma que “la sátira sin duda es toda nuestra” (X, 1, 93).1 Evidentemente, su afirmación está basada en la carencia de una literatura satírica independiente en griego, además de en el mérito indiscutible de la sátira latina. Pero esto no significa que no haya habido sátira anterior a la latina: este espíritu satírico o el deseo de zaherir a personas, poner de manifiesto sus defectos o abusos, el empeño en vituperarlos o describir lo repugnantes que pueden resultar ha sucedido en todos los tiempos y todos los pueblos lo 1 Las citas de Quintiliano proceden de la traducción de I. Rodríguez y P. Sandier (http://www.cervantesvirtual.com/servlet/SirveObras/246161411 01038942754491/index.htm). 7 han reflejado. En todo caso, no hay que olvidar que algunos autores griegos ya transmitieron ese espíritu satírico: Arquíloco a principios del siglo VII, Hiponacte, a finales del VI, Timón, a principios del siglo III y los autores de la comedia antigua (Susarión, Quiónides, Magnetes, Ecfántidas, Querilo, Cratino, Eupolis y Aristófanes). Los latinos, por su parte, crearon unas manifestaciones artísticas que se acomodaban a su espíritu crítico y combativo y que son consideradas como los antecedentes de la sátira: los carmina triunphalia o poemas triunfales y la iocatio Fescennina o Fesceninas.2 Con respecto a los poemas triunfales, solían ser habituales cuando un magistrado venía victorioso de alguna campaña y el Senado le concedía el honor de desfilar con el botín conseguido y una representación de los soldados a sus órdenes por las calles de la ciudad. Esos soldados entonaban cantos improvisados que entusiasmaban al público y le hacían partícipe de tal victoria. Dichos soldados debían repetir “io triumpe!” y así celebrar las victorias de su general, pero también hay espacio para ridiculizar sus defectos y costumbres, no para deshonrarlo, sino para evitar las envidias o el enojo de algún dios.3 Del mismo modo que en los momentos oficiales el aspecto mordaz de los latinos se veía en momentos gloriosos y serios, también se hacían notar en celebraciones más alegres de la vida. Tales eran los carmina Fescennina, llamados así por la ciudad de Fescennio, al sur de Italia, aunque sí parece claro su 2 J. Guillén Cabañero (trad.) (1991), AA.VV. La sátira latina (Madrid: Akal), pp. 9-10. 3 J. Guillén Cabañero (1980), Urbs Roma. Vida y costumbres de los romanos, vol. III (Salamanca), p. 533. 8 origen etrusco. Se entonaban en las fiestas agrícolas en tiempo de recolección y sus bromas, llamadas Fescenninas, se entonaban a modo de canciones alternas, en forma de poemas amebeos, improvisados, con libertad de dicción e ingenio.4 Otras celebraciones semejantes, en las que también se difundían cantos de igual calibre, eran la vendimia en otoño, las fiestas del esquileo del ganado en primavera o en la deductio o pedida de la novia a la casa de su esposo.5 Quintiliano sólo vislumbra la figura de Ennio, reconociendo posteriormente a Lucilio como un excepcional satírico. Tras comentar a Horacio y Persio y hacer mención de ciertos escritores contemporáneos del género a los que no nombra (entre ellos, Turno, autor de época de Domiciano), Quintiliano recuerda a Varrón y su mezcla de prosa y verso que resulta ser la sátira menipea, pero deja de lado los dos grandes ejemplos de sátira menipea: la Apocolocyntosis de Séneca y el Satiricón de Petronio6. Quintiliano se acoge, para su reflexión sobre los géneros literarios, al método de clasificación puesto en práctica por los eruditos helenísticos y que repercutiría directamente en la teoría literaria posterior.7 Junto a la 4 Horacio, Epístolas II, 1, 140-148. H. Silvestre (ed. & trad.) (2010). Horacio. Sátiras. Epístolas. Arte poética (Madrid: Cátedra), pp. 495-497. 5 Guillén Cabañero 10-14. 6 M. Coffey (1989), Roman Satire (Bristol: Bristol Classical Press), p. 4. 7 “Cada cual tiene su ley y su hermosura. Ni la comedia se eleva usando de los coturnos, ni por el contrario, la tragedia usa del zueco. Tiene, no obstante, la elocuencia alguna cosa común a todos géneros: imite, pues, lo que es común” (X, 2, 22); Aristóteles, Poética, 1447a8; 1448b24-1449a6; Harvey ((1955), “The Classification of Greek Lyric Poetry”, Classical Quarterly 9 crítica por tipos se halla la noción de decoro. Teofrasto defiende que es una de las cuatro categorías en las que el estilo se debe considerar. Un fragmento papiráceo perteneciente probablemente a su obra sobre el estilo defiende que hay ciertas palabras que se deben admitir y otras rechazar. Accio también discute la naturaleza de los géneros y la diferencia entre uno y otro, y Lucilio, según testimonio de Horacio, se preocupa del decoro en el estilo. El mismo Horacio reconoce la aceptación de las distinciones de género como condición necesaria para escribir poesía (Arte Poética 73 ss.). Séneca (Epístolas VIII, 8) reconoce en la teoría y principalmente en la práctica niveles de estilo. Marcial, que se queja de que un poeta conocido de él le ha copiado todas sus actividades, enumera los géneros en orden descendente de nobleza y tamaño: épica, tragedia, lírica, sátira, elegía y epigrama (XII, 94). Esta distinción de géneros va acompañada de dos corolarios: el reconocimiento de un maestro arquetípico en cada género al cual sus sucesores le profesan una lealtad a veces atemperada por una manifiesta crítica y casi siempre por el hecho de desviarse en la práctica siguiendo modelos y gustos que cambian con el tiempo y, por otro lado, la aceptación de la noción de una lex operis o reglas de comportamiento estilístico dentro del género que podían ser modificadas por el propio genio del autor. 5: 155-175) examina las distinciones de la teoría helenística en relación a los tipos de poesía lírica. R. Pfeiffer ((1968), History of Classical Scholarship (Oxford), pp. 203-207) explora cómo se comenzó en época helenística a trazar los cánones de autores aceptados; cfr.: L. E. Rossi (1971), “I generi letterari e le loro leggi scritte e non scritte nelle letterature classiche”, Bulletin of the Institute of Classical Studies 18: 69-94. 10 Según esto, Horacio contempla a Lucilio como inventor del género e iniciador de unas convenciones según las cuales la obra del primero debía ser evaluada (l.
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