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13. Il Periodo Tokugawa

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13. Il Periodo Tokugawa UKIYOZŌSHI 浮世草子 IL GENERE Opere scritte per diletto, spesso umoristiche, incentrate sui chōnin e su tematiche amorose Ukiyozōshi perché l’oggetto delle opere e lo ukiyo , il “mondo fluttuante” “Vivere momento per momento ; volgersi alla luna, alla neve, ai fiori di ciliegio e alle foglie rosse degli aceri; cantare canzoni, bere sake ; consolarsi dimenticando la realtà, non preoccuparci della miseria che ci sta di fronte, non farsi scoraggiare, essere come una zucca vuota che galleggia sulla corrente dell’acqua: questo io chiamo ukiyo ”(Ukiyo monogatari) IHARA SAIKAKU 井原西鶴 (1642-1693) Autore più rappresentativo del genere, e in generale della narrativa del XVI secolo e della cultura della classe chōnin • Pone al centro della scena la gente comune, che acquisisce dignità di personaggio letterario La sua produzione narrativa comprende due principali filoni : 1. Chōnin mono 町人物 (testi in cui si descrive il mondo e l’etica dei mercanti) 2. Kōshokumono 好色物 o kōshokubon 好色本 L’opera con cui diede avviò al genere è Kōshoku ichidai otoko , del 1682 I KŌSHOKUMONO Da 好 “buono”, “bello” o “amare” e 色 lett. “colore”, come metafora della passione sessuale. Opere che hanno come oggetto l’ amore in varie sfaccettature, spesso in connessione al mondo dei quartieri di piacere. Eredi della letteratura amorosa classica e degli yūjo hyōbanki Comprendono • Kōshoku ichidai otoko 好色一台男 (1682) • Kōshoku ichidai onna 好色一台女 (1686) • Kōshoku gonin onna 好色五人女 (1686) • Nanshoku ōkagami 男色大鏡 (1687) KŌSHOKU GONIN ONNA Cinque storie con al centro chōnin Base: fatti di cronaca fra il 1660 e il 1680 (come emerge da fonti dell’epoca e dal confronto con testi kabuki e jōruri che riprendono gli stessi fatti) Imperniate sul conflitto fra giri 義理 (dovere) e ninjō 人情 (sentimento): spesso, finale tragico (condanna a morte, suicidio o shinjū ) • Struttura che si ripete simile con Seijurō e Onatsu, Chōzaemon e Osen, Moemon e Osan, Kichisaburō e Oshichi • Solo storia di Gengobei e Oman ha finale positivo Come è rappresentato l’amore? Non amore codificato da precisi ideali estetici nei quartieri di piacere, ma amore di donne esterne a tale mondo, la cui legittimità e negata dalle convenzioni sociali. Vittoria finale del giri Riportato soprattutto alla dimensione fisica Come si caratterizzano i personaggi ? Non idealizzati (vs Chikamatsu i cui protagonisti sono posti in luce nobilitante, spesso in collegamento con valori tradizionali) Protagonisti animati da sentimenti terreni, a volte incostanti nel sentimento d’amore A questo spirito dissacrante, si accompagna una narrazione volutamente ironica : Saikaku non cerca di evocare compassione e partecipazione nel lettore: contemplazione distaccata delle conseguenze della passione amorosa • Riflette spesso sull’inconsistenza delle passioni umane • Ai momenti tragici tendenzialmente affianca passaggi di natura umoristica o più prosaica GESAKU 戯作 IL GENERE Testi in prosa, dai toni umoristici/satirici, che riflettevano la vita e i codici estetici del nuovo ambiente cittadino, creati a Edo soprattutto dalla metà del diciottesimo secolo Lett ., “opere scritte per divertimento” (“arte per l’arte”): atteggiamento ludico , testi pensati come asobi , proprio e del lettore Chakashi : ironia, giochi di parole (jiguchi ) Ugachi : da ugatsu , “perforare”, andare oltre la superficie (omote ) delle cose per rivelare lo ura Shukō : riferimenti intertestuali AUTORI Bunjin 文人 Intellettuali, con produzione letteraria primaria “seria” (poesia e narrativa in cinese e confuciana) e frequentatori dei ren (cenacoli di intellettuali) Con i gesakusha la figura dello scrittore professionista si affermò definitivamente (affiancata da altre figure di professionisti dell’editoria, come gli stampatori, gli illustratori e gli editori) N.B.: il lettore era, tipicamente, chōnin DIVERSI SOTTOGENERI DEL GESAKU Distinti sulla base del contenuto e della veste grafica Includono: • Dangibon • Sharebon • Ninjōbon • Kusazōshi • Kokkeibon N.B.: Esempi di testi gesaku : http://www.wul.waseda.ac.jp/kotenseki/ga_edo/edo100_table.html DANGIBON 談義本 Testi che utilizzano lo stile dei sermoni buddhisti per descrivere in tono comico l’epoca contemporanea Comicità “spicciola ”, che però spesso maschera un livello più profondo di lettura, con riferimenti colti che si svelano attraverso giochi di parole Autore più rappresentativo: Hiraga Gennai Fūryū Shidōken den (1763) FŪRYŪ SHIDŌKEN DEN Storia degli insegnamenti del santo anacoreta Fūrai Sennin (alter ego di Gennai) ad Asanoshin (Fukai Shinzō), poi Shidōken (1682-1765), ex monaco famoso per i suoi sermoni burleschi, predicati di fronte al tempio di Asakusa (origine del rakugo ) Trama : Nascita miracolosa per intervento della divinità: medetai hito (personaggi fortunati), motivo ricorrente negli otogizōshi I genitori di Asanoshin, avuti altri due figli maschi, spingono Asanoshin a prendere i voti Incontro con il sennin , che intende aprirgli gli occhi sulla vera realtà del mondo Dopo un primo monologo, il sennin regala ad Asanoshin il suo ventaglio magico di piume “Viaggio di studio” di Asanoshin La storia si chiude con un nuovo incontro con il sennin e la trasformazione di Asanoshin in “monaco balordo” Monologhi del sennin: Attacco alle apparenze, consuetudini, autorità riconosciute falsamente presentate come verità • Monaci e maestri confuciani e buddhisti • Modello culturale cinese • Forme d’arte comunemente apprezzate (tranne scienze, poesia, calligrafia e pittura a inchiostro) Invito, una volta conosciuto lo ura , al distacco con la barriera dell’ironia Uso dei giochi di parole Viaggio di Asanoshin: ricerca della verità, lo ura Viaggio da Edo, a tutto il Giappone, con fulcro nei quartieri di piacere Viaggio fuori dei confini: antecedenti (Onzōshi shimawatari , Wakansansaizue : enciclopedia con capitolo sui “Barbari stranieri”) • Sovvertimento di ciò che è dato per scontato: Asanoshin è visto come strano e diverso (addirittura misemono , fenomeno da baraccone), non viceversa SHAREBON 洒落本 Testi concentrati sul mondo dei quartieri di piacere (frequente oggetto di censura) Caratteristiche ricorrenti Categorie fisse di personaggi • Tsūjin: colui che conosce alla perfezione l’etichetta dei quartieri di piacere, modello • Hankatsū: colui che si finge un conoscitore, ma di cui viene esposta (e ridicolizzata) la rozzezza • Musuko : giovane ancora ignaro, che si dimostra però molto rapido nell’imparare i modi di comportamento dei quartieri di piacere Stile : prevalenza di scene dialogate (con uso del linguaggio dell’epoca) Impostazione grafica : dialogo preceduto dall’indicazione dell’identità del parlante, parti descrittive riportate su due colonne Formato editoriale : kohon (o kobon , 16 cm x 12 cm ca.) SVILUPPI FINO AI NINJŌBON 人情本 Santō Kyōden, Nishiki no ura (1791) quartieri di piacere rappresentati alla luce del sole, sullo sfondo della storia d’amore fra la cortigiana Yūgiri e lo spiantato Izaemon. In una fase più tarda , la vena comico -satirica sfuma, anche per censura: nascita ninjōbon Pubblico soprattutto femminile Trattano tipicamente di amore di un uomo (di solito fragile e insicuro) per più donne, anche al di fuori dei quartieri di piacere KUSAZŌSHI 草双紙 Li contraddistingue soprattutto l’ aspetto grafico : ogni pagina (chō ) è occupata per la maggior parte da illustrazioni e il testo è inserito negli spazi rimanenti Il testo, composto da parte dialogata e parte narrata, è prevalentemente in kana Formato: chō di 19 cm x 13 cm (chūbon ); ogni opera è composta da due, tre o più volumetti di cinque chō ciascuno Primo periodo: akahon 赤本, kurohon 黒本, aohon 青本 Secondo periodo: Kibyōshi Copertina giallo-marrone Varietà di contenuti, e di comicità Più antico: Kinkin sensei eiga no yume (Koikawa Arumachi, 1775) • Storia di Kimuraya Kinbiōe e tema del “cuscino del sogno”, ripreso anche da Zeami nel nō Kantan , che viene frequentemente citato (quasi verbatim) Terzo periodo: Gōkan Volumetti più lunghi: più fascicoletti di cinque chō legati insieme a formare un solo volume Il più celebre: Nise Murasaki inaka Genji di Ryūtei Tanehiko KOKKEIBON 滑稽本 Testi comici , prodotti a partire dal 1802 Ormai, vasto pubblico: comicità “facile” Stile simile a quello degli sharebon , che unisce: • Parti dialogate (centrali): mimesi realistica • Togaki (spiegazioni su due colonne, che descrivono azioni o i pensieri/aspetto dei personaggi) • Altre parti descrittive Però, ambientazione al di fuori dei quartieri di piacere e nel mondo dei chōnin Opere più importanti: Ukiyoburo (1809-1812) e Ukiyodoko (1813-1814) di Shikitei Sanba YOMIHON 読み本 IL GENERE Dalla fine del diciottesimo secolo (scia del declino degli Ukiyozōshi ) Caratteristiche fisiche : “Yomihon” (elemento narrativo prevale sul figurativo) VS “ehon ” • Spesso illustrazioni (sashie ), ma non funzionali Letteratura scritta per diletto, ma non puntando al guadagno: carattere più colto e raffinato Argomenti di carattere serio Richiami ai classici giapponesi e ai testi cinesi Per lo più storie fantastiche/lontane nel tempo UEDA AKINARI Cresce a Ōsaka in una famiglia di mercanti ma se ne discosta per dedicarsi alla letteratura Formazione in haikai e narrativa (influenza di Ihara Saikaku, scrive in gioventù degli ukiyozōshi ), ma noto soprattutto per i suoi yomihon Opera più celebre: Ugetsu monogatari Fonti di ispirazione La narrativa cinese : es Shuihuzhuan (di epoca Ming, 1368-1644, in giapponese Suikoden ): gruppo di “briganti gentiluomini” che, dalla fortezza di Liangshanbo, combattono contro le autorità
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