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DE FICTIS NATURALIBUS . La Naturaleza En La Poesía Narrativa

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DE FICTIS NATURALIBUS . La Naturaleza En La Poesía Narrativa TEMAS liTERARIOS ESPAÑOLES en RELACIÓN con LA liTERATURA UNIVERSAL DE FICTIS N ATURALIBUS . LA NATURAL E ZA E N LA P O E SÍA NARRATIVA C AN C ION E RIL . FRAN C IS C O CROSAS. Facultad de Humanidades de Toledo (UCLM). RESUMEN: La naturaleza es un material poético de primer orden en todas las épocas y tradiciones. Se aborda su presencia en los poemas narrativos del siglo XV. Palabras clave: Naturaleza. Poesía Cancioneril. S. XV. Dante. Santillana. Mena. Roman de la Rose. ABstract: Nature is a first-rate poetic matter in all ages and traditions. Its presence in narrative poetry of the fifteenth century is studied. Keywords: Nature. Cancioneril poetry. S. XV. Dante. Santillana. Mena. Roman de la Rose. Miniaturas del manuscrito Roman de la Rose. Fuente: Wikipedia. la bucólica clásica (Virgilio, Garcilaso), FRAN C IS C O Impe RIAL (C A . 1360-C A . 1409) En los elementos de la naturaleza sirven Todo lo que sabemos y conservamos de Fran- a la comunicación lírica, a la expresión del cisco Imperial se lo debemos a Juan Alfonso de sentimiento amoroso . En ocasiones son descri- Baena, que con su gusto arcaizante lo incluyó tos de forma realista; las más, no obstante, si- en el cancionero que lleva su nombre . De ahí guiendo la antigua y codificadatopica del locus nos interesan dos decires narrativos extensos, amoenus . transmitidos únicamente por el Cancionero de Quiero detenerme en algunos poemas Baena (números 226 y 250)1: el Decir al naci- bajomedievales próximos a la bucólica –pero miento de Juan II y la que se considera su obra de otro género– donde la naturaleza cumple mayor, el Decir a las siete virtudes . una interesante función, sobre todo al inicio El poema dedicado al primogénito de En- de las composiciones . Me refiero a los decires rique III y Catalina de Lancáster es un decir de narrativos de la lírica cancioneril castellana circunstancias, pero lo suficientemente extenso del siglo XV, esa cenicienta de nuestra tradi- y solemne como para haber suscitado en otros ción poética hispánica . poetas réplicas imitativas . El núcleo del decir Cabe hacer inventario de comienzos aná- consiste en el desfile de los planetas-dioses, logos en poemas con un denominador común: que van otorgando al recién nacido sus dones, la alegoría y el viaje al otro mundo . Me intere- influyéndole así cada uno según su naturaleza san espacios naturales simbólicos o alegóricos, (Marte, el espíritu guerrero; Júpiter, el buen en los que se desarrolla la acción -mínima- que gobierno; Venus, el amar y ser amado, etc) . Se contienen estos decires, por lo general exten- trata, por tanto, de una alegoría . Pues bien, la sos y poblados de personajes de la Antigüedad, alegoría viene introducida por una visita a otro mitológicos o legendarios . mundo, por una visión . En este caso: En concreto, me centro en tres poetas ma- En dos setecientos e más dos e tres, [en1405] yores de la lírica castellana medieval: Francisco pasando el aurora, viniendo el día, Imperial, el Marqués de Santillana y Juan de viernes primero del terçero mes, Mena . non sé si velaba, nin sé si dormía . (vv . 1-4) 1 Cito los textos por las siguientes ediciones: Cancionero de Baena, ed . de Brian Dutton y Joaquín González Cuenca, Ma- drid, Visor, 1993; Marqués de Santillana, Poesías Completas, ed . de Maxim P .A .M . Kerkhof y Ángel Gómez Moreno, Ma- drid, Castalia, 2003; Juan de Mena, Obras completas, ed . de Miguel Ángel Pérez Priego, Barcelona, Planeta, 1989; Dante, Comedia, 3 vols ., ed . bilingüe de Ángel Crespo, Barcelona, Seix Barral, 2004; Roman de la Rose, edición y traducción de Carlos Alvar en Barcelona, Quaderns Crema, 1985 . REVISTA CÁLAMO FASPE Nº 58 - O C TUB R E -DI C IEMB R E 2011 - PÁGINA 66 TEMAS liTERARIOS ESPAÑOLES en RELACIÓN con LA liTERATURA UNIVERSAL DE FICTIS N ATURALIBUS . LA NATURAL E ZA E N LA P O E SÍA NARRATIVA C AN C ION E RIL . Interesa esta imprecisión: el protagonista Tras una invocación numinosa a Apolo en sabe que la noche llega a su fin pero no distin- tres coplas para que le ilumine y le ayude a gue bien entre realidad y sueño, entre mundo describir lo que se le antoja indescriptible, lo real y trasmundo . Es frecuente en este tipo de primero que encuentra el “viajero” es, de nue- poemas . vo, un jardín cercado por un río: Abrí los ojos e vime en un prado E como quando topa en algunt foyo de cándidas rosas e flores olientes, el çiego, que todo se estremeçe, de verdes laureles, todo circundado, bien assí fize yo en un arroyo a guisa de cava; de dos vivas fuentes que de una clara fuente claro creçe . (vv . 49-51) nacía un arroyo de aguas corrientes, . non era el fondo turbio nin lodoso, caliente la una e la otra fría . (vv . 17-22) mas era diamante muy illuminoso El agua caliente circunda el jardín, pro- e todo a luengo de una esquina, tegiéndolo, a modo de foso . El agua fría, en e las paredes de esmeralda fina, cambio, alimenta la vegetación del vergel . a ay allende un jardín graçioso . (vv . 60-64) El romper del agua eran tenores Todo en el jardín guardado por el río es que con las dulces aves concordavan, belleza y armonía: en bozes baxas e de las mayores Era çercado todo aquel jardín duçainas e farpas otrosí sonavan; de aquel arroyo, a guisa de cava, e oí personas que manso cantavan, e por muro muy alto jazmín mas por [la] distancia non las entendía, que todo a la redonda lo çercava . e tanto era su grant melodía El son del agua en dulzor passava, que todas las aves mucho se alegravan . (vv . 33-40) harpa, duçaina, vihuela de arco, Y prosigue el poema con la aparición de e non me digan que mucho abarco, un toro y una leona simbólicos y el desfile de que non sé si dormía o velaba . (vv . 65-72) astros que cumplimentan al recién nacido . Nótese la insistencia en la ambigüedad de la El Decir a las siete virtudes, dedicado experiencia visionaria: no sabe si está despierto o -como su título indica- a las tres virtudes teo- dormido . Es la más habitual de las formas de viaje logales y a las cuatro cardinales, también con- a ultratumba en la literatura de esta época . Tam- siste en una alegoría . Aquí se aproxima al mo- poco en la Divina Comedia (en la mente de Impe- delo de Prudencio, si miramos al pasado; y de rial y de todos los autores de alegorías de la baja los autos sacramentales, si miramos al futuro: Edad Media) se nos dice en qué consiste el acceso personificación de vicios y virtudes . al más allá, sin haber mediado, claro, la muerte . El protagonista, la voz poética del decir, El poeta circunda el jardín y no ve puer- entra no sabe muy bien cómo en otro mundo; ta por donde entrar (como en el Roman de la eso sí, a la misma hora, la del alba, que en el Rose), hasta que aparece a su vista un porti- Decir a Juan II: llo de rubí . Véase por fin qué experimenta el Por yo non estar un día ocupado, protagonista una vez penetra en el jardín, ese de la mi edat no aún en el somo, lugar maravilloso, no solo placiente sino tam- cerca de la ora qu’el planeta enclara bién transformador de los que en él entran . Es al oriente, que es llamada Aurora, inevitable acordarse de la introducción alegó- fueme a una fuente por lavar la cara rica de Berceo a sus Milagros: en un prado verde que un rosal enflora; Muy a vagar passé allén la puente, e ansí andando vínome a essa ora oliendo del jardín los dulçes olores, un grave sueño, maguer non dormía, por que de entrar ove mayor talente, mas contemplando la mi fantasía e fize entrada entre flores e flores . en lo que el alma dulce assabora . (vv . 7-16) Ante que entrasse ove muchos suores; REVISTA CÁLAMO FASPE Nº 58 - O C TUB R E -DI C IEMB R E 2011 - PÁGINA 67 TEMAS liTERARIOS ESPAÑOLES en RELACIÓN con LA liTERATURA UNIVERSAL DE FICTIS N ATURALIBUS . LA NATURAL E ZA E N LA P O E SÍA NARRATIVA C AN C ION E RIL . deque fue entrado, ¡oíd qué aventura! en un vergel muy fermoso, vi toda blanca la mi vestidura, reposar con alegría; e luego conosçí los mis errores . (vv . 81-88) el qual jardín me cobría con sonbra de olientes flores, SANTILLANA (1398-1458) do çendravan ruiseñores En el poema mayor del Marqués de Santillana la perfecta melodía . (copla VIII) (1398-1458), la Comedieta de Ponza, hay visión- Se trata de un extenso decir (47 coplas más sueño pero no lugar ficticio o portentoso al finida) en el que tiene lugar una batalla (unaPs - que sea transportado el protagonista . Tampo- ychomachia) entre Diana y Venus, seguidas de co encontramos ese espacio maravilloso en los sus respectivos ejércitos . El poeta, en su primer decires narrativos breves . Sí comienzan con un sueño, duerme y despierta mordido en el costa- tiempo especial, el amanecer mitológico, pero do por una sierpe, que parece sumergirle a su no en un espacio natural simbólico . Como mu- vez en otro sueño-visión, en el que se encuen- cho, se alude a una fuente, como en la Visión: tra con el adivino Tiresias, que le aconseja -para Al tiempo que va trençando su mal de Amor- recelar de este y buscar apoyo Apolo sus crines d’oro en Diana, que aparece con su cortejo .
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