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Università Degli Studi Di Firenze Université Paris-Sorbonne Paris IV Università degli Studi di Firenze Université Paris-Sorbonne Paris IV Rheinische Friedrich Wilhelms-Universität Bonn Dottorato Trinazionale in Miti fondatori dell’Europa nelle arti e nella letteratura Mythes fondateurs de l’Europe dans les arts et la littérature Gründungsmythen Europas in Kunst und Literatur Ciclo XXV (2010-2012) – settore disciplinare L-FIL-LET/14 Tesi di dottorato: Il Maestro e l’Apostolo: Stéphane Mallarmé e Stefan George. Motivi, stilemi e tecniche mitopoietiche del simbolismo europeo nell’opera giovanile di Stefan George Thèse de doctorat: Le Maître et l’Apôtre: Stéphan Mallarmé et Stefan George. Motifs, stylèmes et techniques mythopoétiques du symbolisme européen dans l’œuvre de jeunesse de Stefan George Doktorarbeit: Der Meister und der Apostel: Stéphane Mallarmé und Stefan George. Motive, stilistische Mittel und mythopoietische Techniken des europäischen Symbolismus im Jugendwerk Stefan Georges Tutor: Prof. Dr. Patrizio Collini Cotutor. Prof. Dr. Michel Delon Cotutor: Prof. Dr. Helmut J. Schneider Candidato: Mattia Di Taranto Coordinatore del Dottorato: Prof. Dr. Giovanna Angeli I N D I C E INTRODUZIONE p. 4 Le Maître et l’Apôtre La Parigi georghiana: mardi soir chez Mallarmé p. 12 In lode di Mallarmé p. 25 Hymnen La consacrazione del poeta-sacerdote p. 42 Riti iniziatici e paesaggi onirici p. 60 Lo sperimentalismo dei tableaux p. 77 Pilgerfahrten Lo sguardo del poeta-pellegrino p. 98 Il riso del fauno e il pianto del tiranno p. 118 Il Wanderer, Zaratustra simbolista e decadente p. 127 Metamorfosi erotico-musicali del pellegrino armato p. 133 Algabal Trasposizione storiografica e ricezione letteraria del mito p. 157 Il segno sotterraneo del «grande fiore nero» p. 169 I «giorni» del sovrano esteta p. 188 I «ricordi» del re sacerdote p. 208 Umdichtung und Übertragung Teoria e pratica della traduzione georghiana: il modello dantesco p. 219 La traduzione come esercizio poetico: da Petrarca a Shakespeare p. 232 La traduzione come epifania culturale: da Baudelaire a Mallarmé p. 249 BIBLIOGRAFIA p. 273 Introduzione La carismatica e affascinante figura di Stefan George – lirico di oracolare cripticità e incomparabile suggestività evocativa, mistagogo di un elitario ed esoterico Kreis che affonda le braccia nelle viscere della Germania guglielmina per farsene aruspice – esercita, oggi come e forse più di ieri, una prevedibile e tutto sommato fatale seduzione. Per un verso, l’aneddotica chiaroscurale di cui è costellata la sua vicenda biografica, meritoriamente ricostruita e indagata in dettaglio nei ponderosi e documentatissimi studi di Robert E. Norton (Ithaca-London, 2002) Thomas Karlauf (München, 2007) e Ulrich Raulff (Münich, 2009), solleva una pletora di domande inevase e suscita accese polemiche in ordine a problemi di vasto interesse (politica, omoerotismo, antisemitismo etc.). Nell’ambito della discussione stricto sensu critico-letteraria, il suo verso aforisticamente eracliteo, sibillino e vaticinante, appare poi non meno ammaliante ma certamente più intelligibile alla sensibilità odierna che, come rileva Marco Guzzi, a partire dalle ermeneutiche junghiana e heideggeriana ha recepito lo slittamento del problema esistenziale dal piano filosofico-metafisico a quello esperienziale e autenticamente iniziatico, introiettando la proposta di un percorso trans-egoico di decentralizzazione dell’io sulla scorta del rimbaudiano «Je est un autre». Si spiega così, almeno parzialmente, l’eccezionale fioritura saggistica e monografica che nell’ultimo torno d’anni sta vertiginosamente arricchendo la bibliografia sul poeta di Bingen, culminata da ultimo nell’elefantiaca impresa dello Handbuch (Berlin, 2012). Una George-Renaissance, fenomeno di amplissima portata ed eco sovranazionale, che ne sancisce la consacrazione tardiva, ma ormai indiscussa e definitiva, a imprescindibile protagonista della cultura europea otto-novecentesca. Ciò detto, non ci si può esimere dal mettere in luce come una parte considerevole della Sekundärliteratur, ricca peraltro di numerosi contributi di vaglia capaci di coniugare sorvegliato rigore scientifico e leggibilità divulgativa, sia orientata su tematiche e questioni solo contestualmente rilevanti all’ermeneutica dei testi, oggetto precipuo dell’interesse critico. Emblematico è, da questa prospettiva, il lungo e costantemente rimpinguato elenco di pubblicazioni sulla vexata quaestio della presunta filiazione di un certo delirante misticismo, parte integrante dell’ideologia nazionalsocialista, dal profetismo palingenetico georghiano. L’impressione è che tali analisi, prescindendo dal valore dei singoli contributi, lascino in ombra una sistematica e accurata esegesi testuale a vantaggio di un’idea di lascito poetico come serbatoio cui attingere per supportare le proprie tesi argomentative. A questo riguardo, va doverosamente rilevato che vi sono altresì molteplici eccezioni a questo trend e che la germanistica italiana, in modo particolare, si è recentemente segnalata con contributi di metodologia auerbachiana, ove cioè letture e interpretazioni anche confliggenti originino sempre e solo dal dettato poetico-prosastico dell’autore e ad esso facciano circolarmente ritorno. Si citino, a titolo esemplificativo, studiosi come Bianca Maria Bornmann, Margherita Versari, Giancarlo Lacchin, Maurizio Pirro e Enrico De Angelis. Sulla scorta di quanto evidenziato e al vaglio delle proposte saggistico-monografiche più recenti, il presente lavoro è primariamente incentrato sull’analisi dell’opera poetica di George, segnatamente dello Jugendwerk. Le liriche della trilogia giovanile, composta da Hymnen (Inni, 1890), Pilgerfahrten (Pellegrinaggi, 1891) e Algabal (Eliogabalo, 1892), vengono lette e studiate individualmente alla luce di un dato già rilevato dai lettori contemporanei e di cui George stesso non fece mai mistero: il suo profondo e sfaccettato debito nei confronti del magistero teorico- poetico mallarmeano e, per suo tramite, verso la produzione letteraria tout court della stagione simbolista-decadente. Obiettivo dichiarato è, dunque, dimostrare la pervasività di questo influsso e svelarne gli echi più o meno surrettizi. La scelta di circoscrivere cronologicamente l’oggetto di indagine appare, coerentemente, funzionale all’esigenza di condurre un puntuale esame comparatistico sulle singole poesie, qui più che altrove necessario laddove con raffronti sinottici si intenda ricostruire l’ampio ventaglio di possibili rimandi infratestuali e rispondenze stilistico-tematiche, convinti con Paul Maas che la «congettura diagnostica» sia l’architrave di ogni approccio criticamente fondato ad un testo. Il capitolo introduttivo, dove l’apporto di testimonianze coeve garantisce che non si configuri deroga al focus programmaticamente testualista, fornisce un succinto ma puntuale excursus sul primo soggiorno del poeta di Bingen nella capitale francese. Rintracciate le radici della gallofilia georghiana nelle vicende personali e nella mai sconfessata fede bonapartista del capostipite del ramo tedesco della famiglia, le straordinarie esperienze umane e intellettuali vissute dal neodiplomato Étienne nella Parigi del centenario della Révolution vengono qui ripercorse ponendo l’accento sulla proficua interazione tra il ventunenne poeta renano e alcuni fra i massimi protagonisti della temperie culturale europea del tempo. Fondamentale ruolo di mediazione rivestì il poeta tolosano Albert Saint-Paul che, resolo edotto sulle più rivoluzionarie proposte letterarie degli ultimi decenni (dalle Fleurs baudelairiane a Sagesse di Verlaine), condusse l’inesperto amico tedesco nei più vivaci cafés littéraires e da ultimo lo introdusse nel salotto di rue de Rome. L’attenzione si concentra quindi sulla figura di Mallarmé, che agli occhi del giovane George come di molti mardistes appare ierofante prima e più che scolarca, investito cioè di un’aura sacrale che è fondamento ineludibile del messaggio veicolato dal suo verbum poetico. La studiata gestualità di Mallarmé e la pratica codificata della lecture à haute voix dei propri versi, così come l’abbigliamento e gli orpelli esornativi che contraddistinguono il rituale del mardi soir, costituiscono un diretto e manifesto antecedente per il futuro Meister e il suo Kreis. Il secondo paragrafo si pone a complemento del discorso fin qui svolto, proponendo un’analisi ravvicinata della Lobrede (discorso laudatorio) a Mallarmé e intendendo dimostrare a partire da questa in quale misura sia possibile rinvenire influssi direttamente riconducibili a specifiche composizioni del Maître. Si tratta, dunque, di un testo di capitale importanza al fine di apprezzare l’acutezza esegetica di George e, elemento di ancor maggiore rilevanza nell’economia del presente lavoro, l’estensivo impatto dell’opera mallarmeana tanto sulla prassi versificatoria quanto sull’edificio poetologico della trilogia giovanile. Particolare interesse assume, in questa chiave, la selezione di versi in calce al ritratto proemiale. In virtù della data di diffusione del breve scritto, ovvero all’indomani della stampa di Algabal, tali stralci in traduzione si configurano come altrettante inestimabili indicazioni autoriali utili ad identificare a posteriori precisi e incontestabili referenti testuali laddove gli stessi motivi tematici o assimilabili movenze fonico-stilistiche ricorrano nelle raccolte composte fino a quella data. Si scopre così ad esempio, non senza qualche sorpresa da parte dell’estimatore non specialista, che l’epifanica «herrin» (signora) delle Hymnen è rielaborazione di una precedente figura della trascendenza
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