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7. I Monogatari (2) I Monogatari Pre Genji, Il Genji Monogatari, Sviluppi Tardi Del Genere [Modalità Compatibilità]

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7. I Monogatari (2) I Monogatari Pre Genji, Il Genji Monogatari, Sviluppi Tardi Del Genere [Modalità Compatibilità] SVILUPPI DEL MONOGATARI NEL DECIMO SECOLO Altri testi del decimo secolo pervenutici: Utsuho Monogatari , Ochikubo Monogatari , Sumiyoshi Monogatari. Fase di passaggio nello sviluppo del monogatari : • Progressione verso un maggiore realismo • Sviluppo di temi e caratteristiche che confluiranno nei monogatari più maturi, e in particolare nel Genji Monogatari UTSUHO MONOGATARI 宇津保物語 Seconda metà del decimo secolo , probabilmente composto in diverse fasi (progressione fantastico-realismo) Anche alcuni altri motivi oltre all’elemento fantastico (ad es., quello dei pretendenti) del Taketori Monogatari Raccordo fra tsukuri monogatari e monogatari successivi Disorganicità (con elementi di unitarietà, come il koto 琴) Anticipa il Genji Monogatari per • Lunghezza • Personaggi legati alla corte • Idealizzazione del protagonista Nakatada, ma non essere “alieno” • Quadro del monopolio dei Fujiwara (ispirazione: scelta dell’erede al trono nel 967), ma non propriamente fatti storici I MAMAKO MONO 継子もの Storie di matrigne e figliastre Classiche “funzioni” della fiaba (“motivo di Cenerentola”): • Morte della madre • Invidia della matrigna e complotti ai danni della figliastra • Fuga della figliastra tema dell’esilio del giovane nobile, qui espresso attraverso un periodo di sofferenza o allontanamento dal mondo, auto/imposto: “rito di passaggio” prima del reinserimento nella vita sociale • Aiutanti o mezzi magici • Vittoria sulla matrigna Felicità e matrimonio della protagonista Punizione della matrigna N.B.: tale motivo si intreccia con altri tipici del contesto politico e sociale del periodo Heian: • Lotte per il potere e predominio della famiglia Fujiwara • La vita delle donne dell’aristocrazia (norme sociali che regolavano il rapporto con gli uomini, il matrimonio, ecc .) Ricorrenza di una serie di topoi della letteratura Heian: sentimenti e stati d’animo rappresentati in poesia e attraverso immagini codificate (maniche bagnate di lacrime, rugiada…) TITOLI CHE CI SONO PERVENUTI : Ochikubo Monogatari 落窪物語 • Fine decimo secolo • Autore: probabilmente uomo (lessico cinese) Sumiyoshi Monogatari 住吉物語 • Giunto a noi solo in una versione più tarda di due secoli, ma collocato prima del Genji Monogatari da Makura no Sōshi e Mumyōzōshi • Numerose varianti del testo: solo la storia di base risulta codificata in tutte le versioni impossibile risalire ad autore e testo originario Forse, trasmesso in forma sia scritta che orale OCHIKUBO MONOGATARI 落窪物語 PERSONAGGI: Ochikubo (protagonista): • Origini nobili ed elevate capacità naturali: superiore bellezza, intelletto e abilità nella musica, nella calligrafia e nella composizione poetica • Umiltà, rassegnazione e passività Finale vittoria garantita da personaggi “agenti”: • La servitrice Akogi • L’amante di Akogi e servitore Tachihaki • l’innamorato di Ochikubo, Michiyori Ochikubo e Michiyori: figure idealizzate, dotate di saiwai 幸い, favore divino. MOTIVI E TEMATICHE PRINCIPALI: Idea di saiwai , passività di Ochikubo, retribuzione karmica: influenza del Buddhismo sui monogatari . Reclusione imposta dalla matrigna: “esilio del giovane nobile” Storia d’amore di Ochikubo e Michiyori : critica alla poligamia e alla “politica dei matrimoni” (che rende lo Ochikubo Monogatari un unicum nel suo genere) Lotta della matrigna (e del padre) di Ochikubo contro Ochikubo e Michiyori: richiamo implicito alle contemporanee lotte famigliari fra i Minamoto e i Fujiwara SUMIYOSHI MONOGATARI 住吉物語 Himegimi (protagonista): ricalca grossomodo Ochikubo (pur mancando l’elemento della reclusione) N.B.: particolare ruolo del koto Fuga a Sumiyoshi (luogo sacro e toponimo in poesia): “Esilio del giovane nobile”: Lieto fine e messaggio morale simile allo Ochikubo Monogatari senza però l’esaltazione della monogamia GENJI MONOGATARI 源氏物語 1008, Murasaki Shikibu 紫式部 PROBLEMATICHE FILOLOGICHE Versione definitiva del testo: Fujiwara no Teika,tardo dodicesimo secolo (codice cosiddetto Aobyōshi ): • 54 capitoli, che includono prosa e 795 waka (opera più lunga della storia della narrativa giapponese) Capitoli 1-41: avventure amorose di Hikaru Genji 光源氏 (Genji lo splendente) Capitoli 42 -54 : “eredi” di Genji, Kaoru Chūjō 薫中將 e Niou no miya 匂の宮 • Non è certo se questi fossero la divisione/ordine originari Problema del titolo: • compare come Genji no Monogatari nel Murasaki Shikibu Nikki • testi più tardi riportano anche le varianti Hikaru Genji , Murasaki no Monogatari , Murasaki Yukari no Monogatari . N.B.: Esistono varianti anche dei titoli dei singoli capitoli: quelli oggi ritenuti standard sono per lo più ricavati da elementi chiave del capitolo stesso, ma è probabile che inizialmente i capitoli fossero privi di titolo o indicati con un numero progressivo. STILE Uso e codifica del wabun (stile basato sull’utilizzo della lingua colloquiale dell’aristocrazia di Heian, trasformata in lingua letteraria e poetica), sistematizzando • La commistione fra lingua delle dame di corte e poesia • L’uso di citazioni poetiche in prosa (attraverso parafrasi o allusioni: pratica dello hikiuta 引歌) • I riferimenti letterari alla narrativa precedente e (limitatamente) alla prosa cinese • Vocabolario ristretto Tale processo di codifica della lingua letteraria influenzò tutta la produzione narrativa successiva. Forte presenza del narratore Uso di forme allusive come “cosa” o “persona”: l’autrice non include nomi o dettagli familiari e facilmente intuibili per il suo circolo di lettori (interno alla corte) IL MONDO DELLA CORTE HEIAN L’opera fornisce un quadro dell’etichetta della corte (e in particolare, degli usi che regolavano i rapporti fra uomo e donna) Il mondo rappresentato è circoscritto alla corte sia in senso geografico che sociale (oltre che linguistico): • Ambientazione: la capitale, soprattutto il palazzo del sovrano e quelli dei personaggi principali . Quando, raramente, la scena si trasferisce altrove, è in seguito a eventi infausti o negativi (es: Wakamurasaki , Suma , Uji ) • Il “mondo” (yo ) e la “gente” (hitobito ) a cui si fa riferimento nell’opera si identifica con l’aristocrazia di corte. Quando, raramente, Genji ha a che fare con personaggi esterni alla corte (ad es., nell’episodio in cui va a trovare la nutrice malata), trova gli elementi di vita quotidiana con cui ha a che fare sgradevoli LA FIGURA DI GENJI Legata a vari motivi della narrativa precedente: • Come Narihira, eroe costretto a vivere al di sotto del proprio rango: figlio dell’imperatore e di una concubina di basso rango, Kiritsubo 桐壺 e favorito dell’imperatore oggetto dell’odio della consorte imperiale Kokiden 弘徽殿 (gelosa e timorosa per la carriera del figlio Suzaku 朱雀) Kiritsubo muore quando Genji ha soli tre anni, vittima delle ritorsioni di Kokiden, e l’imperatore per proteggere Genji lo estrania dalla linea imperiale (assegnandogli il cognome Minamoto) • Come nello Utsuho Monogatari , superiori doti e bellezza e abilità • Esilio come esperienza, anche estetica, di maturazione, prima del conseguimento del dovuto rispetto e potere (vicenda di Oborozukiyo 朧月夜 e dell’esilio a Suma 須磨) PRINCIPALI FIGURE FEMMINILI E I MOTIVI AD ESSE CONNESSI Centralità delle figure femminili: di svariate personalità, ruotano attorno alla figura di Genji (non sempre corrispondendo ai suoi sentimenti, come nel caso di Asagao no Himegimi 朝顔の姫君). • Fujitsubo 藤壺: “complesso di Genji ” nei confronti della madre • Aoi 葵 e Rokujō 六条: tema della possessione (mono no ke 物の怪), in questo caso da parte di uno spirito vivente (ikiryō 生き霊) • Suetsumuhana 末 摘 花 (ideali di bellezza in periodo Heian) • Murasaki 紫 ALTRE FIGURE PRINCIPALI DELL ’OPERA Tō no Chūjō 頭の中將 e il brano Amayo no shinasadame 雨 夜 の 品 定 め : descrizione del modello di donna ideale Kaoru Chūjō 薫中將, Niou no miya 匂の宮 e Ukifune 浮舟 (la “terza figlia”) : il ciclo di Uji 宇 治, che chiude l’opera con il capitolo Yume no ukihashi 夢の浮橋 TEMATICA AMOROSA Estraneità di Genji dai gradi più alti della carriera politica: focus sulle relazioni amorose del protagonista Come per Narihira, per i vari personaggi l’amore non è tanto desiderio, quanto il rincorrere di un ideale estetico e di un piacere di tipo culturale Nel caso di Genji, • La ricerca di un ideale estetico nell’amore si intreccia con la ricerca della madre perduta. • Si violano, in nome dell’amore, l’ordine politico, sociale e morale (come nella vicenda di Fujitsubo) “Le storie d’amore banali e frivole mal si addicevano alla sua natura; pure vi era in lui una certa tendenza a farsi coinvolgere suo malgrado da ciò che poteva essere fonte di sofferenza e che lo portava talvolta ad agire in modo sconsiderato.” N.B.: Parallelo con il padre di Genji, e il suo legame con Kiritsubo: passione “irragionevole”, che trova un modello nell’amore dell’imperatore cinese Xuanzong (dinastia Tang, 712-756) per Yang Guifei, che secondo la tradizione avrebbe causato la guerra civile e la rovina dell’imperatore. Genji per lo più esce indenne dal sovvertimento dell’ordine stabilito grazie alle sue qualità superiori. LO SFONDO FILOSOFICO RAPPRESENTATO DAL BUDDHISMO Tematica amorosa tematica buddhista: amore potenzialmente pericoloso non solo perché rischia di turbare l’ordine gerarchico, ma perché rappresenta una forma di attaccamento al mondo. Il Buddhismo permea il testo (accompagnato dalla morale confuciana, anche se in forma molto diluita), in due forme : • In forma “terrena”, intrecciato alla quotidianità della vita dei personaggi, e in particolare nelle preghiere e nelle cerimonie magico-esorcizzanti nel “ritiro istituzionalizzato” dal mondo • In una dimensione
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