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Le Rime Morali E Una Selezione Della Lira Del Cavalier Marino: Edizione Critica E Commento

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Le Rime Morali E Una Selezione Della Lira Del Cavalier Marino: Edizione Critica E Commento UNIVERSITÀ DEGLI STUDI DI PISA DIPARTIMENTO DI FILOLOGIA , LETTERATURA E LINGUISTICA CORSO DI LAUREA IN LINGUA E LETTERATURA ITALIANA TESI DI LAUREA Le Rime Morali e una selezione della Lira del Cavalier Marino: edizione critica e commento Candidato: Alessandro Regosa Relatore: Controrelatrice: Ch.mo Professor Ch.ma Professoressa Luca Curti Francesca Nassi ANNO ACCADEMICO 2013-2014 2 Ai miei genitori, semplicemente grazie di tutto 3 Sommario Sommario .............................................................................................................. 4 1. Divagazioni iniziali ........................................................................................... 6 2. Criteri di edizione ............................................................................................. 8 2.1. Testo ........................................................................................................... 8 2.2. Grafie e forme .......................................................................................... 10 2.3. Interpunzione ........................................................................................... 11 3. Sigle e abbreviazioni ....................................................................................... 12 3.1. Sigle per la designazione delle edizioni delle Rime morali e della Lira .. 12 3.2. Sigle per la designazione dei manoscritti ................................................. 12 4. I sonetti delle rime morali ............................................................................... 13 4.1. Breve introduzione alle Rime .................................................................. 14 4.2. Introduzione alle Rime morali ................................................................. 22 5.0. Le rime morali : edizione critica e commento ............................................. 34 5.0.1. Apre l’huomo infelice allhor, che nasce ............................................... 35 5.0.2. Fanciulla in prima inghirlandò di fiori ................................................. 41 5.0.3. Sotto caliginose ombre profonde .......................................................... 46 5.0.4. Hor di marmi quaggiù candidi, e fini ................................................... 52 5.0.5. Felice è ben, chi selva ombrosa, e folta ................................................ 60 5.0.6. Se di questo volume empio le carte ....................................................... 67 5.0.7. Imparava a ferir morte i viventi ............................................................ 73 5.1. Il ciclo di Roma ........................................................................................... 79 5.1.1. Roma, cadesti, è ver: già le famose ...................................................... 83 5.1.2. Vincitrice del mondo, ahi chi t’ha scossa ............................................. 90 4 5.1.3. Tante reliquie tue cadute, e sparte ........................................................ 96 5.1.4. Felici colli, simulacro vero ................................................................. 102 5.0.8. Pera chi pria da le secrete, e basse .................................................... 109 5.0.9. O dela scala, ond’al celeste regno ...................................................... 116 5.0.10. Quanto da quel di pria, Francesco mio ............................................ 123 5.0.11. Segui saggio garzon l’aspro, c’hai preso ......................................... 130 5.0.12. Pur da’ gravi riposi Anime invitte .................................................... 137 6. La Lira .......................................................................................................... 144 6.1. Breve introduzione alla Lira ................................................................. 145 7. Una selezione della Lira (dal ms. Italien 575 ).............................................. 154 7.1. Nera sì, ma se’ bella, o di Natura .......................................................... 155 7.2. Anna, ben tu da l’anno il nome prendi ................................................... 164 8. Una selezione della Lira (dal ms. Parmense Palatino 876 ) ......................... 172 8.1. Giaci, o misero, estinto, io giaccio estinto ............................................. 173 8.2. Segue il vento leggier, fabrica, e fonda ................................................. 181 9. La “riproduzione genetica” ........................................................................... 189 9.1. Per un nuovo metodo: la riproduzione genetica ..................................... 190 10. Conclusioni ................................................................................................. 194 Bibliografia ....................................................................................................... 198 5 1. Divagazioni iniziali La scelta di Giovan Battista Marino come argomento di tesi viene dettata, in primis , da un interesse personale: fin dalla preparazione dei primi esami di letteratura italiana, la sua figura mi ha sempre affascinato e, con lui, l’intera stagione barocca. Quello che però non riuscivo a comprendere era il motivo per cui questo autore, insieme a questo genere di poesia, fosse così duramente rifiutato e, di conseguenza, poco studiato. Le premesse, in effetti, non sono esattamente positive quando si leggono gli interventi di importanti critici che sostengono la decadenza del Seicento in fatto di produzione poetica: France- sco De Sanctis definisce questo secolo «vuoto di passione e di azione» e Benedetto Croce - con spirito non meno categorico - decreta senza riserve la letteratura secentesca come «di decadenza», da studiare con «simpatia» ma facendo attenzione a non attribuir- le un’importanza che non ha. Ma forse è stato proprio grazie alle conclusioni degli studi critici sul carattere negativo del Seicento insieme alla generalizzata fama di declino (letterario e non) a spingermi ad approfondire l’argomento e al momento di scegliere l’argomento dell’elaborato finale la scelta si indirizzò subito a questo secolo. Concomitante fu la decisione di concentrarmi sulla produzione di Marino in quanto uno dei più famosi e completi autori della lettera- tura di quel periodo. L’ Adone - da me considerato uno dei maggiori capolavori italiani - doveva inizialmente essere l’oggetto del presente lavoro: tuttavia, ad uno studio più ap- profondito dello status quaestionis mariniano, mi sono accorto che su molta parte della sua produzione ( Adone escluso) manca di uno studio realmente sistematico e approfon- dito. Opere come le Rime , la Lira o la Galeria non godono se non di lavori sommari e, alle volte, incompleti. Si riconoscono grandi promesse, seguite poi da risultati poco effi- caci: non si dispone - a tutt’oggi - se non di un esame “a volo di uccello” sulla stagione letteraria mariniana, in cui l’attenzione per le opere “secondarie” viene relegata a sem- plici trascrizioni senza commento o analisi critica. La scelta delle Rime Morali (che occupa la prima sezione della tesi) vuole cimentarsi con l’inesistenza di uno studio dettagliato dei componimenti e con l’incompletezza dei commenti già editi delle altre componenti delle Rime (all’appello mancano ancora le Rime sacre & varie ). In questa sede, si propone un’edizione critica che analizzi l’evoluzione delle liriche nel corso degli anni e dei rimaneggiamenti dell’autore, suppor- tata da un commento letterario che ne spieghi il significato e ne studi le forme peculiari (retoriche e strutturali). La trattazione di questa prima parte si avvarrà, inoltre, di un cappello introduttivo sull’esempio continiano (con notazioni di retorica e metrica) e 6 dell’approccio di Lanfranco Caretti per quanto riguarda lo studio delle varianti in rela- zione all’esegesi. La stessa struttura di analisi viene riservata a quattro sonetti provenienti dalla Lira e, in particolare, da due manoscritti (uno francese e uno italiano: Italien 575 della Biblio- teca Nazionale di Francia e Parmense Palatino 876 della Biblioteca di Parma). Il proce- dimento carettiano verrà, nella seconda parte, approfondito ulteriormente, dacché dispo- niamo della versione dei sonetti precedente la loro pubblicazione. Chiude la tesi un esperimento filologico, chiamato riproduzione genetica , il cui com- pito sia di fornire al lettore un supporto visivo di come - nel corso degli anni - un testo si è evoluto e modificato. L’accostamento ravvicinato alla prima produzione del Cavalier Marino, ben lontana dal rientrane nell’onnicomprensiva etichettatura di “barocco”, mi ha permesso di regi- strare interessanti notazioni sulla sua concezione della poesia, sul suo utilizzo dei mo- delli, sulla sua visione delle strutture metriche, e sulla rielaborazione poetica. Trascurare una parte così complessa e veramente poliedrica della produzione mariniana significa trascurare e abbandonare nell’ombra aspetti come quelli succitati che permetterebbero di approfondire la figura di Marino non solo in relazione al rilievo letterario (italiano ed europeo) che rivestì, ma di indagarlo prima di tutto come uomo, fatto di passioni e di sentimenti, di luci e di ombre. I sonetti analizzati scavano nel profondo, recuperando e dando voce alle note più intime e concrete dell’animo di poeta, combattuto fra devozio- ne al guizzo originale e cultura dei classici, e di uomo, capace con lo stesso fervore e con la medesima passione di amare, odiare e sognare. 7 2. Criteri di edizione 2.1. Testo Il testo delle Rime morali di Giovan Battista Marino riprodotto in questa sede si mantie-
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