Il perturbante nell’opera Death of a Naturalist di Seamus Heaney
Il perturbante nell’opera Death of a Naturalist di Seamus Heaney
Esaminando il titolo di questa raccolta, possiamo affermare che il naturalista è una persona che studia la natura. Sul Collins Dictionary si legge “a naturalist is a person who studies plants, animals, insects, and other living things” “Death” invece “is the permanent end of the life of a person or animal”, mentre “the death of something is the permanent end of it”. Nel nostro caso, il titolo si riferisce ai sogni e alle ambizioni di un bambino ormai appartenenti al passato.
Iniziamo la nostra analisi di alcune poesie che a nostro avviso sono una chiara espressione dei luoghi della mente non geograficamente rintracciabili, ma rievocabili attraverso l’uso della memoria. Come afferma Magdalena Kay nel suo articolo Belonging as mastery: selfhood and otherness in the poetry of Seamus Heaney:
[…] the land can never be perfectly owned. Heaney’s work struggles to realize that belonging through continuity- of land, of language, of imagery, of ritual- may not be a sustainable ideal. Subsuming the local into a mythic masterplan will not allow the expression of a local identity; Heaney struggles to speak with a voice whose personality is not overborne by history even if history is constructed by the poetic speaker himself […][1]
In seguito, in riferimento alla poesia “Death of a Naturalist” che porta il titolo della raccolta, Kay afferma “[it] is one of several early poems that established the tropic parallel of an encounter with the land as an encounter with one’s own psyche” [2]. Nei primi versi “All the year the flax-dam festered in the heart/ of the townland” e in seguito “…but best of all was the warm thick slobber/of frogspawn that grew like clotted water”, l’associazione di “flax-dam” e “frogspawn” da ritmo alla poesia e lega procreazione a decomposizione, uova a marciume. [3]
Il luogo dove tutto avviene è “the townland”, la zona abitata che Heaney descrive come dotata di cuore. L’azione si svolge durante tutto l’anno e nei versi centrali egli torna bambino e ricorda “Miss Walls ci avrebbe detto come/ papà ranocchio era chiamato ranatoro/, e come gracidava, e mamma rana/ deponeva le uova a centinaia e quella era/ ovatura di rana. Si poteva perfino indovinare/ che tempo avrebbe fatto con le rane,/ perché erano al sole tutte gialle,/e brune con la pioggia”[4].
La seconda strofa mostra un narratore non più affascinato da tale visione, ma che prova una forte repulsione “The air was thick with a bass chorus” e le rane che saltellano diventano “obscene threats” , egli conclude:
I sickened, turned, and ran. The great slime kings
Were gathered there for vengeance, and I knew
That if I dipped my hand the spawn would clutch it.
La poesia presenta da un lato ciò che è percepito dai sensi e conosciuto attraverso le lezioni scolastiche, dall’altro ciò che è sconosciuto e temuto.
The center of this early poem is human: small, incapacitated, and sacred. He is less interested in natural processes per se than in how the perceiving sensibility registers these processes. The root of his fear of the land is essentially preverbal, irrational, and prereligious; variations on this fear are discernible throughout Heaney’s oeuvre. His obsessive return to the themes of home, place, and landscape is part and parcel of his basic fear. He senses an “uncanny” alterity both within the self and between self and place.[5]
Il termine “uncanny” corrisponde al tedesco unheimlich, il perturbante di cui parla Freud in un saggio pubblicato nel 1919, che indica un estraniamento da ciò che un tempo era familiare- heimlich (da heim che significa casa)- e ora non lo è più. Esso appartiene alla sfera dello spaventoso e generalmente coincide con un angoscia scaturita da ciò che ci è noto da lungo tempo. Spaventoso e familiare sono due termini opposti, ma heimlich non significa solo familiare, ma anche celato o nascosto, quindi il perturbante è tutto ciò che dovrebbe rimanere segreto e invece è riaffiorato.[6]
Il grano trebbiato ammucchiato nei sacchi è la prima immagine rievocata nella poesia “The Barn”, dove il granaio, probabilmente situato nella fattoria di Mossbawn, è descritto come un luogo buio con poche fessure sul muro dalle quali traspare un po’ di luce:
The floor was mouse-grey, smooth, chilly concrete.
There were no windows, just two narrow shafts
Of gilded motes, crossing, from air-holes slit
High in each gable.
Tutto intorno tra gli attrezzi da lavoro, una vanga, strumento chiave nel suo scavare poetico descritto in “Digging”, e ragnatele che ostacolano il passaggio. Pipistrelli nella notte fissano il poeta, appesi a testa in giù con occhi lucenti, intensi ed impassibili e tra il buio del sottotetto Heaney racconta:
[…] I was chaff
to be pecked up when birds shot through the air slits.
I lay face-down to shun the fear above.
The two-lugged sacks moved in like great blind rats.
Un nuovo ricordo riaffiora nella mente in “At a Potato Digging”, dove viene descritto il lavoro dei contadini e il loro rapporto con la terra, che viene presentata sia come “Earth Goddess” che come “Black Mother”. Riprendendo lo studio sul paesaggio di Edward Picot[7], in particolare per quanto riguarda il nostro poeta dell’Irlanda rurale, notiamo come egli si soffermi su questa poesia mettendone in risalto il conflitto tra una visione ciclica e una storica del tempo. La poesia è suddivisa in quattro parti; nella prima, la relazione tra i contadini irlandesi e il suolo è pagana e “supplicatory”:
Heads bow, trunks bend, hands fumble towards
The black
Mother. Processional stooping through the turf
Recurs mindlessly as autumn[…]
Essa è concentrata sulla durezza del lavoro nei campi che il poeta considera sia “harsh” che “mindless”, quindi difficile ma anche insensato. Questa ultima caratteristica è legata ad un’altra, il lavoro è “timeless”: ‘Processional stooping through the turf /Recurs mindlessly as autumn’.
Picot spiega l’uso del termine ‘mindlessly’in riferimento al ciclo della natura che non viene interrotto dai contadini:
The Irish are dominated by the natural world rather than dominating it; and as a result there is no notion of progress or of history as a movement forwards and upwards through time. All activities are rendered as timeless and cyclic as the recurrence of autumn itself.[8]
La terza parte invece, fa riferimento alla cosiddetta “Potato Famine” del 1845-49, detta anche “The Great Hunger”, come ricorda il titolo dell’opera di Kavanagh. Le patate erano l’alimento principale per gli irlandesi soprattutto per i contadini e le classi più povere, ma quando la peronospora, un fungo proveniente dal nord America, raggiunse il paese, molte persone morirono e oltre due milioni emigrarono verso l’America o il Regno Unito. A questa catastrofe contribuirono in modo negativo la politica inglese e il forte incremento demografico che aveva caratterizzato gli anni precedenti la carestia.
Il tono utilizzato da Heaney è un’indicazione che la carestia non è un evento naturale che va accettato. La visione del tempo non è più ciclica, che ci ricorda che nulla è cambiato e nulla sta per cambiare, ma è storica e sottolinea che ogni evento è unico e con lui le cause e le conseguenze.
Stinking potatoes fouled the land,
Pits turned pus into filthy mounds:
And where potato diggers are
You still smell the running sore.
Per Heaney questo non è un segno causato dal rapporto “Man-Nature” ma la carestia “was an outrage which was the responsibility of the English, who gradually reduced the Irish peasantry to a state of subsistence and almost complete dependence on a single crop for their survival, and who did not take any action to alleviate the crisis for a long while after it had begun.”[9]
Nell’ultima parte, torna il termine “”timeless”:
Thankfully breaking timeless fasts;
Then, stretched on the faithless ground, spill
Libations of cold tea, scatter crusts.
I contadini si fermano per riposare, ma la terra diventa improvvisamente “faithless”, è come se il poeta non volesse abbandonare le due visioni contrapposte di “Black Mother” e “Earth Goddess”.
Sfogliando il volume ci imbattiamo in “Poor Women in a City Church”, il setting, come ci suggerisce il titolo, è una chiesa. La descrizione di questo luogo sacro, situato in una “city” non ben identificata, è molto dettagliata e facilmente riadattabile alla chiesa che ognuno di noi frequenta:
The small wax candles melt to light,
Flicker in marble, reflect bright
Asterisks on bras candlesticks:
At the Virgin’s altar on the right,
Blue flames are jerking on wicks.
Nella chiesa sono presenti anziane donne con scialli neri che pregano in ginocchio e invocano “The Holy Name” , la fiamma emanata dalle candele in cera guizza come un serpente (…Flicker in marble). Quest’ultimo è uno dei simboli più importanti dell’immaginazione umana, definito da Bachelard “soggetto animale del verbo avvolgere”[10]. Esso è il simbolo della trasformazione temporale in quanto è un animale che cambia pelle restando se stesso, ma anche della fecondità, e vivendo sotto terra possiede i segreti del tempo e il mistero della morte, vista dalla promessa di rigenerarsi sempre, come indica il simbolo dell’uroboro, il serpente che si morde la coda.[11]
L’ultima strofa recita
Thus each day in the sacred place
They kneel. Golden shrines, altar lace,
Marble columns and cool shadows
Still them. In the gloom you cannot trace
A wrinkle on their beeswax brows.
“They”si riferisce alle “old-dough faced women” della strofa precedente, le donne che continuano a pregare nel “sacred place” , e l’aggettivo “beeswax” dell’ultimo verso richiama il verso che apre la poesia “The small wax candle melt to light…” e la conclude in un cerchio reso perfetto da quella sorta di vicinanza tra le candele e le donne.
Spesso, vista la profonda immersione della poesia nel “home environment”, è difficile distinguere in modo netto là dove si tratta di artificio poetico o realtà fisica. Tuttavia, secondo Eugene O’Brien questa considerazione sminuirebbe il lavoro di Heaney. A tal proposito, egli analizza la poesia dal titolo “Personal Helicon” che conclude la raccolta ed è “a further enunciation of the view of home as a place where the self can become open to the other…”[12].
Heaney racconta come da bambino “they could not keep me from wells” e come uno dei pozzi, situato in un mattonificio, col coperchio di legno tutto marcio, fosse “so deep you saw no reflection in it”. In un altro “when you dragged out long roots from the soft mulch/ A white face hovered over the bottom”, mentre altri pozzi “had echoes [which] gave back your own call with a clean new music in it”. Nei versi conclusivi
Now, to pry into roots, to finger slime
To stare big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.
il poeta passa da una prospettiva “as a child” espressa al passato a “now” e afferma che rovistare le radici, maneggiare la melma, o fissare con occhi spalancati dentro una fonte sarebbe al di sotto di ogni dignità adulta, egli ha trovato un nuovo modo per vedere se stesso perché il buio riecheggi: scrivere versi.
Risalendo alla derivazione etimologica del sostantivo “Helicon” , tradotto da Gilberto Sacerdoti con “elicona”[13] che significa ispirazione poetica, vediamo che “ [it] was a mountain in Boetia, sacred to the Muses. From it two fountains flowed, the Hippocrene and the Aganippe, and those who drank from their waters were inspired with the gift of poetry”[14]. Il riferimento a Narciso, da una valenza anche al sostantivo “eco” che assume una connotazione mitologica. Eco era una ninfa con il potere di incantare attraverso la parola; Giunone, una volta scoperto che Zeus utilizzava questa sua dote per distrarla e poterla tradire con altre ninfe, punì Eco togliendole la possibilità di parlare in modo autonomo, lasciandole solo quella di riferire l’ultima parola che gli altri pronunciano. Eco si innamora di Narciso, ma afflitta per essere stata respinta si rinsecchisce fino a tramutarsi in un sasso in prossimità di uno specchio d’acqua. Narciso, vede la propria immagine riflessa nell’acqua e se ne innamora, ogni qual volta egli tenta di avere un contatto fisico, essa svanisce e riappare non appena Narciso indietreggia; il dolore causato dall’impossibilità di ricongiungersi con la propria immagine riflessa lo porterà alla morte.
O’Brien osserva
In terms of home, the poet sees that the two reflections of place symbolized by Narcissus and Echo, are flawed and one-dimensional. Narcissus is seen as childish, beneath the dignity of an adult, and here, the difference between the “I” of the early part of the poem and the mature “I” who is speaking, is made overt. [Echo] embodies the voice of place […]who has a simple, one-dimensional view of the relationship between land and language. […] for Heaney, while the place may be Unheimlich, the language trough which that place is expressed has long been part of his own cognitive and signifying structure- Heimlich. [15]
In questa prima raccolta la presenza di luoghi geografici è ancora poco presente rispetto alle raccolte che analizzeremo successivamente. Ma se prendiamo come esempio “Digging”, notiamo come nella terzultima strofa Heaney faccia riferimento alla torbiera di Toner.
My father cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.
Il nome di questo luogo non si trova su nessuna mappa ufficiale, il significato più immediato di Toner’s bog è “local”: esso è un posto reale nel mondo reale dell’infanzia del poeta, il sud della Contea di Derry. Secondo Thomas O’Grady
Inserted into the poem, however, the named place takes on different properties: grounding the poem in that real world, the reference not only authenticates Heaney to himself and to his readers as a commentator on rural Irish experience but also authenticates that experience, validating it as viable subject matter for the poetic imagination. A major acknowledged influence on Heaney, Patrick Kavanagh once noted in a poem that “Naming . . . is the love-act and its pledge.” Thus, identifying Toner’s bog by name, Heaney is staking a claim that is both personal and poetic, both pre-literary and literary.[16]
Proseguendo, nelle poesie “Lovers on Aran” e “Synge on Aran”, Heaney descrive il paesaggio delle isole Aran, un gruppo di tre isole (Inis Mòr, Inis Meàin e Inis Oìrr) facente parte della contea di Galway. Si narra che gli imponenti forti in pietra furono costruiti da una tribù celtica proveniente dall’Europa, sull’isola vengono mantenute le antiche tradizioni e si parla la lingua gaelica. Per trasformare il terreno roccioso e sterile in aree coltivabili, gli isolani hanno raccolto sabbia e fuco (un tipo di alga) e li hanno disposti a strati su piccoli appezzamenti irregolari recintati da muri a secco, divenuti un elemento tipico del paesaggio. In particolare in “Lovers on Aran”, vi è un continuo oscillare tra i due elementi acqua- terra.
The timeless waves, bright, lifting, broken glass,
Came dazzling around, into the rocks,
Came glinting, sifting from the Americas
To possess Aran. Or did Aran rush
To throw wide arms of rock around a tide
That yielded with an ebb, with a soft crash?
Torna l’aggettivo “timeless”, questa volta non è riferito al lavoro ma alle onde dell’Atlantico che incessantemente bagnano l’isola e si scontrano delicatamente alle rocce, e a sua volta l’isola avvolge le onde con i suoi scogli.
Heaney si chiede se è il mare a delineare la terra o viceversa “Did sea define the land or land the sea?” e risponde “Each drew new meaning from the waves’ collision. Sea broke on land to full identity”. Sono entrambi a dare un senso l’uno all’altro.
Valentina Fera
[1] Magdalena Kay, Belonging as Mastery: Selfhood and Otherness in the Poetry of Seamus Heaney, New Hibernia Review/ Iris Éireannach Nua, 14:1 (Spring/ Earrach, 2010)Magdalena key p. 78
[2] Ibidem
[3] Idem, p. 79
[4] Seamus Heaney, Poesie Scelte, a cura di Roberto Sanesi, Marcos y Marcos, Milano, 1996 p. 13
[5] Magdalena Kay, op.cit, p.80
[6] Sigmund Freud, Il perturbante, in Saggi sull’arte, la letteratura e il linguaggio, Bollati Boronghieri editore, Torino 1991, pp. 269-307
[7] Edward Picot, Oucasts from Eden, Ideas of Landscape in British Poetry since 1945, Liverpool University Press, 1997, p. 209,210
[8] Ibidem
[9] Idem, p.211
[10] Gilbert Durand, Le Strutture Antropologiche dell’Immaginario,Introduzione all’archetipologia generale,Edizioni Dedalo, Bari, 2009, p.391
[11] Idem, pp.391, 392
[12] O’Brien Eugene, Seamus Heaney and the Place of Writing, Mary Immaculate College, University of Limerick, Republic of Ireland, 2000, 2003 p. 62
[13] Seamus Heaney, Poesie Scelte, a cura di Roberto Sanesi, Marcos y Marcos, Milano, 1996 p. 83
[14] Eugene O’brien, op.cit, p. 64
[15] Idem, pp. 65,66
[16] Thomas O’Grady, Heaney’s “Broagh”: The World Made Word, The Boston Irish Reporter, Volume 17, Number 5 (May 2006), p. 25
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