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LA CAPRIA E LA NARRATIVITA’. ANCORA SU ‘FERITO A MORTE’ di Emma Giammattei


Le forme del tempo sono la preda che ogni storico vuole catturare. Nell’ambito della storia della letteratura, intorno all’opera-evento la tradizione formale si costituisce come una continuità di progressive soluzioni di continuità, dove la persistenza è piuttosto demandata alla coscienza delle modalità e delle tecniche con le quali risolvere il problema, sempre diverso e sempre identico, dell’arte. Peraltro non è inutile ricordare che il grande scrittore modifica retroattivamente la tradizione nella quale si inscrive; ma è anche vero che quella tradizione rappresenta per l’artista una forza che lo condiziona, sia che egli la accolga sia che vi si ribelli.
L’apparire di un’opera letteraria significativa, com’è certamente il romanzo di Raffaele La Capria Ferito a Morte, uscito quarant’anni fa, nel 1961, provoca ogni volta queste o consimili riflessioni di carattere generale, perché essa si manifesta dentro il suo tempo e fuori di esso. E allora anche una critica immanente non può non considerare il testo nella prospettiva storica, all’interno di una sequenza formale di lunga durata che il testo ultimo sommuove e, per dir così, risveglia. E per sequenza si vuole intendere l’accezione circoscritta di una “rete storica di ripetizioni gradualmente modificate di uno stesso tratto” (G.Kubler, La forma del tempo, Torino, Einaudi, 1976, p.48).
Nel romanzo di La Capria risulta infatti riconoscibile, ad una rilettura contemporanea, una soglia: il momento della intersezione e sovrapposizione fra il modello narrativo ‘napoletano’ e la tradizione del Novecento, anzi, si vorrebbe precisare, inaugurata nel primo Novecento. Nel romanzo da una parte ritorna, come negazione-variazione, il grande realismo urbano della linea Serao-Di Giacomo, ma già passato al filtro straniante dei Tre operai di Bernari del 1931. Dall’altra, la sintassi narrativa si appropria delle forme della difficoltosa effabilità del moderno, attraverso gli elementi, già segnalati dalla critica, della concentrazione nominale – tesa alla dissoluzione dei piani temporali indicati dal verbo –, della polifonia e della evocazione del parlato, ma soprattutto della paratassi dell’assurdo quotidiano, l’assurdo, ha scritto Contini, della percezione franta e discontinua della realtà. Questo processo di sovrapposizione e fusione tra due linee culturali è molto evidente nella esecuzione linguistica, fra parole gergali tradotte o non tradotte (“piede marino” bebbé guaglione etc.), epiteti familiari, impasto lessicale lingua-dialetto tipico del parlato borghese, quasi uno slang connotativo (ad es. “saper portare il danaro”).
Ciò che resiste e fa l’incanto della pagina, in questo romanzo, è la prosodia discensionale della lingua napoletana che s’innesta nella dilatazione dell’italiano verso una grammatica ‘aperta’, qui sorretta non già da articolazioni sintattiche ma da una potente rete metrica, dalla qualità del poema-in-prosa.
Già, la forza di Ferito a morte non è solo nella capacità di risvegliare il grande tema della malattia che è nel titolo, e di rappresentare l’impossibilità della forma del “romanzo-di-formazione”: ormai, si sa, la scelta dinanzi alla quale la società sembra porre l’individuo è quella, così bene percepita dal giovane protagonista, di rimanere bambino, o diventare come gli altri. E ci sono i temi dalla forte carica mitografica del viaggio e del ritorno, anche in questo caso all’insegna di una impossibile telemachia. C’è inoltre la nascosta dimensione epistolare, la lettera di Gaetano a Massimo, dallo spazio della Storia, che ad intermittenza scandisce il testo, è poi l’unica immagine scritta sulla quale si affaccia vertiginosamente l’universale parlato-recitato del romanzo, tra chiacchiericcio e sussurro.
E la trama principale è ancora una volta Napoli, vera roccaforte dell’immaginario che viene da La Capria evocata e contraddetta, sottoposta ad una sorta di spaesamento funzionale, sia perché circoscritta e portata verso il mare, sottratta al “gomitolo di strade” di tanta narrativa non solo ottocentesca, sia soprattutto per il tramite di una tecnica del punto di vista narrativo che definiremo del personaggio-rifrattore. Tutto, in questo romanzo, è detto da qualcuno e poi ascoltato rivissuto ripetuto citato sognato in una travolgente trenodia che arriva dopo, ad azione centrale negativa, l’Occasione Mancata, avvenuta prima, e fuori scena. E quindi anche il discorso critico su Napoli, sul “metallo traditore”, l’oro di Napoli, che il narratore reale, al pari di tanti altri, pure ha deciso di maneggiare, entra nel flusso di parole che accerchia e sequestra il protagonista in uno spazio dall’apparenza naturale, in verità storico: l’azzurro indeclinabile di una “bella giornata” che attraversa, essa, non realmente vissuta, il protagonista. Non a caso, il luogo da cui proviene la scrittura è uno spazio notturno, chiuso, orizzontale, la stanza di una reverie che scompiglia i dati e le cose nel momento in cui li assume, e contagia, continuamente de-realizzandola, la veglia, la quale dovrebbe essere, diceva Pascal, “un sogno un po’ meno incostante”.
Autobiografismo e saggismo costituiscono certo le forme privilegiate qui dall’autore; ma risulta per noi essenziale il punto di fusione, da ricercare in una intonazione di tipo lirico-cantabile – Il vento che ti sfiora, mai, mai più ritornerà” – che tiene il testo al riparo dall’intellettualismo di pagine che in seguito La Capria, ovvero la sua intelligenza ipermetrope, ha offerto al lettore. Il medesimo ufficio ricopre l’uso della maiuscola, tipico anche della Ortese, a promuovere il passaggio continuo da un livello referenziale e realistico ad uno metaforico e allegorico.
Se si tiene presente il silenzio fra il primo romanzo Un giorno d’impazienza – un cartone preparatorio che meriterebbe una ristampa – e Ferito a morte e tra questo testo e tutta l’opera saggistica ed autocommentativa di cui Lo stile dell’anitra rappresenta la prova più recente, si può forse meglio intendere il carattere complesso e sostanzialmente tragico di questa scrittura. Infine, per quanto concerne Napoli, la sua tradizione letteraria, e in particolare la volontà dello scrittore di sottrarsi alla cosiddetta napoletanità, a noi vien fatto di paragonare La Capria a quel protagonista del celebre racconto di Chesterton, Manalive, il quale era fuggito dalla sua casa per il bisogno di ritrovarla, perché non poteva sopportare di esserne lontano.


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