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Gian Franco Gianotti Omero: Chi Era(N) Costoro? 2

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Gian Franco Gianotti Omero: Chi Era(N) Costoro? 2 Gian Franco Gianotti Omero: chi era(n) costoro? 2. 8. Aristotele su Odissea e Iliade. Aristot. Poetica 1451a-b oJ d∆ ”Omhroç w{çper kai; ta; a[lla diafevrei kai; tou't∆ e[oiken kalw'ç ijdei'n, h[toi dia; tevcnhn h] dia; fuvçin: ∆Oduvççeian ga;r poiw'n oujk ejpoivhçen a{panta o{ça aujtw'/ çunevbh, oi|on plhgh'nai me;n ejn tw'/ Parnaççw'/, manh'nai de; proçpoihvçaçqai ejn tw'/ ajgermw'/, w|n oujde;n qatevrou genomevnou ajnagkai'on h\n h] eijko;ç qavteron genevçqai, ajlla; peri; mivan pra'xin oi{an levgomen th;n ∆Oduvççeian çunevçthçen, oJmoivwç de; kai; th;n ∆Iliavda. crh; ou\n, kaqavper kai; ejn tai'ç a[llaiç mimhtikai'ç hJ miva mivmhçiç eJnovç ejçtin, ou{tw kai; to;n mu'qon, ejpei; pravxewç mivmhçivç ejçti, mia'ç te ei\nai kai; tauvthç o{lhç, kai; ta; mevrh çuneçtavnai tw'n pragmavtwn ou{twç w{çte metatiqemevnou tino;ç mevrouç h] ajfairoumevnou diafevreçqai kai; kinei'çqai to; o{lon: o} ga;r proço;n h] mh; proço;n mhde;n poiei' ejpivdhlon, oujde;n movrion tou' o{lou ejçtivn. Fanero;n de; ejk tw'n eijrhmevnwn kai; o{ti ouj to; ta; genovmena levgein, tou'to poihtou' e[rgon ejçtivn, ajll∆ oi|a a]n gevnoito kai; ta; dunata; kata; to; eijko;ç h] to; ajnagkai'on. «8. 1. Il racconto è uno non già, come credono alcuni, quando tratti di un’unica persona, perché a una sola persona accadono molti, anzi infiniti fatti, da alcuni dei quali non risulta nessuna unità; allo stesso modo, di un’unica persona molte sono anche le azioni che compie da cui non nasce un’azione unitaria. Perciò sembra [20] che sbaglino quanti tra i poeti hanno composto un’Eracleide o una Teseide e altri poemi del genere perché credono che, siccome uno era Eracle, ne consegua che anche il racconto sia unitario. 2. Omero invece, come anche nel resto si distingue, anche in questo pare aver visto bene, in virtù o di arte o di natura: infatti, nel comporre l’Odissea, [25] non rappresentò tutti i fatti accaduti a Odisseo, per esempio che fu ferito sul Parnaso e che si finse pazzo in occasion dell’adunata dei Greci, fatti per cui il verificarsi dell’uno non comportava per necessità o verosimiglianza il verificarsi dell’altro. Costruì invece l’Odissea attorno a un’azione unitaria, come diciamo noi, e alla stessa stregua anche l’Iliade. [30] 3. Pertanto, come anche nelle altre arti imitative l’imitazione una è di un oggetto, unico, così è necessario che anche il racconto, poiché è imitazione di un’azione, lo sia di un’azione unitaria e per di più intera; occorre altresì che le parti dei fatti siano connesse assieme in modo tale che, se qualcuna venga trasposta o soppressa, l’intero ne risulti sconnesso e alterato, poiché ciò che, aggiunto o assente, non produce nulla di evidente, [35] non è per niente parte dell’intero. 9. 1. Da quanto si è detto è chiaro altresì che compito proprio del poeta è di dire non gli avvenimenti davvero accaduti, ma quali potrebbero accadere e cioè quelli che sono possibili secondo verosimiglianza o necessità». 8a. Odissea. Conoscenza e riconoscimento. ἀλήθεια: etimologicamente il prefisso alfa, con funzione privativa, precede la radice lath- che significa dimenticare / restare latente. Alétheia indica quindi qualcosa che non è più nascosto, che non è stato dimenticato. 1 Platone, Fedone 76a (parla Socrate): «Si è dimostrato, che, percependo noi una data cosa con la vista o l'udito o con qualche altro organo di senso, ci si presenta alla mente un'altra cosa, che avevamo dimenticato, ma che ha una relazione con la prima, che può assomigliarle o meno. Da qui, una delle due: o siamo nati con la conoscenza, ripeto, delle realtà in sé e continuiamo ad averla per tutta la vita, oppure, quelli che noi diciamo che imparano dopo non fanno altro che ricordarsi e, in tal caso, la sapienza altro non è che reminiscenza (hJ mavqhçiç ajnavmnhçiç)». Aristotele, Poetica 11, 1-2: «La peripezia, come si è detto, è il cambiamento dei fatti nel loro contrario e questo, come stiamo dicendo, secondo il verosimile e il necessario, come per esempio nell’Edipo il messo, che veniva con l’intenzione di rallegrare Edipo e liberarlo dal terrore nei riguardi della madre, rivelandogli chi era, ottiene l’effetto contrario. E nel Linceo, mentre il protagonista è condotto a morire e Danao lo segue per ucciderlo, in forza dello svolgimento dei fatti accade che Danao muoia e Linceo si salvi. 2. D’altro canto, il riconoscimento, come significa anche la parola stessa, è il cambiamento dall’ignoranza alla conoscenza - oppure in direzione dell’amicizia o dell’inimicizia - di persone definite rispetto alla condizione di fortuna o di sfortuna; il riconoscimento più bello poi è quando si compie insieme alla peripezia, quale è per esempio quello che avviene nella tragedia di Edipo (“Eçti de; peripevteia me;n hJ eijç to; ejnantivon tw'n prattomevnwn metabolh; kaqavper ei[rhtai, kai; tou'to de; w{çper levgomen kata; to; eijko;ç h] ajnagkai'on, oi|on ejn tw'/ Oijdivpodi ejlqw;n wJç eujfranw'n to;n Oijdivpoun kai; ajpallavxwn tou' pro;ç th;n mhtevra fovbou, dhlwvçaç o}ç h\n, toujnantivon ejpoivhçen: kai; ejn tw'/ Lugkei' oJ me;n ajgovmenoç wJç ajpoqanouvmenoç, oJ de; Danao;ç ajkolouqw'n wJç ajpoktenw'n, to;n me;n çunevbh ejk tw'n pepragmevnwn ajpoqanei'n, to;n de; çwqh'nai. 2. ajnagnwvriçiç dev, w{çper kai; tou[noma çhmaivnei, ejx ajgnoivaç eijç gnw'çin metabolhv, h] eijç filivan h] eijç e[cqran, tw'n pro;ç eujtucivan h] duçtucivan wJriçmevnwn: kallivçth de; ajnagnwvriçiç, o{tan a{ma peripeteiva/ gevnhtai, oi|on e[cei hJ ejn tw'/ Oijdivpodi)». Aristotele, Poetica 24, 1459b 3 SGG. «Di tutto questo Omero si è valso sia per primo sia in modo conveniente. E infatti dei suoi poemi ciascuno in ciascuno dei due modi è costituito, l’Iliade semplice e fondata su fatti patetici, l’Odissea invece complessa (c’è infatti dappertutto riconoscimento) e fondata sui caratteri. E inoltre ambedue sorpassano tutte le altre opere per l’elocuzione e per il pensiero» (oi|ç a{paçin ”Omhroç kevcrhtai kai; prw'toç kai; iJkanw'ç. kai; ga;r tw'n poihmavtwn eJkavteron çunevçthken hJ me;n ∆Ilia;ç aJplou'n kai; paqhtikovn, hJ de; ∆Oduvççeia peplegmevnon (ajnagnwvriçiç ga;r diovlou) kai; hjqikhv: pro;ç de; touvtoiç levxei kai; dianoiva/ pavnta uJperbevblhken). IL TESTO GIOCATO SULL’AGNIZIONE, SCRITTA E RISCRITTA, È L’ODISSEA: ODISSEO SI FA RICONOSCERE DAI FEACI PERCHÉ PIANGE AL CANTO DI DEMODOCO, A ITACA SI FA RICONOSCERE DA TELEMACO, È RICONOSCIUTO DAL CANE ARGO, DALLA NUTRICE EURICLEA, DAL PORCARO EUMEO E DAL CAPRAIO FILEZIO; PENELOPE RICONOSCE LO SPOSO DA «SEGNI SICURI RIVELATI DA ODISSEO» SULLE PECULIARITÀ DEL TALAMO; INFINE LAERTE RICONOSCE IL FIGLIO DAI NOMI DEGLI ALBERI DEL FRUTTETO, «SEGNI SICURI RIVELATI DA ODISSEO». 2 Od. 1, 1-5 e 10 “Andra moi e[nnepe, Mou'ça, poluvtropon, o}ç mavla polla; / plavgcqh, ejpei; Troivhç iJero;n ptoliveqron e[perçe: / pollw'n d∆ ajnqrwvpwn i[den a[çtea kai; novon e[gnw, / polla; d∆ o{ g∆ ejn povntw/ pavqen a[lgea o}n kata; qumovn, / ajrnuvmenoç h{n te yuch;n kai; novçton eJtaivrwn. / … / tw'n aJmovqen ge, qeav, quvgater Diovç, eijpe; kai; hJmi'n. Tutti i commentatori segnalano che, a dispetto del proemio, che riassume l’esperienza militare e odeporica dell’uomo poluvtropoç senza nominarlo, i primi quattro libri sono segnati dall’assenza di Odisseo, evocato in vetta all’Olimpo e rimpianto oppure esecrato in terra, da familiari e Pretendenti di Penelope. I primi quattro libri sono un canto su Telemaco: la Telemachia narra come il figlio di un padre troppo a lungo assente impara a conoscere le vicende del proprio genitore e, nello stesso tempo, a conoscere il mondo; narra, in buona sostanza, la storia dell’istruzione di un figlio, mediata dai racconti dei compagni d’arme del padre come sintesi rapida dei vent’anni trascorsi lontano da Itaca da Odisseo, che solo nel V libro fa la sua comparsa diretta, per assumere la piena titolarità della propria storia e portarla a termine in compagnia di un figlio degno di stargli accanto. Od. 1, 284-286. Atena, che ha assunto l’identità di Mente (antico sodale di Odisseo), consiglia a Telemaco un viaggio per avere notizie del padre: «per prima cosa va a Pilo e interroga Nestore glorioso. / Da pilo recati poi a Sparta dal biondo Menelao: / è stato l’ultimo, tra gli Achei dalla bronzea corazza, a fare ritorno» (prw'ta me;n ejç Puvlon ejlqe; kai; ei[reo Nevçtora di'on, / kei'qen de; Çpavrthnde para; xanqo;n Menevlaon: / o}ç ga;r deuvtatoç h\lqen ∆Acaiw'n calkocitwvnwn). Un antico scholion al v. 284 osserva: «Il pretesto per il viaggio di Telemaco è cercare notizie del padre; ma per Atena, che glielo suggerisce, l’obiettivo è l’istruzione. Il figlio non sarebbe divenuto degno del padre se non ne avesse sentito raccontare le gesta dai suoi compagni; è dlle storie che ha sentito su di lui che impara come comportarsi con suo padre». Od. 1, 410 e 420 Telemaco risponde a Eurimaco sull’identità di Mente (che è subito sparito, non si è fatto riconoscere: oi|on ajnai?xaç a[far oi[cetai, oujd∆ uJpevmeine / gnwvmenai), ma in veste di Mente ha riconosciuto la dea Atena (w}ç favto Thlevmacoç, freçi; d∆ ajqanavthn qeo;n e[gnw). Od. 2, 85 sgg. Nel corso dell’assembea degli Itacesi convocata da Telemaco, Antinoo risponde con durezza alla denuncia delle colpe dei Pretendenti da parte del figlio di Odisseo: çoi; d∆ ou[ ti mnhçth'reç ∆Acaiw'n ai[tioiv eijçin, / ajlla; fivlh mhvthr, h{ toi peri; kevrdea oi\den.
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