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Aproximación a La Inventio En El Orlando De Quevedo

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Aproximación a La Inventio En El Orlando De Quevedo Aproximación a la inventio en el Orlando de Quevedo Marta GONZÁLEZ MIRANDA Universidade de Vigo [email protected] Ahí anda el señor Reinaldos de Montalbán con sus amigos y compañeros, más ladrones que Ca- co, y los Doce Pares, con el verdadero historiador Turpín, y en verdad que estoy por condenar- los no más que a destierro perpetuo, siquiera porque tienen parte de la invención del famoso Ma- teo Boyardo, de donde también tejió su tela el cristiano poeta Ludovico Ariosto […] Digo, en efeto, que este libro y todos los que se hallaren que tratan destas cosas de Francia se echen y de- positen en un pozo seco, hasta que con más acuerdo se vea lo que se ha de hacer dellos1 El Poema heroico de las necedades y locuras de Orlando el enamorado de Quevedo también tiene gran «parte de la invención del famoso Mateo Boyardo», de su Orlando innamorato. Quevedo, versado, como afirma González de Salas en las «Ilustraciones al Parnaso», «de hebreos, griegos, latinos, italianos y franceses; de cuyas lenguas tuvo buena noticia, de donde a sus versos trujo excelentes imitaciones»2, no trata, en esta ocasión, simplemen- te de imitar las obras que se nutren de la materia carolingia, sino que su intención es pa- rodiarlas. Para conseguir este objetivo elige una obra concreta, el Orlando innamorato de Boiardo, y sobre ella construye su particular recreación de las «cosas de Francia». Quevedo deja inconclusa esta obra, que su sobrino Pedro Aldrete sitúa, «por haber llegado tarde a la imprenta», cerrando la musa Urania y, por tanto, Las tres musas últimas castellanas (1670), aunque su contenido no responde, claro está, a la temática de la men- cionada musa, bajo cuyo auspicio se alberga la poesía religiosa. Su anómala colocación obedece a la necesidad de ubicar poemas que no se pudieron incluir en anteriores mu- sas, pero que posiblemente Quevedo habría tenido en cuenta en su proyectado Parnaso, pues en su Epistolario se incluyen dos cartas, fechadas en mayo de 1638 y dirigidas a San- cho de Sandoval, en las que el poeta muestra su desvelo por la preservación de las «oc- tavas de Las locuras de Orlando»3. Este trabajo tiene como objetivo esbozar las bases inventivas sobre las que Quevedo construye su Orlando. El título, Poema heroico de las necedades y locuras de Orlando el enamora- do, y la lectura de las tres primeras octavas ofrecen las claves temáticas esenciales de la obra: Canto los disparates, las locuras, los furores de Orlando enamorado, cuando el seso y razón le dejó a escuras el dios enjerto en diablo y en pecado; y las desventuradas aventuras de Ferragut, guerrero endemoniado; los embustes de Angélica, y su amante, niña buscona y doncellita andante. Hembra por quien pasó tanta borrasca el rey Grandonio, de testuz arisco, 1 Miguel de Cervantes, Don Quijote de la Mancha, ed. Francisco RICO, Barcelona, Instituto Cervantes-Crítica, 1998, pp. 80-81. 2 González de SALAS, “Ilustraciones al Parnaso”, en Francisco de Quevedo, Obra poética, ed. José Manuel BLECUA, Ma- drid, Castalia, 1969, vol. I, p. 91. 3 Francisco de Quevedo, Epistolario completo, ed. Luis ASTRANA MARÍN, Madrid, Instituto Editorial Reus, 1946, pp. 411-412. Aproximación a la inventio en el Orlando de Quevedo a quien llamaba Angélica la Chasca, hablando a trochimochi y abarrisco. También diré las ansias y la basca de aquel maldito infame basilisco Galalón de Maganza, par de Judas, más traidor que las tocas de vïudas. Diré de aquel cabrón desventurado que llamaron Medoro los poetas, que a la hermosa consorte de su lado siempre la tuvo hirviendo de alcagüetas; por quien tanto gabacho abigarrado, vendepeines, rosarios, agujetas, y amoladores de tijeras, juntos, anduvieron a caza de difuntos (I, 1-3, vv. 1-24)4 En efecto, estos primeros veinticuatro versos señalan a los protagonistas de la tradición carolingia (Orlando, Angélica, Medoro) y sus hazañas famosas, y, al mismo tiempo, ofre- cen la mofa de los primeros y la denigración de las segundas. Una lectura más pausada de los mismos muestra también el uso de la mitología –«cuando el seso y razón le dejó a escuras / el dios enjerto en diablo y en pecado»–, la sátira contra mulieres –«niña bus- cona y doncellita andante»–, o la burla de los cornudos –«diré de aquel cabrón desven- turado / que llamaron Medoro los poetas»–, ingredientes que se anuncian desde la pro- posición como asuntos importantes en la configuración de la inventio del Poema. Del aco- pio y la refundición de tan variadas tradiciones, Quevedo crea el Orlando, una obra sin- gular en su prolífico corpus literario. El argumento del Poema procede del «Canto primero» y de veintinueve estrofas del «Canto segundo» del Orlando innamorato de Boiardo. Quevedo sigue la trama de las cin- cuenta y tres primeras octavas del primer canto del libro primero del Innamorato para componer el primer canto de su Orlando. En el segundo canto adapta las octavas restan- tes del primer canto (cincuenta y cuatro a noventa y una) y las veintiocho primeras oc- tavas del segundo canto. Sólo una estrofa posee el tercer canto del Poema, que asume parcialmente el contenido de la octava veintinueve del segundo canto del Orlando inna- morato. Con todo, aunque Quevedo se apropia de la trama del Orlando innamorato y la presenta en el mismo orden, la obra resultante dista notablemente del poema de Boiar- do. María E. Malfatti expresa la relación entre los dos poetas y los dos textos orlandianos mediante una imagen clara: «En el supuesto de que el conde de Scandiano estuviese le- yendo en voz alta su narración, nos podríamos muy bien figurar a Quevedo entreme- tiéndose sin cesar para volver en burla cada una de sus frases, casi cada palabra»5. Boiardo canta las proezas heroicas de los paladines carolingios, que la pluma fértil de Quevedo transforma en cómicas estampas rufianescas. En el primer canto, Quevedo au- menta el contenido que toma del poema italiano mediante la inserción de largas des- cripciones de aventuras, espacios o personajes o la ampliación de los diálogos, no en va- no añade sesenta y nueve octavas a las cincuenta y tres del Orlando de Boiardo. Esta línea también predomina en el segundo canto; no obstante, Quevedo se ajusta más al conte- 4 Francisco de Quevedo, Obra poética cit., vol. III, pp. 409-452. 5 Francisco de Quevedo, Poema heroico de las necedades y locuras de Orlando el enamorado, ed. María E. MALFATTI, Barce- lona, Sociedad Alianza de Artes Gráficas, 1964, p. 26. Marta GONZÁLEZ MIRANDA nido adquirido del texto boiardesco, tiene noventa y una estrofas frente a las sesenta y seis del Orlando innamorato. Un ejemplo relevante de la tendencia a la amplificatio lo constituye la irrupción en el banquete de Carlomagno de Angélica y su hermano, custodiados por los gigantes. La re- ferencia de Boiardo a los jayanes se limita a un único verso «Quattro giganti grandissimi e fieri» (I, 21, v. 2)6, que en la imaginación quevediana desencadena una retahíla de trein- ta y seis versos, que inciden en su tamaño descomunal y en su fealdad repulsiva. Queve- do ofrece una caricatura grotesca de Argesto, Lampordo, Turlón y Urgano, en la que ac- túan diferentes técnicas que se repiten en otras descripciones del escritor: deformación de los miembros del cuerpo, comparaciones sorprendentes, identificaciones insólitas y metáforas animalizadoras y cosificantes, que erigen seres deformes e inverosímiles. Estos gigantes andan a cuatro patas, en su pelambrera habitan lobos, osos, erizos, lagartos y ma- rranos, de sus axilas penden telarañas, sus bigotes son bosques, el vello de sus pechos se asemeja a zarzas y escaramujos, empuñan postes de mármol en lugar de espadas, etc.: cuando, por entre sillas y bufetes, se vio venir un bosque de bigotes, tan grandes y tan largos, que se vía la pelamesa, y no quien la traía. Y luego se asomaron cuatro patas, que dejan legua y media los zancajos, y cuatro picos de narices chatas, a quien los altos techos vienen bajos; después, por no caber, entran a gatas, haciendo las portadas mil andrajos, cuatro gigantes; que, aunque estaba abierta, sin calzador, no caben por la puerta. Levantáronse en pie cuatro montañas, y en cueros vivos cuatro humanos cerros; no se les ven las fieras guadramañas, que las traen embutidas en cencerros. En los sobacos crían telarañas; entre las piernas, espadaña y berros; por ojos en las caras, carcabuezos, y simas tenebrosas por bostezos. Puédense hacer de cada pantorrilla nalgas a cuatrocientos pasteleros, y dar moños de negra rabadilla a novecientos magros escuderos; cubren, en vez de vello, la tetilla escaramujos, zarzas y tinteros, y, en tiros de maromas embreadas, cuelgan postes de mármol por espadas. Rascábanse de lobos y de osos, como de piojos los demás humanos, 6 Matteo Maria Boiardo, Orlando innamorato, ed. Riccardo BRUSCAGLI, Torino, Einaudi, 1995. Aproximación a la inventio en el Orlando de Quevedo pues criaban, por liendres de vellosos, erizos y lagartos y marranos; embutióse la sala de colosos, con un olor a cieno de pantanos (I, 50-54, vv. 397-430) Frente al ejercicio dominante de amplificación, existe un único aspecto en el que Quevedo reduce u obvia el contenido del Orlando innamorato: se trata de aquellos frag- mentos en los que Boiardo otorga protagonismo al caballero que da título a su obra. Des- pués del discurso que Angélica profiere ante el emperador y su corte o tras la celebra- ción del sorteo, el poeta italiano refleja la desazón de Orlando causada por su amor pro- fundo a la princesa (I, I, 29-32 y I, I, 54-55). En estos casos, Quevedo, sin dejar de men- cionar al caballero, lo nombra en pasajes colectivos, como un personaje secundario más y, siempre, enzarzado en disputas pueriles con el resto de los caballeros, que se compor- tan como rufianes (I, 72-74, vv.
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