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Lecturas Románticas De Un Mito Antiguo: Medea

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Lecturas Románticas De Un Mito Antiguo: Medea Imagines 28/5/08 14:00 Página 165 LECTURAS ROMÁNTICAS DE UN MITO ANTIGUO:MEDEA* ANA PAULA FONTAO** Resumen.- Desde la Antigüedad, Medea ha sido un personaje mitológico inspirador para artistas y literatos. Este trabajo muestra, a través de algunas obras musicales y artísticas del momento, cómo durante finales del siglo XVIII y principios del XIX, la estética romántica aportará nuevos matices sobre su figura; asimismo, el conocimiento de la Antigüedad, la nueva hermenéutica de la mitología y las ideologías resultantes de la expansión europea, contribuirán a la consolidación de Medea como una figura mítica crucial que encarna en sí algunas de las concepciones vitales más características del pensamiento contemporáneo. Abstract.- Since Antiquity, Medea has been a mythological character that inspired artists and writers. This paper intends to show, using some artistic and musical works of these times, how, at the end of 18th century and the beginning of 19th, the Romantic aesthetic gives new shades of meaning to the character; as well, the knowledge about the Antiquity, the new hermeneutics of mythology and the ideologies resulting the European expansion, will contribute to the consolidation of Medea, as a crucial mythical figure that embodies herself some of the vital conceptions more characteristic from contemporary thought. Palabras clave: Medea, Romanticismo, Ópera. Key words: Medea, Romanticism, Opera. LAS IDEAS DEL ROMANTICISMO Y LA MIRADA HACIA LA ANTIGÜEDAD. A finales del siglo XVIII, los modernos europeos llevaban más de tres siglos mi- rando muy atrás en su pasado, y estableciendo fuertes nexos con el Mundo Clásico: el arte, la filosofía política o la literatura, que nunca habían roto del todo con el pa- * Este trabajo ha sido realizado en el seno del proyecto de investigación financiado por el Ministerio de Educación y Ciencia nº HUM2005-07357-C03-01 y del proyecto de investigación financiado por la CAM-CP05. ** Universidad Carlos III, Madrid. Correo electrónico: [email protected]. 165 Imagines 28/5/08 14:00 Página 166 ANA PAULA FONTAO sado, se iban nutriendo cada vez más de la tradición clásica1. Aunque se conoce el Romanticismo como un movimiento que aparentemente tiende a la ruptura con el cla- sicismo, los románticos buscan continuamente su reflejo en el Mundo Clásico, en una relectura del pasado que sea innovadora con respecto al neoclasicismo, pero de la que obtienen continuas fuentes de información.Ya sea para establecer lazos o rupturas, se aprovecha el legado de la tradición clásica, con el apoyo de todo el nuevo conoci- miento que del Mundo Antiguo se gesta en este momento, particularmente del descubrimiento de Grecia a través de sus propios textos, de las traducciones y de las expediciones arqueológicas que tienen lugar a partir y durante el siglo XVIII. Así, ar- tistas, literatos y compositores románticos rescatan figuras y temas de la mitología y de la historia antigua para escenificar una serie de valores propios de su época y su concepción estética, poniendo de manifiesto aspectos de dichos mitos que antes no habían sido explotados. El arte como vehículo de transmisión de la cultura clásica será crucial en esta épo- ca, paralelo a la transmisión erudita, sobre todo hacia el público burgués. Los propios artistas, como veremos más adelante, eran conscientes de ello. Así, “la historia de Roma (…) se hacía a principios del siglo XIX no sólo en los libros de los especialis- tas, sino en la corte, en las obras literarias, plásticas y musicales y, sobre todo, en los salones y tertulias, verdaderos centros de fermento espiritual de la época”2. Para poder establecer un esbozo de cuál es la mirada hacia la Antigüedad desde el período romántico, debemos tener en cuenta que dicha mirada no es unívoca, sino más bien caleidoscópica. De este modo, a partir de la segunda mitad del siglo XVIII, no sólo los anticuarios, eruditos y expedicionarios volverán la vista atrás para re- construir la historia. Los filósofos también dirigen su mirada hacia atrás, pero sus ambiciones son diferentes: la búsqueda del origen, el elogio de la naturaleza, y la re- lación entre ambos para poder establecer una visión en conjunto de la historia, cuyo trasfondo es la búsqueda de la verdad3. La filosofía de la historia se gesta en estos 1 Al respecto de la continuidad de la cultura clásica, véanse Higuet, G., La tradición clásica: influencias griegas y romanas en la literatura occidental, 2. vols., México 1954, o Signes Codoñer, J. et al., Antiquae Lecciones: el legado clásico desde la Antigüedad hasta la Revolución Francesa, Madrid 2005. Al respecto de la influencia del Mundo Clásico a partir de la Época Moderna son útiles para filosofía política, Skinner, Q., Los fundamentos del pensamiento político moderno, México 1985; para arte, cultura y sociedad, la serie Mateer, D., The Renaissance in Europe, a Cultural Inquiry: Courts, Patrons and Poets: Kekewich, L., The Renaissance in Europe, a Cultural Inquiry. The impact of Humanism, y Elmer, P., The Renaissance in Europe, a Cultural Inquiry. Challenges to Authority, publicadas por Yale University Press, Open University, New Haven 2000. 2 García de Quevedo, M. D., La prefiguración de la Roma antigua en la ideología del Romanticismo (1770-1848), T. D. Univ. Complutense de Madrid 2002, 220. 3 Véase Szondi, P., Poética y filosofía de la historia, vol. 1, Madrid 1992. Como ejemplo, respecto a la naturaleza y el origen, Szondi comenta, acerca de la lectura que Herder hace de Winckelmann, cómo “el mismo impulso a la concreción y la naturalidad les hará descubrir a él y a los románticos el arcaísmo 166 Imagines 28/5/08 14:00 Página 167 LECTURAS ROMÁNTICAS DE UN MITO ANTIGUO:MEDEA momentos, con figuras como Hegel o Herder. Los artistas, por último, también escu- driñan el Mundo Clásico y no sólo para inspirarse temáticamente. La conciencia histórica los lleva a concebir el arte como una manera de transmitir la historia, y a sí mismos como paladines en dicha causa, sobre la que no sólo construyen sus obras, sino también sus ensayos. Schiller, por ejemplo, escribe la lección magistral “Was heiβt und zu welchem Ende studiert man Universalgeschichte? Eine akademische Entrittsrede”4 en 1789. Así, “a través del arte y del poeta, la historia pasa a formar parte de la vida cotidiana; desciende del aislamiento solemne de la erudición y se transmite a los hombres: entra en sociedad”5. Las nuevas ideas van acompañadas del desarrollo de una estética asociada a la emotividad, a la sensibilidad casi enfermiza6. El movimiento romántico está unido a la pasión que surge de la conciencia del contraste entre los deseos espirituales impo- sibles de satisfacer y el mundo. El ideal estético se resume en la sublimidad, mientras que el ideal vital tiene que ver más con la disidencia, el anhelo de libertad, una li- bertad muchas veces platónica, de cuya consecución no hay ninguna esperanza. La idea de “pugna” entre el individuo y el mundo será clave en este contexto, ya que lle- gará desde el arte hasta el ámbito político: serán las luchas por las grandes causas, como el nacionalismo – visto desde esta perspectiva, como la lucha del yo colectivo frente a una estructura impuesta7 –. Esta estética marcará el acercamiento al pasado, y concretamente al Mundo Antiguo, en todos los ámbitos del pensamiento y la cul- tura, que se retroalimentarán entre sí. El artista romántico, el escritor o músico, tiene en mente una Antigüedad desconocida, ante la que se le plantean muchas cuestiones; ya no se trata de una Antigüedad que encierra la perfección artística sin más, sino que ahora es una Antigüedad que, como un espejo, refleja aquello que preocupa al hom- bre moderno. Ahora bien, no todas las manifestaciones del Romanticismo van en la oriental detrás de la religión olímpica, o tendrá la consecuencia de que el Hölderlin tardío reemplace los nombres de los dioses olímpicos con los de los dioses naturales” (p. 38). 4 “¿Qué es y para qué se estudia historia universal? Un discurso de toma de posesión”, citado en la edición de Luis Acosta de Von Schiller, F., Don Carlos, infante de España, Cátedra, Madrid 1996, 43. 5 García de Quevedo Rama, La prefiguración de la Roma antigua..., 159. 6 Sobre las ideas estéticas en el Romanticismo, véanse D’Angelo, P., La estética del Romanticismo, Madrid 1999; Galán, I., Lo sublime como fundamento del arte frente a lo bello: un análisis desde Longino, Addison, Burke y Kant, Madrid 2002; Givone. S., Historia de la estética, Madrid 1988, espec. 37-85 y Tatarkiewicz W., Historia de seis ideas. Arte, belleza, forma, creatividad, mimesis, experiencia estética, Madrid 2002. 7 En Italia podemos ver claro ejemplo de ello en la ópera neorromántica Nabucco, de Verdi, que retoma un tema bíblico y termina siendo estandarte de la unificación nacional, por lo que Verdi dará continuidad a las obras de tema histórico con alegorías políticas, produciendo obras como La bataglia di Legnano. Los nacionalistas coreaban un “¡Viva Verdi!”, que significaba realmente “¡Viva Vittorio Emanuelle re d’Italia!”. Cf. Milza, P., Verdi y su tiempo, Buenos Aires 2006, 305. 167 Imagines 28/5/08 14:00 Página 168 ANA PAULA FONTAO misma línea, y mientras los filósofos miran atrás en busca del origen8, los filósofos políticos se debaten entre la democracia de los antiguos y la de los modernos9, y los artistas quieren expresar la verdad con sus obras: “Es a partir del Romanticismo, en efecto, cuando la separación entre el reino de la ilusión y de la apariencia, que sería el propio del arte, y el reino de la verdad, que sería el propio de la ciencia, de la filo- sofía y de la religión, cae definitivamente”10. En este sentido, los propios filósofos se acercarán al arte en su búsqueda de la verdad, dando lugar, en cierto sentido, a la “es- tetización de la realidad, en el sentido de que el arte aparece no sólo como único instrumento capaz de penetrarla (…), sino que a la propia realidad, a la realidad de la naturaleza y del espíritu, se la hace derivar de una inagotable actividad inventiva y creadora de tipo estético”11.
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