By Giorgio Manganelli
Il ticchettio della macchina da scrivere, in line with Giorgio Manganelli, nasce «dai capricciosi amori di un cembalo estroso e di una mite mitragliatrice giocattolo». Non è un caso, dunque, che nei suoi "Improvvisi" un’incessante mutevolezza di melodie e di fraseggi (ossia di temi e di linguaggi) si accompagni a una tonalità ironico-umoristica percorsa da nere venature malinconiche.
Gli spunti (le «arie» su cui improvvisare) sono spesso offerti da un minimo fatto di cronaca, una polemica frivola, un provvedimento ministeriale bizzarro. l. a. notizia sulle rivendicazioni sindacali dei sagrestani, consistent with esempio, consente a Manganelli di elogiare l’operato di queste determine avvolte di «modesta, innocua magia»; l’attacco troppo facile della scienza alla parapsicologia lo spinge a una difesa paradossale («basta forse che una cosa non esista, perché sia impossibile frequentarla?»); e il ritorno domenicale delle targhe alterne gli ispira una pagina memorabile su chi legge Dostoevskij dopo vent’anni o si spezza una gamba according to sfruttare los angeles rapidità delle ambulanze nella città deserta. In ogni passaggio, queste improvvisazioni sono anche inversioni, capovolgimenti del senso comune. Da un lato, l. a. quotidianità più opaca assurge a una dimensione fantastica e metafisica, con los angeles banca trasformata in «un luogo strano», accanto alle stazioni ferroviarie, alle parrocchie di campagna e ai cimiteri. Dall’altro, i massimi sistemi slittano in una dimensione grottesca e prosaica, perché l. a. morte – questa «cosa ridicola» – è stupida «come è un po’ stupido sposarsi». Tutte le apparenze vengono così smascherate in un gioco demistificatorio che sembra fondere miracolosamente Lewis Carroll e Flaiano, e che produce l’effetto descritto da Pietro Citati: «lacrime di gioia, furori di ilarità», che distruggono «le istituzioni, i costumi, le abitudini, los angeles noia dell’esistenza quotidiana».
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Example text
One can descry in the background, I believe, the outlines of the intellectual life of the early Empire. I may to some extent have been subject to a professional vice. My many years of studying poetic texts that adopt a high register have convinced me that the literary sublimeeven if it is mediated in this case by the indirect language of parodyis an important key to an understanding of the Satyricon. " As will become apparent, this volume aims to achieve unity out of opposing forces, since the two aspects are complementary; they are, in fact, held together by a vigorous dialectic that dominates the whole text, supports it and coherently builds it up.
I have not set myself the wearying task of trying to construct tables of correspondence, to find out how Gérard Genette, Mieke Bal or Jaap Litvelt would have expressed the same idea. Naturally, each one would have found a different, and more complex, way of expressing it, and the terminology would have multiplied out of control. I was afraid that even in the attempt to rid myself of what was superfluous, I would be confronting a Lernaean Hydra: every "instance of focalization'' amputated might result in two more threatening instances.
The reader cannot help adopting the bona mens, that common sense which is so often invoked in the Satyricon as the significant missing element. I have described as the "hidden author" the implied self-image that Petronius creates as author of his text. The ideal reader too, by forming exactly this image of the author, that is by agreeing to it, takes shape in the text as a set of values in opposition to those of Encolpius and closer to normality. By making faces as it were behind the narration of Encolpius, the author first ensures that the protagonist and narrator reveals himself and his own naïveté and then leaves him without the protective illusions that the narrator has constructed for himself: in this way he secures for himself the reader's conniving response.