Lev Tolstoj -La morte di Ivan Il’ič-

di Mario Reale

Nel 1859, Tolstoi comunicò in una lettera la sua idea di un racconto, che scrisse e nell’anno stesso pubblicò: I tre morti. L’idea era questa: muoiono tre esseri viventi: una signora, un contadino e un albero. La morte della signora è “misera e ripugnante perché ha mentito tutta la vita”. Il contadino muore tranquillamente “proprio perché non è cristiano”: anche se per abitudine compie riti cristiani, la sua religione è la natura con cui vive: quella legge della vita, della nascita e della morte che la signora non conosce. L’albero infine muore in modo tranquillo e magnifico,”perché non mente, non finge, non teme, non si duole”. Questa semplice idea, potrebbe già farci entrare nel mondo della vita poetica e anche morale e religiosa, e persino politica di T. In tema di religione, ad esempio, riguardo al drammatico contrasto toltostoiano, che gli segnerà la vita e l’arte, tra  natura “pagana” e cristianesimo radicale; o anche in merito alla scissione tra felice e spontanea creatività artistica, da “divinità” figlia della natura, e rattrappimento creativo di crisi morale e moralistica. Th. Mann ha scritto su questo cose bellissime, in un saggio dei primi anni ’20, Goethe e Tolstoj; e sempre intorno a questo tema molte cose s’imparano nell’imponente libro, documentato e a volte fine, sebbene discutibile perché troppo sbilanciato, rispetto a Tolstoj, dal lato di Dostojevskij, di D’mitri Merezkovskij.

Ma, nel caso di I.I. la religione non entra quasi per nulla, né vi entra il pauperismo e l’ansia di  riforme economiche e sociali. O forse, a dir meglio, tutti questi temi possono essere recuperati nel tema originario della verità e della menzogna. Tutto ciò che corrompe la vita, la coerenza di sé, la freschezza autentica della pacifica e fraterna armonia sociale, è menzogna. E, com’è evidente, la massima menzogna è quella verso se stessi, circa la propria vita, quale si rivela in prossimità della morte. La signora che muore misera e ripugnante ha sempre mentito. Anche I.I. ha sempre mentito a se stesso, e questo, ancor più che i tremendi dolori fisici di cui soffre, è la devastante causa del suo angosciato terrore della morte, come un atto di verità che intervenga in un mondo di falsità. Ma come si mente? Tostoj non fa differenze tra le grandi menzogne politiche militari sociali proprietarie (le grandi ricchezze terriere di cui voleva e seppe disfarsi), e le piccole menzogne borghesi, sempre a tutti abituali. Un eccesso moralistico, forse, se non fosse che la grande arte narrativa di T. sa calarsi, senza preconcetti ideologici, con estrema aderenza alle figure e soprattutto ai corpi dei protagonisti, nell’ambiente sociale della loro vita pubblica e privata, da rendere leggera la menzogna, persino impalpabile, quasi risolta nelle convenienze professionali e sociali, nell’essere, secondo quanto la (scelta) cerchia di persone che si frequenta si aspetta da noi – comme il faut.

Anche per questo, il dubbio capitale di I. I. – “che forse io non sia vissuto come si dovrebbe – incontra in lui tanta ostinata resistenza: ”Ma come si può dire mai una cosa simile, se io ho agito sempre in perfetta regola”. E immediatamente respinse, commenta Tolstoj, “quell’unica risoluzione di tutto l’enimma della vita e della morte, come una completa assurdità”. Ma allora, di nuovo, perché, “ a che scopo, tutto questo orrore?» E poiché la risposta tornava a essere sempre la stessa: l’idea di non aver vissuto come si doveva, immediatamente la scacciava, richiamandosi innanzi l’irreprensibile correttezza della sua vita (420-21). Eppure, segni premonitori non erano mancati. Fin dall’insorgere della malattia, alla prima visita medica, I.I. nota una stretta parentela tra il suo comportamento di giudice in tribunale e quello dei medici: “sussiego affettato e dottorale”, domande e risposte scontate e inutili, ipotesi e probabilità ed esami, condiscendenza di chi dica: tranquillo, sappiamo noi proprio tutto, senza mai dare una risposta all’”oziosa domanda” sulla gravità della malattia. Proprio come accadeva a lui in tribunale, quando si “metteva una certa maschera di fronte agl’imputati” (394). In tribunale, I.I. aveva molte e riconosciute qualità, ma specialmente l’abilità di tener separati nel modo più rigoroso, l’ufficio e la vita degli interessati, escludendo del tutto “quel non so che di grezzo, di aderente alla vita che sempre impedisce il retto corso degli affari d’ufficio”, tutto ciò che non potesse venir espresso legalmente, su un “foglio con tanto d’intestazione”, riempito con formule di precisa burocrazia. (390-91).

Intorno a sé, Ivan respira finzioni; il suo “più gran tormento è ora la menzogna” sulle sue condizioni. Lo invitavano, i medici e i familiari, a star calmo e a curarsi, così sarebbe guarito, senza dirgli mai che sarebbe presto morto tra dolori strazianti. E il peggio era che, in questo cumulo di menzogne, facevano tanto da costringere lui stesso a prendervi parte, abbassando il solenne atto della morte a farmaci e diete. Né aveva forza di dire: smettetela con queste bugie. Una trama di finzione e di convenzione è con leggerezza sospesa sul racconto, che su questo e fin dall’inizio, è mirabilmente strutturato. La notizia della sua morte che colleghi e amici (uno, in particolare) avrebbero apprenso dal giornale. Era, vi si sarebbe detto amato da tutti; ma i primi e insopprimibili pensieri sarebbero stati sul posto che si “libera”, sui possibili avanzamenti di carriera e sulle retribuzioni che ne derivano: 800 rubli d’aumento, più l’indennità di cancelleria. E poi, la noia della visita, delle condoglianze e del funerale, i “noiosissimi doveri di convenienza”. La casa lontana, come vestirsi, come comportarsi, il penoso e insieme divertente colloquio di Pjotr con sua moglie, la vedova, informatissima di tutto, eppure ancor avida di spillar più soldi di pensione allo stato. E sempre con un “certo senso di gioia”: “è toccata a lui, e non a me”; e i segni, le parole sussurrate per accordarsi sulla partita serale a carte.

Dopo questo prologo, la fine in forma d’inizio, il racconto di Tolstoj narra la vita di I.I. Sono sette o otto pagine, ma di straordinaria intensità, ricche di penetranti osservazioni psicologiche e di felici aperture sul mondo privato: la famiglia e l’ambiente, gli studi e la carriera, la casualità del matrimonio, la precoce infelicità coniugale (un campo dove Tolstoj è maestro), i particolari sull’arredamento della casa, che è causa del primo malore di I.I. La narrazione è costantemente sottesa, come un basso continuo, da alcuni aggettivi sul modo di I.I. di concepire la vita: leggera, lieta, piacevole, corretta, approvata  (dai superiori e dalla buona società); distinta, elegante – e insomma comme il faut. E quando si arriva al buio straziante e indicibile, alla solitudine astiosa, assillata da domande senza risposta della malattia terminale, altri aggettivi sottendono il discorso. Merezkovskij, nota, a proposito dell’eccezionale capacità di Tolstoj di calarsi nella realtà del corpo, gli aggettivi, nessuno superfluo, per descrivere la sofferenza e il dolore di I.I. : noto, vecchio, sordo, rodente, ostinato, silenzioso, grave.

Ma, nella più atroce, interminabile solitudine, ecco che si apre la luce di Gheràsim, il giovane pulito fresco allegro leggero abile (altri aggettivi) che assiste I.I. G. si occupa, con partecipe discrezione, dei più naturali bisogni di I.I. e gli tiene per ore le gambe alzate, per un’impressione di sollievo. Ma soprattutto G. è la sola persona che non ferisca d’invidia: è puro calore umano, capacità di comprendere le stagioni della vita, la legge umana della natura; esprime ciò che è più caro a T.: i contadini russi, semplici, vigorosi, attivi, saggi. Una lezione per la buona morte, questa necessità di essere accuditi, anche da estranei (e forse solo da essi), con discrezione e accettazione aperta della morte, di essere anche vezzeggiati e accarezzati (cosa di cui I.I. sente gran bisogno). Un servizio che si rende volentieri, nella speranza che altri faranno la stessa cosa per noi, quando sarà il momento. Credo, che G. costituisca la vera svolta nel riscatto dalla menzogna e nella serena accettazione della morte di I.I.. Dopo lo strazio urlato per i tre giorni dell’agonia, c’è la risoluzione finale, avvenuta in pochi attimi. Al posto della sofferenza e del terrore, arriva la luce e la pace. La sua vita, sì, era stata fuori strada, ma ora, se non si poteva più parlare, si poteva ancora agire, preoccupandosi che gli altri non soffrissero, e “godendo”, con “esultanza” della liberazione. Dove è finito il dolore, dov’è la morte, quale morte? ”Che esultanza!”. Essa, la morte non c’è più.

La morte prende senso dalle vita (fino ai suoi ultimi istanti) ed è essa stessa vita: la (buona) idea della morte è un “passaggio obbligato al sapere, alla salute e alla vita”. Lo dice Th. Mann, nella conferenza sulla Montagna incantata che nel 1939 tenne agli studenti dell’università di Princeton; e sarebbe istruttivo un confronto tra questo grande libro (i medici, la malattia, la morte) e il racconto di Tolstoi, un autore che Mann tanto amava e ammirava. “Possiamo togliere la morte o il dolore o il male dal tessuto della vita?” – si chiedeva l’ultimo Croce della riflessione sulla vitalità. Si toglierebbe la “vita stessa”. E, ancora in queste pagine crociane, leggiamo che “senza dubbio, il benessere, nel chiuso e ingenuo suo egoismo, è il male in tutte le sue conseguenze, anche le più terrificanti”. Questa è l’esatta diagnosi del male o della menzogna che opprime I.I., e di cui alla fine riesce a liberarsi.

Parlare della morte è facile e insieme tremendamente difficile. Alla fine, non si sa proprio cosa dire. Paul Ricoeur ha scritto un bellissimo libretto, all’origine una voce d’enciclopedia, intitolato Il male, tradotto anche in italiano dalla Morcelliana agli inizi degli anni ’90. Sul male e sulla morte, vi si sostiene, appunto, non c’è presso che nulla da dire. Magistralmente, Ricoeur ripercorre le soluzioni tentate dalla filosofia e dalla teologia, e vi riconosce molti insegnamenti, ma nulla sul punto decisivo, quello che giustamente I.I. voleva conoscere. I.I. insegna che molto si può fare e dire finché c’è vita, prima del silenzio. Il problema è allora quello che si può fare di vivere pienamente finché si può e, certo, pensare anche alla morte, ma fuor di ogni ossessione, come in Heiddeger. E sperare in una buona morte, senza troppi dolori, e, soprattutto senza menzogne e sensi di colpa. Sperare insomma di morire un po’ come accade, negli ultimi istanti, a I.I.

 

 

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