A navegante e a vaidosa: reescrituras de Penélope e Helena na literatura galega

Abstract

[Resumo] Nos últimos tempos, as reescrituras mitolóxicas que tratan de introducir aspectos ideolóxicos opostos aos do mito tradicional son moi frecuentes. As reinterpretacións feministas son especialmente abundantes e, entre elas, a personaxe de Penélope resulta moi popular. Penélope ben se cansa de esperar por un Ulises en moitas ocasións mediocre, ben quere viaxar ela mesma ou opta por unha solución que non sacrifique a súa independencia. Mentres que Penélope se transforma en icona feminista, Helena de Troia, a personaxe que tradicionalmente representou o seu contrapunto, aínda non viu a súa imaxe rehabilitada. Neste aspecto, a literatura galega non é unha excepción: Penélope aparece na obra de autores relevantes, como Álvaro Cunqueiro, Xohana Torres ou mesmo Rosalía de Castro, que lle conceden un alto valor simbólico ou a transforman en dona do seu destino. Porén, as obras que inclúen a Helena son moito máis escasas e, nelas, a esposa de Menelao segue a representar a vaidade inextricablemente unida á beleza física

[Abstract] In recent years, the re-writings of myths which try to introduce revised ideological in the traditional myth have become very frequent. Feminist reinterpretations are especially abundant and, among them, Penelope is a very popular character. She either gets tired of waiting for Ulysses, or wants to travel herself, choosing a solution that does not sacrifice her independence. While Penelope is transformed into a feminist icon, Helen of Troy, who traditionally has represented her counterpart, has yet to be rewritten. In that regard, Galician literature is not an exception: Penelope appears in the works of authors who give her a great symbolic value or turn her into the master of her destiny. However, the works that include Helen are rare and, in them, Menelaus’ wife still represents vanity, linked to physical beauty. In this article we analyse, using a comparative approach, the differences between the recent recreations of both heroines, to see how only one of them has been transformed in a meaningful way. Therefore, we won’t be discussing other issues about these works that have previously been treated by other critics.