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Studi Sui Sottofondi Strutturali Etc, Parte Seconda STUDI SUI SOTTOFONDI STRUTTURALI NEL NOME DELLA ROSA DI UMBERTO ECO PARTE II LE TROIANE DI EURIPIDE Sven Ekblad Edizione digitale (pdf) All rights reserved Gotemburgo 2012 I N D I C E PREFAZIONE 1 INTRODUZIONE 3 1.1 OBIETTIVO DELLO STUDIO 3 1.2 APPUNTI METODOLOGICI 5 2. LA STRUTTURA OMOLOGA NOME DELLA ROSA / LE TROIANE 8 2.1 ELEMENTO OMOLOGO DI BASE: NR-bis/TR 1: LE SETTE UNITÀ DI TEMPO E TEATRO DELLE VICENDE 8 2.2 GLI ELEMENTI OMOLOGHI COMPLEMENTARI 26 2.2.1 Ciò che accade nelle Sette unità di tempo 26 2.2.1.1 NR-bis/TR 2: L’esordio pacifico 26 2.2.1.2 NR-bis/TR 3: Il corpo disteso per terra 30 2.2.1.3 NR-bis/TR 4: Le pessime notizie 34 2.2.1.4 NR-bis/TR 5: La danza della figlia del principe 37 2.2.1.5 NR-bis/TR 6: Il ricordo della persona amata 42 2.2.1.6 NR-bis/TR 7: Il processo 46 2.2.1.7 NR-bis/TR 8: I riti funebri per il principe caduto 59 2.2.1.8 NR-bis/TR 9: La tragedia consumata 66 2.2.2 Topografia dei Territori 73 2.2.2.1 Le piante da usare per il confronto 73 2.2.2.2 NR-bis/TR 10: Forma generale dei Territori e le rispettive 81 cinte murarie 2.2.2.3 NR-bis/TR 11: “Lo scarpone” 85 2.2.2.4 NR-bis/TR 12: La casa con la grande apertura 90 2.2.2.5 NR-bis/TR 13: La costruzione oblunga 95 2.2.2.6 NR-bis/TR 14: La doppia casa 99 2.2.2.7 NR-bis/TR 15: La casa del sonno 101 2.2.2.8 NR-bis/TR 16: La casa delle due colonne 105 2.2.2.9 NR-bis/TR 17: Il complesso triplice 108 2.3 RIASSUNTO DEI CAPITOLI 2.1-2.2, DEFINIZIONE DELLA STRUTTURA OMOLOGA NR-bis/TR, CONCLUSIONE DEL CAP. 2 111 3 IL NOME DELLA ROSA COME UNA TRAGEDIA 128 4 CONCLUSIONE DELLO STUDIO 134 5 APPENDICE 139 5.1 TABELLE 139 5.2 PIANTE 144 5.3 FIGURE 156 5.4 DIGRESSIONE: Le varie città di Troia (I-IX) 179 6 BIBLIOGRAFIA 180 Prefazione P R E F A Z I O N E Il presente studio rappresenta la seconda parte del mio progetto sui sottofondi strutturali ne Il nome della rosa di Eco. La prima parte che trattava le relazioni con la Commedia di Dante fu pubblicata già nel 1994 come tesi per il dottorato di ricerca, con una edizione digitale riveduta ed ampliata nel marzo 2010. Nella tesi del ’94 avevo preannunciato la seconda parte che doveva trattare la traccia della tragedia in base alle Troiane di Euripide. Ma tanti anni sono passati ed è solo dopo il pensionamento dal Dipartimento per le lingue romanze dell’Università di Gotemburgo che ho avuto tempo di raccogliermi sul serio per terminare questa seconda parte, per la quale il lavoro analitico non è stato di minor impegno di quello della tesi del ’94. Con il presente lavoro ho anche adempiuto ad una vecchia promessa fatta ad un mio collega all’Università di Lund. Ho discusso le idee chiave in vari seminari sia a Lund che a Gotemburgo, soprattutto negli anni ’90. Della parte topografica del presente studio ho già presentato alcuni risultati nelle Corrispondenze topografiche fra l’abbazia nel Nome della rosa di Umberto Eco e la vecchia città di Troia, in Italienska studier – Studi italiani, a cura di L. Lindvall, Institutionen för romanska språk, Göteborgs universitet, 1999, pp. 5-26. Per questo lavoro vorrei ringraziare in particolare le dottoresse Katarina Andersson e Matilde Marziano, quest’ultima per aver controllato il testo per minimizzare il numero di errori di lingua. Sven Ekblad, Gotemburgo, gennaio 2012 1.1. Obiettivo dello studio Non in commotione, non in commotione Dominus. (detto da Guglielmo, Nome della rosa, p. 496) 1. INTRODUZIONE 1.1. OBIETTIVO DELLO STUDIO 1. Nella prima parte della nostra analisi de Il nome della rosa di Eco (Studi sui sottofondi strutturali nel “Nome della rosa” di Umberto Eco. Parte I. La “Divina Commedia” di Dante, Lund 1994, edizione riveduta ed ampliata in formato pdf, Gotemburgo 2010) abbiamo definito una struttura omologa fra Il nome della rosa e La Divina Commedia e presentato un’analisi secondo la quale Il nome della rosa può essere interpretato come una commedia. In quel volume abbiamo anche inserito un’analisi preliminare del sistema finale in base sia alla traccia della commedia che a quella della tragedia. Il suo carattere preliminare dipendeva dal fatto che ci mancava ancora l’analisi della tragedia nella sua interezza (potevamo soltanto abbozzarne l’inizio e la fine). In merito all’analisi della tragedia abbiamo anche scritto: In un futuro studio ... continuerò l’esame con: (1) definire una struttura omologa fra lo stesso Nome della rosa e Le Troiane di Euripide; (2) presentare un’analisi secondo la quale Il nome della rosa può essere interpretato come una tragedia. (p. 12) Questi due punti costituiranno l’obiettivo principale del presente studio, il quale, quindi, è destinato a colmare la lacuna del primo volume.(1) Per quanto riguarda l’analisi preliminare del sistema finale, incluso qualche ritocco nell’edizione pdf, essa rimane sempre la stessa, ad eccezione della parte che tratta preliminarmente la traccia della tragedia (cap. 4, sezione 2c), parte che non è più preliminare visto il presente studio sulle relazioni strutturali tra il romanzo di Eco e la tragedia di Euripide. 2. Insomma, questo studio è da considerarsi una continuazione della prima parte della nostra analisi sui sottofondi strutturali ne Il nome della rosa. Ciò significa che quanto abbiamo detto nell’introduzione del volume del ’94, vale sostanzialmente ancora. Questo è il caso in particolare per i capitoli 1.1 (“Obiettivo dello studio”), 1.3 (“Che cos’è una struttura omologa”), 1.4 (“Concetti chiave e appunti metodologici per la definizione della struttura omologa Nome della rosa / Divina Commedia”). Il cap. 1.2 (“Il nome della rosa nella critica”) era una rassegna della critica sul romanzo di Eco 3 1.1. Obiettivo dello studio fino all’anno della presentazione della tesi, cioè al 1994, un capitolo obbligatorio e importante soprattutto per far vedere l’attuale stato delle ricerche su Il nome della rosa. Ribadiamo infine che la prima parte dell’analisi sui sottofondi strutturali costituisce, insieme con la presente parte sulla traccia della tragedia, un’unità globale con tre facce: quella della commedia e della tragedia e una sintesi delle due facce opposte. E, come abbiamo già detto, la sintesi era già esposta in via preliminare nel volume del ’94. Nota 1 Ci si può a ragione domandare perché l’analisi preliminare del sistema finale fu inserita nel volume del ’94. La risposta è semplice: trattandosi di una tesi per il dottorato di ricerca, ci furono pressioni esterne affinché dimostrassi perché fosse interessante presentare un’analisi che sfociava “solo” nella definizione della struttura omologa tra Il nome della rosa e La Divina Commedia e nella dimostrazione che il romanzo di Eco poteva essere considerato come una commedia secondo la definizione di Dante stesso. Io pensavo che questi due rami dell’analisi globale fossero sufficienti sia per quanto riguarda la rilevanza di ricerca che per il volume di una tesi accademica che in Svezia spesso si aggira intorno alle 200 pagine (raramente più di 300). Ma dovevo accettare, e così fu inserito, prematuramente, il capitolo che avevo progettato di collocare dopo la parte della tragedia. 4 1.2. Appunti metodologici 1.2. APPUNTI METODOLOGICI Nel capitolo precedente abbiamo detto che il presente studio continua quello del ’94. Bisogna per questo puntualizzare che tutti i ragionamenti teorici e metodologici che nel primo volume formavano la base per il lavoro analitico, sono ancora validi e da prendere – dove applicabili – come presupposti per questo studio. Ad ogni buon conto si esporranno qui in sintesi alcuni punti centrali che riguardano più specificamente l’analisi intorno alle tracce tragiche nel libro di Eco. I punti si riconnettono (almeno parzialmente) a quanto già presentato nel volume del ’94. a) Sguardo generale su “Il nome della rosa” e “Le Troiane” Tutte e due le opere rappresentano due sequenze autonome di fatti (cioè eventi effettivi; circostanze di vario tipo: posizione geografica, elementi topografici, tempo, ambiente, relazioni particolari, ecc.; oggetti, persone, ecc.). Dal punto di vista strutturale sono perciò da definire come strutture di fatti. Vale a dire che la struttura omologa da definire nel corso dell’esame sarà anch’essa composta di fatti, o meglio, di sintesi di fatti. Precisiamo inoltre che nella totalità organica di una struttura di un libro o di un dramma includiamo non solo i dati ricavati dalla stessa opera, ma anche dati e informazioni reperibili in altre fonti, purché riguardino gli stessi elementi dell’opera. b) Definizione delle strutture NR, NR-bis e TR I concetti di “struttura NR”, “struttura NR-bis” e “struttura TR” sono cruciali per l’analisi. Li abbiamo già definiti nel volume del ’94, ma per evitare ogni malinteso li ripetiamo qui: – struttura NR: rispecchia il libro di Eco nella sua forma italiana, e lo sviluppo degli eventi comprende non solo quello che accade entro i limiti esteriori del libro (i Sette giorni) ma anche quello che accadde prima e dopo il racconto effettivo (le morti di Adelmo e di Adso). – struttura NR-bis: la storia dei Sette giorni come era esposta nel manoscritto latino di Adso del quale disponiamo soltanto di una versione tradotta(1); si precisa che – a differenza della struttura NR – sarà escluso quel che accadde prima e dopo la settimana drammatica.
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