Filippo Lai MIT 07

SILENZIO, SI GIRA, di filippo lai

La maggior parte degli uomini teme il silenzio, per cui quando cessa il brusio costante, per esempio in un ricevimento, bisogna sempre fare, dire, fischiare, cantare, tossire o mormorare qualcosa. Quello che si definisce significativamente ‘silenzio di tomba’ rende terribilmente inquieti. Perché? Vi si agitano forse i fantasmi? Non credo; in realtà si teme ciò che potrebbe venire fuori dal proprio intimo, quello cioè che abbiamo tenuto alla larga col rumore.
Carl Gustav Jung

Come vorrei preludere al silenzio, un silenzio vero. E’ forse questa la pena, l’espiazione di una colpa? Supplizio per l’omaggio di Prometeo in altro tempo? (il segreto del fuoco alla divinità violato
e donato agli uomini indifesi e muti. Muti).
La condanna ai superbi costruttori di Babele? Monadi chiuse in armature di passiva indifferenza, in abisso di vane parole immerse,
parole di sabbia, parole saturate, tirannia di stridori frastornanti, l’horror vacui colmato di elaborato bailamme, nell’etere invaso da urla erriamo a mani piene in attesa di ciò che manca. Manca.
Placati dal brusio della ciarla, dentro l’effimero linguaggio abitiamo ignari che la Storia accade nel silenzio. Tutta la Storia è storia del silenzio. Come il fluire sotterraneo dell’acqua modella le terre in superficie.
(Silenzio, dove qualcosa accade. Polifonie del non detto.)
Come marea per le scogliere la coltre del rumore ha corroso i sensi. Effervescenza della comunicazione. Schiuma…
Tutto troppo eloquente per essere vero.
** La più vera ragione è di chi tace.
Ma chi ascolta il poeta? Che patisce la parola nel tempo della sue stimmate, che scruta l’abisso ove il tutto oblia senza tema di scoprirvi il niente.
Chi sa dell’esule poeta? Dell’angoscia che ammutolisce il silenzio; del vorticante gorgo di parola vana a soffocare il grido di Sileno: stirpe miserabile ed effimera, figlio del caos e della pena… era silenzio nudo nell’arcana quiete del Nulla, fino al soffio nelle narici, e sarà silenzio nudo al consumarsi della mortale trama dell’esistenza. Come se non fossimo mai stati.
Anime che trascinano cadaveri.
Morti in incubazione.
Parla poco il poeta. si è liberato delle parole, spogliato degli orpelli come il viaggiatore stanco si sbarazza a ogni tappa di un fardello superfluo.
(Parola. Linguaggio: immagine dell’essenza. Apparenza…)
** Ma non il perfetto silenzio invoca
mentre sogna di vivere addormentato entro il dolce rumore della vita. Ché il perfetto è potenza distruttiva, la perfezione è morte,
il silenzio, talora, crimine. C’è il silenzio di morte, omertoso, e il silenzio di stupore melodioso che sa di vita: le labbra volte al gesto di un bacio che fa tremare l’anima.
(Non è forse vero che tutti i momenti più belli ci lasciano senza parole?)
Niente di mistico ed estatico, no. Solo brandelli di quotidiana assenza sospesa in feritoie sottratte alla sottomissione, nascoste alla necessità della partecipazione.
Arpocrate, dio minore, dio del silenzio silenziato dalla voce vorace del logos. Vieni a me.
Lenisci l’anima dolente per le ferite inflitte dalla quotidiana lotta per minute quote di potere.
Dalla fatica dei rapporti. Dal commercio col mondo.
Ristora la bocca impastata dalla sbornia verbifera.
Sprigionami dalle catene cacofoniche del di-scorso che scorre. Parole-stimolo. Parole-risposta…
Sfrenato e inanimato sublimare la vertiginosa angoscia.
Possa sentire, Arpocrate… il passo lento e strascicato del mio muscolo cardiaco. L’ondeggiare di una seta al vento di scirocco.
Il mio respiro ritmare il nulla.
Sentire… Sentirmi.
Sentirmi qualcosa di più di un cadavere indecomposto.
** Mi ascolto estinguere in polvere
di memoria mentre sfuma in nicotina e nichilismo l’antica chimera adolescente. Mi ascolto sentire
stanche illusioni sepolte che pulsano ancora sospese in angoli angusti della mia mente. Mi ascolto vedere
l’antica pena che empia si rinnova: triti rimpianti di gloria terrena.
Mi ascolto parlare… concatenare parole automatiche, usurate ancor prima d’essere vergate. Intrecciate in architetture scontate. Parole fuori controllo, padronanza. Non sono io a trovare loro, ma loro trovano me. Non io mi servo di loro, ma loro di me.
Non parlo. Sono parlato. Sono parlato dal linguaggio.
Sono il funzionario di un linguaggio che si parla da solo.
Interprete inerte di un ignoto ventriloquo nel teatro quotidiano.
Spettatore di me stesso, attore renitente al canovaccio. Imbalsamato personaggio e un nastro che si riavvolge senza posa su se stesso.
Non resta che tenere la scena con dignità.
(e sperare in un copione più avvincente…) Silenzio, si gira.

Ora si immagini che impresa impossibile e contro natura sia comporre la musica per una poesia, voler cioè illustrare una poesia mediante la musica, magari con l’esplicita intenzione di simboleggiare con la musica e le rappresentazioni concettuali della poesia, e di procurare così alla musica un linguaggio concettuale: impresa che mi sembra simile a quella di un figlio che voglia generare il proprio padre. F. Nietzsche, Frammenti postumi 1969-1974, 7[127]

I libri con cui sento di avere un debito e che, bene o male, per diversi motivi, sono andato a risfogliare durante la composizione di questo testo (o a cui addirittura alludo esplicitamente nel corso del componimento) sono i seguenti: Aristotele, Fisica, in Opere, Laterza, Bari 1973; Bernhard T., Antichi maestri, Adelphi, Milano 1992; Bibbia, Libro della Genesi: 11, 1-9, Libri sapienziali II,2, EDB, Bologna 1974; Bufalino G., Calende greche, Bompiani, Milano 1992; Celine L.F., Viaggio al termine della notte, Corbaccio, Firenze 2005 [1933]; Ceronetti G., La lanterna del filosofo, Adelphi, Milano 2005; Eschilo, Prometeo incatenato, Utet, Torino 1987; Leopardi G., Zibaldone di pensieri, Mondatori, Milano 2004; Gentiloni F., Il silenzio della parola, Claudiana, Torino 2005; Heidegger M., In cammino verso il linguaggio, Mursia, Milano 1988; Montale E., Ossi di seppia, Mondadori, Milano 2003 [1925]; Natoli S., Stare al mondo, Feltrinelli, Milano 2002; Nietzsche F., La nascita della tragedia dallo spirito della musica, in Opere, Adelphi, Milano 1972; Penna S., Poesie, Garzanti, Milano 1957; Pirandello L., Quaderni di Serafino Gubbio operatore, Giunti, Firenze 1994 [1925]; Rella F., Il silenzio e le parole, Feltrinelli, Milano 1981; Rilke R.M., Poesie (1895-1926), II Vol, Einaudi, Torino 1994-95; Rovatti P.A., L’esercizio del silenzio, Raffaello Cortina, Milano 1992; Severino E., La poesia e il nulla, Rizzoli, Milano 1992; Yourcenar M., Il tempo, grande scultore, Eianudi, Torino 1985.

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