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L’ultimo Montale e il dramatic verse eliotiano
lunedì 15 gennaio 2007, di
Prima parte di due di uno studio sui due grandi del Novecento. La seconda è qui.
Nel 1965, ricordando Thomas Stearns Eliot, da poco scomparso, Eugenio Montale si chiedeva che cosa del poeta angloamericano restasse vivo in lui. La sua risposta, che riprenderemo per intero più avanti, cominciava così: “Anzitutto la musica”(1) . Cercare l’eco di questa musica è quanto mi propongo di fare qui, interpellando il corpus poetico del cosiddetto quinto Montale(2) , indugiando sulle ragioni alla base del credito di stima che egli accordò sempre alla pièce teatrale di Eliot Cocktail Party e, infine, focalizzando un più ravvicinato close reading sulla poesia Due destini del luglio 1973(3) , in cui si concentrano tutte le direttrici su cui si muove questo interesse, sia a livello concettuale sia, come tenterò di dimostrare, sul piano metrico formale.
Che si sia trattato di stabilire delle linee di discendenza eliotiana per alcune delle caratteristiche della poetica di Montale o più semplicemente di definire i termini di una somiglianza di intenti e movimenti, la critica che si è occupata di questa parentela ha voluto indagare in particolare il primo periodo dell’opera dell’italiano, e non a torto. Il momento chiave viene stabilito nel passaggio dagli Ossi di seppia alle Occasioni, se non già nelle variazioni apportate da Montale tra la prima e la seconda edizione degli Ossi (l’una uscita per Gobetti nel ’25, l’altra tre anni più tardi per Carabba), ossia un pugno di poesie tra le quali spicca, per densità e pregnanza, la promenade di Arsenio(4) .
Eppure la relazione a distanza tra i due poeti non cessa di evolversi. Perché se è vero che è in certa poetica dell’oggetto e nella direzione dell’impersonalità dell’arte che si può individuare il fulcro di questa vicenda, è anche vero che l’attenzione nei confronti di Eliot assume nuove forme nell’ultimo periodo montaliano, laddove quelle stesse caratteristiche poetiche perdono la loro centralità. Per cogliere l’entità e i modi dell’evoluzione del rapporto tra i due nell’ultimo tratto delle rispettive parabole, è alla produzione drammaturgica del poeta angloamericano che bisogna volgere lo sguardo.
***
Ma converrà fare un passo indietro. Scaturigine di questo rinnovato interesse sono le motivazioni su cui si fondava il proposito eliotiano di dare nuova linfa al teatro in versi e le problematiche tecniche ad esso correlate; il modo forse più efficacemente riassuntivo di tentare un approccio a una vicenda così ricca di implicazioni è partire dalla riabilitazione eliotiana di Monsieur Jourdain, il noto personaggio di Molière al quale venne spiegata la differenza tra poesia e prosa e che trasecolò rendendosi conto che, a conti fatti, da tutta una vita si esprimeva in prosa senza saperlo. Eliot, nel saggio Poetry and Drama (1951), richiamava l’episodio per affermare che in fondo il signor Jourdain aveva tutte le ragioni di cascare dalle nuvole poiché egli “non parlava in prosa; parlava, ecco tutto” (5) . In quelle pagine Eliot riprendeva, affinandone le argomentazioni e talvolta correggendo il tiro, le teorie esposte una decina di anni prima nel più noto The Music of Poetry (1942), fissando una tappa decisiva della sua riflessione attorno al verso teatrale. In particolare, viene argomentata la proposta di aggiungere alla troppo limitante distinzione tra poesia e prosa il linguaggio comunicativo della quotidianità, solitamente meno ricco e strutturato di entrambe. Se si accetta questo punto di vista parrà evidente che su un palcoscenico la prosa possa risultare innaturale tanto quanto la poesia (o, altrimenti detto, che la poesia potrà essere naturale quanto la prosa) (6) . Prioritaria, dunque, diveniva la questione prosodico-formale, nella prospettiva di riuscire a trovare:
“un verso drammatico che ci consenta di ascoltare sulla scena il linguaggio parlato dai nostri contemporanei, con cui i personaggi possano esprimere senza ampollosità la più pura poesia e dire le cose più comuni in modo che non appaia assurdo”(7) .
Anche da questa brevissima premessa sarà già chiaro che la riflessione eliotiana, più che ruotare attorno a una riconoscibile identità metrica, si volse alla ricerca di un’unità ritmica massimamente malleabile. Il tradizionale Blank Verse, infatti, scontava il peso eccessivo dovuto al suo ruolo dominante nella tradizione letteraria; pur provenendo dal teatro Elisabettiano, l’essersi imposto nel tempo come verso principe della poesia inglese presentava come indesiderato corollario il fatto che fosse giocoforza riconoscerlo inequivocabile segnale di un discorso poetico, mentre il fine di Eliot era all’opposto quello di proporre un teatro in cui la poesia filtrasse inosservata tra le maglie dei dialoghi (8) . Ogni eco di Shakespeare avrebbe vanificato questo intento, come era accaduto a quei grandi poeti ottocenteschi inglesi che nelle loro opere teatrali fallirono principalmente proprio nel linguaggio drammatico (9) : il pentametro giambico non rimato, una volta adottato dalla poesia lirica e plasmato alle sue necessità da una tradizione secolare, aveva oramai perso la “flessibilità indispensabile per rendere l’effetto della conversazione”(10) e rendeva impossibile l’effetto ricercato di far attraversare la pièce allo spettatore in modo che questi non si renda conto di stare ascoltando dei versi.
Il resoconto del percorso intrapreso da Eliot non può essere qui indicato che per sommi capi. Basti accennare, per le tappe intermedie, agli elementi più macroscopici che caratterizzano l’esordio drammatico di Murder in the Cathedral (1935), riprendendo un lucido ed esaustivo specchietto riassuntivo proposto dallo stesso Eliot: un parco impiego del giambo, nessuna cesura significativa, la frequenza dell’allitterazione, nonché l’uso occasionale di qualche rima inaspettata e le numerose assonanze. Ma la natura religiosa di quel testo (nonché la particolare predisposizione del pubblico di un’opera del genere) concedeva ampi spazi a digressioni filosofiche o liriche esposte in uno stile decisamente più impegnativo di quello normalmente sopportato per una commedia. In un’opera come Murder in the Cathedral, per ottenere che il dramma e il suo linguaggio risultassero all’orecchio dello spettatore come due elementi indistinguibili, era ammissibile anche una lingua dal registro alto o tradizionale. Diverso invece il caso del successivo ciclo di commedie borghesi, da Family Reunion (1939) in poi, quando la messa in scena di vicende inserite in una mondana quotidianità contemporanea poneva necessariamente il problema di una mimesi più spiccata con la conversazione di ogni giorno.
Il percorso di elaborazione di un dramatic verse soddisfacente passò quindi attraverso una nuova sistematizzazione degli accenti all’interno del verso, in modo che essi potessero cadere sempre in posizione naturale, facendo cioè coincidere la dizione metrica con quella della pronuncia più consueta dettata dall’uso e dalle circostanze. Non sarà difficile riconoscere in questo percorso le similitudini d’intenti con la direzione intrapresa da Montale già a partire da Satura. Meno evidente, ma tanto più pregnante, la comunanza di caratteristiche prosodiche dei rispettivi esiti. Per ciò che concerne Eliot, si può trarre dal saggio da cui siamo partiti un’ulteriore descrizione d’autore che, fissando l’approdo del suo percorso, risulterà illuminante una volta letti alcuni versi montaliani:
“vario nella durata e nel numero di sillabe, con una cesura e tre accenti [...]. Cesura e accenti possono cadere variamente, quasi in qualsiasi punto del verso; gli accenti possono essere racchiusi insieme in breve spazio, oppure ben separati in sillabe deboli; ferma restando l’unica regola che uno degli accenti cada da una parte della cesura, e che dall’altra cadano gli altri due ” (11).
Descrizione tanto più preziosa, in quanto data a ridosso della prima di Cocktail Party (rappresentata al festival estivo di Edimburgo nel 1951), di cui Poetry and Drama (dello stesso anno) funge da supporto teorico.
***
Presente alla rappresentazione scozzese, Montale si lasciò conquistare dall’opera al punto che questa diverrà la sua prediletta non soltanto del teatro ma addirittura di tutta la produzione eliotiana. “Il frutto migliore del teatro postcechoviano” (1954) o “di un’altezza di ispirazione che nessun drammaturgo europeo aveva raggiunto dai tempi di Cechov, [...] il capolavoro teatrale eliotiano” (12) (1958): sono solo alcuni dei passaggi che egli dedicò a Cocktail Party, tutti su questo tenore (13) . Individuare le ragioni di questa predilezione così poco canonica e per certi versi inaspettata (14) , potrà essere chiarificante, oltre che agevole. Basterà prendere il testo di Eliot e rimbalzare da questo al vasto corpus dell’ultimo Montale (sulla cui assodata vocazione romanzesca non pare più il caso di utilizzare le pezze d’appoggio della critica), per rendersi conto di quali corde potevano essere toccate nella sensibilità del poeta italiano. Se tentassimo di sovrapporre le figure principali dell’uno con alcuni personaggi dell’altro, troveremmo infatti forme che combaciano in maniera addirittura sorprendente, a partire dal cicaleccio mondano che fa da sfondo ai dialoghi e che risulta tutt’altro che estraneo alle mire ironiche di Satura e oltre.
La scena si apre su un interno borghese, durante un ricevimento. Tra gli ospiti un uomo sconosciuto (piuttosto taciturno eppure molto ben informato sulle vicende più intime del padrone di casa), Julia Shuttlethwaite (una svampita signora dall’atteggiamento intrigante e civettuolo, ma pronta a cogliere l’essenza stessa dei rapporti) e Celia Coplestone (una giovane attrice in cerca di un’esistenza più autentica). L’identità dell’Unidentified guest (Henry Harcourt-Reilly) viene svelata nel secondo atto, quando questi riceve nel suo gabinetto medico (secondo le parole dello stesso Montale egli è “qualcosa di mezzo tra lo psicanalista e il grande iniziato” (15) ) gli altri protagonisti della vicenda, ciascuno dei quali gli confessa a vario titolo il proprio sentimento di inadeguatezza rispetto alla vita che conduce. Nell’ultimo atto si scoprirà il drammatico epilogo della vicenda di Celia: partita missionaria per Kinkanja, allo scoppio di un’insurrezione è stata crocifissa vicino a un formicaio (“crucified / very near an ant-hill”): “una giovane donna che ha creduto nell’amore, ne è stata amaramente delusa e realizza pienamente il suo destino (l’estasi) morendo in terre lontane” (16) .
Già Laura Barile (17) ha notato la coincidenza di caratteri che unisce Julia Shuttlethwaite e la Mosca degli Xenia montaliani. La prima è miopie (l’allegoria ottica avvolge tutti i protagonisti della commedia), maliziosamente sbadata, perde gli ombrelli e torna sulla scena per ben due volte per aver dimenticato qualcosa. Quando è il turno degli occhiali esclama, rivolta al padrone di casa: “The next time I lose anything, Edward, / I’ll come straight to you, instead of to St. Anthony” (18) . L’altra, si sa, aveva pupille “tanto offuscate”(19) e “...pregava Sant’Antonio / perché fa ritrovare / gli ombrelli smarriti” (20) . La coincidenza è rimarchevole, al punto da giustificare l’ipotesi di un riferimento diretto a Cocktail Party (o almeno di una reminescenza della pièce) già prima della poesia Due destini in cui questa viene espressamente citata.
Per leggere i personaggi di Celia e Reilly in un’ottica montaliana si potrà prendere come esemplificante la poesia “A C.”, nel Diario del ’71, dedicata a Clizia.
Tentammo un giorno di trovare un modus
moriendi che non fosse il suicidio
né la sopravvivenza. Altri ne prese
per noi l’iniziativa; e ora è tardi
per rituffarci dallo scoglio.
Che un’anima malviva
fosse la vita stessa nel suo diapason
non lo credesti mai: le ore incalzavano,
a te bastò l’orgoglio, a me la nicchia
dell’imbeccatore.
La tematica esistenziale esposta nei primi tre versi è immediatamente la stessa che avvolge di dramma la figura di Celia Copplestone. Ad illuminare questa consonanza, basterà la frase pronunciata da Reilly a commento del tragico epilogo della donna:
“era chiaro che avevo davanti una donna condannata a morte. Era il suo destino. L’unico problema era: che tipo di morte? Io non potevo saperlo perché toccava a lei scegliere la via della vita che conduce alla morte e senza conoscere la fine già sceglie la sua morte” (21) .
In maniera più sfumata, gli ultimi due versi possono aiutarci a completare questa ipotetica assegnazione/sovrapposizione dei ruoli; l’indicazione offerta da quella “nicchia / dell’imbeccatore” ci induce a credere che Montale poté trovare pertinente per se stesso il ruolo dell’Ospite sconosciuto, inflessibile suggeritore di percorsi: non sarà indebito, pertanto, pensare alla fruizione montaliana della pièce come a una teatralizzazione non tanto dell’Alcesti di Euripide, sul cui mito è fondata, quanto del proprio corpus poetico e delle tracce romanzesche che in esso si sviluppano: il tutto nella direzione del ribaltamento ontologico dell’ultimo Montale, quando “l’occasione spinta” un tempo taciuta viene esposta e l’oggetto non si vede quasi più, o diventa sempre più spesso postura psicologica, situazione. Clizia e Celia, Julia e Mosca, Montale stesso e Reilly, il medico delle anime che esorta a “fare la sua scelta”. Questa finale tendenza drammaturgica, in cui si delinea il profilo di un’ulteriore affinità tra due massimi del Novecento, andrà letta come il parossismo della costruzione di dramatis personae che già li univa nella comune discendenza da Browning: l’uno con l’apparentemente anacronistica proposta di un teatro di poesia, l’altro confinando all’ambito del poetico la sua ricerca ritmico-prosodica, ma entrambi, orientandosi verso una cadenza quotidiana del parlato molto attenta, molto formata, che non si limita più al solo pattern fonetico delle prime opere. Il risultato sarà da un lato il tutto particolare dramatic verse eliotiano e, dall’altro, la nuova maniera di molti componimenti montaliani da Satura in poi.
[continua qui...]
Note
1 - E. MONTALE, Ricordo di T.S. Eliot, “Corriere della Sera”, 6 gennaio 1965, ora in E. MONTALE, Il secondo mestiere. Prose. Vol. II, (d’ora in poi SM), a cura di G. Zampa, Mondadori, Milano 1996, p. 2692.
2 - Mi accodo all’opinione di molti (cfr. R. LUPERINI, Storia di Montale, Laterza, Bari 1986, p. 233), per cui il Diario del ’71 e del ‘72, il Quaderno di quattro anni e Altri versi costituiscono un unico libro.
3 - Cfr. di Laura Barile il capitolo “Gli occhiali di Mosca” (pp. 51-68) in L.BARILE, Adorate mie larve. Montale e la poesia anglosassone, Il Mulino, Bologna 1990.
4 - Numerosi infatti sono gli osservatori che si sono espressi in questo senso - in particolare trovando più di un’affinità tra Arsenio e The Love Song of J. Alfred Prufrock - a partire da quel Mario Praz che non solo fu il primo a individuare tra i due un’aria di famiglia, ma che pure ebbe un ruolo così importante nella loro reciproca conoscenza. Ruolo ben esemplificato, nella sua mirata consapevolezza, dalla sua traduzione proprio di Arsenio per le pagine della celebre e influente rivista The Criterion diretta da Eliot.
5 - T.S. ELIOT, Poetry and Drama, Harvard University Press, Harvard 1951, tr. it di A. Giuliani, Poesia e dramma, in T.S. ELIOT, Opere 1939-1962, a cura di R. Sanesi, Bompiani, Milano 1993, p. 960. È a questa edizione che faranno riferimento i numeri di pagina dati in nota delle citazioni dalle opere di Eliot.
6 - “Quando usiamo prosa o poesia su un palcoscenico, entrambe non sono altro che mezzi rivolti a un fine; [...] Nel teatro di prosa che sopravvive,che è ancora letto e rappresentato dai posteri, il linguaggio dei personaggi è, nei momenti migliori, altrettanto remoto che il discorso in versi dal lessico, dalla sintassi e dal ritmo del nostro linguaggio ordinario - con i suoi balbettii in luogo di parole, la sua perpetua approssimazione, il suo disordine e le sue frasi mozze. Al pari della poesia, quella prosa è stata accuratamente elaborata”, ivi.
7 - T.S. ELIOT, The music of Poetry, Glasgow University Press, Glasgow 1942, tr. it. di A. Giuliani, La musica della poesia, in Opere 1939-1962, cit., p. 313.
8 - “Il nostro compito è di assuefare gli spettatori all’espressione poetica fino al punto che cessino di esserne consapevoli”, Eliot, Poetry and Drama, cit., p. 962.
9 - Scriveva Eliot in The music of Poetry (cit., p. 308): “Ciò che rende quei drammi così privi di vita [...] consiste soprattutto in un ritmo del discorso che non si può considerare adatto ad alcun essere umano che non sia un dicitore di versi”.
10 - T.S. ELIOT, Poetry and Drama, cit., pp. 971-2.
11 - Ibid.
12 - E. MONTALE, Assassinio nella Cattedrale, “Corriere della Sera”, 1 marzo 1958, articolo scritto in occasione della prima alla Scala di Murder in The Cathedral, ora in SM II, pp. 2127.
13 - Riporto alcuni passaggi chiave in questo senso tratti da dichiarazioni rilasciati nell’arco di più di quindici anni: “Le sue prime liriche, alcuni degli Ariel Poems e varie scene del Cocktail Party sono probabilmente le sue punte più alte” (Il cammino della nuova poesia, “Corriere della Sera”, 24 gennaio 1951, SM I, p. 1155); “il frutto migliore del teatro postcechoviano è da vedersi nel Cocktail Party di Eliot: un’opera mal compresa dalla critica, che si ostina a crederla una macchina in versi, una mancata tragedia raciniana mentre è una sottile, amara commedia veristico-psicologica da noi, e anche in Francia, debitamente assassinata” (La sua eredità, “Corriere d’Informazione”, 31 luglio 1954, su Cechov, SM I, p. 1713); “un commovente dramma borghese, che, eliminate poche frange del tutto marginali, potrebbe allinearsi accanto ai maggiori lavori di Cechov” (Ricordo di T.S. Eliot, “Corriere della Sera”, cit., p. 2694); “Se una pièce è poetica, non spettacolare come il Cocktail Party di Eliot si hanno i travisamenti ai quali ho assistito da poco al Vieux Colombier dove la civettuola Madeleine Mazzeroy rovina la bella parte di Celia...” (in Fuori di casa, Ricciardi, Milano-Napoli 1969, poi in E. MONTALE, Prose e racconti, a cura di M. Forti, Mondadori, Milano 1995, p. 401).
14 - The Waste Land, probabilmente il poema novecentesco in lingua inglese che ha lasciato le tracce più profonde nella poesia italiana, per Montale mancava di quella compattezza necessaria al testo fondatore. “Mi pare unita solo esteriormente, cucita con lo spago”, disse in Il cammino della nuova poesia, (cit., SM I, p. 1155), ma per la consueta cautela con cui si devono leggere le dichiarazioni d’autore, tanto più valida nel caso del “depistante” Montale, questa presa di posizione meriterebbe di essere problematizzata in altra sede.
15 - Nel Programma distribuito al teatro alla Scala nel 1958 per la prima di Assassinio nella cattedrale musicato da Ildebrando Pizzetti. Traggo la citazione da L. BARILE, Adorate mie larve, cit., p. 52.
16 - Montale, Assassinio nella Cattedrale, cit., SM II, p. 2127.
17 - L. BARILE, Adorate mie larve, cit., pp. 64-65.
18 - “La prossima volta che perdo qualcosa, Edward / mi precipito da te, altro che da Sant’Antonio”, Cocktail Party, in Opere 1939-1962, p. 694.
19 - Xenia II, 5, v.11.
20 - Xenia I, 10, vv. 1-3.
21 - “So it was obvious / that here was a woman under sentence of death. / That washer destiny. The only question / Then was, what sort of death? I could not know; / Because it was for her to choose the way of life / To lead do death, and, without knowing the end / Yet choose the form of death”, Cocktail Party, atto III, cit., p. 860.
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