Comentario sobre “O Poeta e a Inquisição” (1838) de Gonçalves de Magalhaes

Roberto Ponce Cordero, ,

No deja de resultar notable el hecho de que el mecanismo de denunciación y de paranoia más o menos generalizada que parcialmente constituía la Inquisición sea, en el plano de la ficción, frecuentemente presentado como uno producido, en última instancia, por el deseo sexual ilícito de religiosos concretos o, quizá más precisamente, por la represión de dicho deseo sexual y su ventilación o sublimación final a través de la condena redentora. Así, tanto en “O Santo Inquérito” como en “O Poeta e a Inquisição” tenemos protagonistas femeninas, Branca y Mariana, que obsesionan a sendos sacerdotes, el Padre Bernardo y el Frei Gil, los cuales –ya sea porque sus avances no son reciprocados, porque las dos protagonistas permanecen explícitamente fieles a sus respectivos prometidos, o porque no pueden lidiar con sus propios celos y con sus sentimientos de culpa– acaban desencadenando procesos trágicos que culminan en la eliminación de sus objetos de deseo (ellas). Todavía más inquietantemente, estos procesos culminan también en mo-mentos pseudo catárticos en los que los clérigos, cada uno a su manera, avistan el camino de la salvación y de la expiación de los propios pecados – un camino empedrado, por así decirlo, con la sangre de las protagonistas sacrificadas en aras de este noble objetivo.

Ahora bien, las simpatías están bastante claramente repartidas en ambas obras, de modo que no quede duda de que Mariana y Branca son las heroínas y el padre Bernardo y el Frei Gil los villanos (incluso si a veces somos capaces de entender su comportamiento y hasta de sentir sus desgarramientos interiores en carne propia), además de que, por lo menos en “O Santo Inquérito”, el parlamento final del Padre Bernardo es uno obviamente destinado a poner de relieve la hipocresía de la religión organizada, y no a justificar sus atrocidades. Sin embargo, no deja de resultar notable (como decía algo más arriba) la localización de estos conflictos en el campo del deseo, y más específicamente del deseo (hetero)sexual. ¿Qué necesidad había, por ejemplo, de enmarcar la trama de “O Poeta e a Inquisição” de esta manera, y de darle tanto peso a la figura de Mariana? Al fin y al cabo, Mariana es, seguramente por razones históricas (se trata, al fin y al cabo, de una obra escrita en la primera mitad del siglo XIX), una figura que básicamente carece de toda agencia narrativa y que se limita a reaccionar pasivamente durante toda la obra, hasta el punto de morir no ya inmolada por la causa, como Branca en “O santo Inquérito”, sino de la manera más sorpresiva, con un “Ai!” como últimas palabras, por la desesperación que le causa todo lo que está pasando a su alrededor (p. 50). ¿Por qué, por otro lado, tenía el Frei Gil que desearla tan abierta y obscenamente, si después de todo Antonio José ya había sido acusado antes de la primera visita del lascivo clérigo a la casa de Mariana ( “Um Antonio José, que eu não conheço / E que talvez nesta hora em que vos falo / Na Inquisição esteja por seus crimes…” – p. 24)? ¿Por qué se mencionan los aspectos históricos de la vida de Antonio José meramente de pasada, incluido el hecho de que era “judío” o cuando menos “judeizante” (cosa que por cierto no se hace evidente en sus parlamentos relacionados con su visión del mundo o con sus convicciones religiosas – pp. 54-62), y se privilegia en cambio su relación con Mariana, así como el triángulo amoroso sui generis que surge entre ellos dos y el Frei Gil? En una pregunta, entonces (pregunta que por otro lado no puedo ni siquiera empezar a responder por mi cuenta): ¿Por qué la presencia de un cuerpo femenino puesto primero sobre un pedestal para, después, ser destruido en un auto de fe literario es tan importante para las historias sobre la Inquisición en particular o sobre la tortura en general?

 

(Crédito de imagen de thumbnail: https://pt.wikipedia.org/wiki/Gon%C3%A7alves_de_Magalh%C3%A3es. Crédito de imagen de inicio de post: http://www.abc.es/cultura/20150826/abci-patrimonio-victimas-lusas-inquisicion-201508261237.html).

Published by Roberto Ponce Cordero

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