Publication: Poética de la busca en la literatura medieval francesa
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2016-11-15
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Universidad Complutense de Madrid
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Abstract
Las investigaciones en torno a las estructuras narrativas de las primeras obras literarias occidentales hacen constatar la ocurrente aparición de un motivo literario que se remonta a los orígenes de la épica, en la literatura clásica grecolatina. Sin embargo, este motivo no alcanza su pleno desarrollo y esplendor hasta la llegada de la literatura medieval francesa, notablemente con el roman y en los siglos XII y XIII puesto que la materia de Bretaña retoma temas y elementos que aparecen en la Odisea de Homero las Argonáuticas de Apolonio de Rodas, la Eneida de Virgilio y las Metamorfosis de Ovidio entre otras obras clásicas. Pero la Busca, no permanecerá en el medievo sino que continuará con la literatura renacentista, la barroca, la ilustración, el romanticismo, etc, hasta nuestros tiempos. Esta cuestión la pude constatar previamente con el trabajo de fin de máster en estudios literarios, mediante el estudio de la Busca en la novela western1, pude constatar la significativa pervivencia que ha tenido a lo largo de la narrativa occidental hasta nuestros días. Observando la estructura de algunas obras universales anteriores al medievo en las que el héroe debe encontrar a un Objeto para restablecer la armonía de su entorno, me he dado cuenta de que se hace imprescindible un análisis exhaustivo de este tipo de estructura que se reproduce sistemáticamente en todas las épocas de la literatura occidental. Entonces, busqué en ensayos y estudios sobre este tipo de estructura y me encontré todo tipo de investigaciones sobre el roman medieval, desde diferentes enfoques y también de los motivos más relevantes como el del arrepentimiento, el honor y la vergüenza, etc. Sin embargo, aunque sea indiscutible la amplia obra de análisis y estudio de la literatura medieval europea, principalmente de la que se compuso en Francia durante los siglos XII y XIII, dentro de este universo, el roman artúrico casi siempre ha encabezado el constante interés por el Graal, analizándolo especialmente como símbolo, tal y como lo muestra el reciente ensayo de Victoria Cirlot “Graal. Poética y mito (siglos XII-XV)”...
From the origins of western literature, the Quest for a person, a place, an animal or an object have given meaning to thousands of stories, beginning with The Odyssey by Homer, The Aeneid by Virgil or the stories of Pyramus and Thisbe, Orpheus and Eurydice from the Metamorphoses by Ovid, awakening and feeding the imaginary collective for centuries. In medieval Europe of the 12th and 13th centuries, especially during the reign of the Plantagenêts, this literary motif reached its absolute apogee with a complete series of romans in verse and prose, of Celtic, Greek and Latin influence, such as those of Chrétien de Troyes: Perceval or the Story of the Grail, Erec and Enide, Yvain or the Knight of the Lion, and the Knight of the Cart. In order to understand this evolution of the motif, from antiquity to the medieval period, one must begin by conceiving the adventure as the essential nucleus of the Quest. In the analysis by Erich Köhler one clearly glimpses the intrinsic relationship that exists between the adventure and the Quest. Any Quest structure involves an essential stage of adventure to measure the courage and valour of the hero. Viscardi is of the opinion that "in Chrétien, aventure is not only the Quest for a “prova di valore e di virtú”, but also, the “recerca di una felicità perduta”. Aventure is a means to individual improvement, an example for the community, and a means to safeguard an “ordo” considered courteous and chivalrous. It signifies the constant possibility of reestablishing order, and also the incessant threat that weighs on him: “Aventure and queste mean the painful struggle, imposed by life itself, in order to reestablish the relationship, now uncertain, between the individual and society in the sense of an ontological “ordo”, an agreement between the being and what exists. (…) The return of the hero to the court –having surpassed the adventure and, therefore, having finalized the Quest–, and the joie of the court by that return, are the confirmation of his act fulfilled for himself and for the community.”...
From the origins of western literature, the Quest for a person, a place, an animal or an object have given meaning to thousands of stories, beginning with The Odyssey by Homer, The Aeneid by Virgil or the stories of Pyramus and Thisbe, Orpheus and Eurydice from the Metamorphoses by Ovid, awakening and feeding the imaginary collective for centuries. In medieval Europe of the 12th and 13th centuries, especially during the reign of the Plantagenêts, this literary motif reached its absolute apogee with a complete series of romans in verse and prose, of Celtic, Greek and Latin influence, such as those of Chrétien de Troyes: Perceval or the Story of the Grail, Erec and Enide, Yvain or the Knight of the Lion, and the Knight of the Cart. In order to understand this evolution of the motif, from antiquity to the medieval period, one must begin by conceiving the adventure as the essential nucleus of the Quest. In the analysis by Erich Köhler one clearly glimpses the intrinsic relationship that exists between the adventure and the Quest. Any Quest structure involves an essential stage of adventure to measure the courage and valour of the hero. Viscardi is of the opinion that "in Chrétien, aventure is not only the Quest for a “prova di valore e di virtú”, but also, the “recerca di una felicità perduta”. Aventure is a means to individual improvement, an example for the community, and a means to safeguard an “ordo” considered courteous and chivalrous. It signifies the constant possibility of reestablishing order, and also the incessant threat that weighs on him: “Aventure and queste mean the painful struggle, imposed by life itself, in order to reestablish the relationship, now uncertain, between the individual and society in the sense of an ontological “ordo”, an agreement between the being and what exists. (…) The return of the hero to the court –having surpassed the adventure and, therefore, having finalized the Quest–, and the joie of the court by that return, are the confirmation of his act fulfilled for himself and for the community.”...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Lengua Española y Teoría de la Literatura y Literatura Comparada, leída el 28/09/2015