{"id":4340,"date":"2012-05-12T01:42:27","date_gmt":"2012-05-12T07:42:27","guid":{"rendered":"http:\/\/www.miscarea.net\/w\/?p=4340"},"modified":"2012-05-12T10:10:29","modified_gmt":"2012-05-12T16:10:29","slug":"cuvintele-isi-cauta-intelesuri-de-mihai-niculescu","status":"publish","type":"post","link":"https:\/\/www.miscarea.net\/w\/?p=4340","title":{"rendered":"CUVINTELE I\u015eI CAUT\u0102 IN\u0162ELESURI de Mihai Niculescu"},"content":{"rendered":"

Cuvintele \u2014 materia prim\u0103 a poeziei \u2014 au o biografie secret\u0103 care nu se consum\u0103 prin des\u00adf\u0103\u015furare cronologic\u0103 aparent\u0103, \u00een v\u0103zul tutu\u00adror, ca faptele oamenilor \u00een istorie. Indiferent dac\u0103 poetul pleac\u0103 dela \u201eefectul final” pe care vrea s\u0103-l provoace la cititor \u2014 cum pretindea Poe \u2014 sau dela expresia revelatoare a unei in\u00adtui\u021bii profunde a poemului \u2014 acel inexplicabil vers donn\u00e9 <\/em>recunoscut de Paul Val\u00e9ry, \u2014 ca o fulgura\u021bie brusc ap\u0103rut\u0103 \u00een haosul a\u015ftept\u0103rii \u00een\u00ad frigurate, cuvintele exercit\u0103 asupra con\u021binutu\u00ad lui ideale \u015fi suflete\u015fti pe care le exprim\u0103 o ne\u00adistovit\u0103 putere modelatoare.<\/p>\n

Se afirm\u0103 totu\u015fi, obi\u015fnuit, c\u0103 poezia este ,,o stare sufleteasc\u0103”. Dar poezia nu este <\/em>ci creiaz\u0103, <\/em>prin for\u021ba revelatoare a verbului, feluri de a fi, moduri existen\u021biale. Obi\u015fnuin\u021ba \u00eend\u0103tinat\u0103 de a comunica pe \u00een\u021belesul tuturor pretinde, sim\u00adplific\u00e2nd didactic, c\u0103 poezia exprim\u0103 idei ori sentimente religioase, sociale, etc. Dar asta e numai o \u00eendem\u00e2nare prozaic\u0103, bastard\u0103 a versificatorului, nedemn de a se numi poet. Proza exercit\u0103 \u00eentr’adev\u0103r o func\u021biune centrifug\u0103, dispersatoare, aceea de a divulga \u00een\u021belesurile, pen\u00adtru a le face s\u0103 circule \u00een anonimatul mul\u021bimi\u00ad lor. Altfel spus, proza face istorie \u00eenlesnind co\u00admunicarea grupurilor sociale sau etnice, poezia \u00eens\u0103 contureaz\u0103 existen\u021be izolate, comunica\u00adbile \u00eentre ele doar prin afinit\u0103\u021bi de structur\u0103 in\u00adtim\u0103. Istoria se \u00eenf\u0103\u021bi\u015feaz\u0103 \u00een acest \u00een\u021beles ca o desf\u0103\u015furare dialectic\u0103, un dialog al popoarelor, la care proza este o necontenit\u0103 solicitare \u2014 nu \u00eens\u0103 poezia, oare nu poate fi \u00eembiat\u0103 s\u0103 par\u00adticipe, dec\u00e2t cu riscul de a nu mai fi poezie ci poetizare <\/em>\u2014 fapt divers. Fiindc\u0103 poezia nu plea\u00adc\u0103 dela con\u021binuturi, afective sau de idei, dela un \u201esubiect” cu prec\u0103dere ales, ci dela a\u015ftepta\u00adre patetic\u0103 \u00een r\u0103stimpul c\u0103reia \u2014 entre le vide et l’\u00e9v\u00e9nement pur <\/em>\u2014 \u021b\u00e2\u015fne\u015fte brusca revela\u021bie a verbului. La originea poemului nu se g\u0103se\u015fte o dat\u0103, un moment istoric ci starea de veghe acut\u0103 premerg\u0103toare \u201eevenimentului pur”. Poemul \u00eentreg se afl\u0103 virtual cuprins \u00een acel pur eveniment al versului decisiv \u00een care culmineaz\u0103 intensitatea expresiei. Toat\u0103 cazna voluntar\u0103 a poetului, dospit\u0103 \u00een t\u0103cere \u015fi r\u0103bdare prin su\u00adferin\u021be de ne\u00eenchipuit, rode\u015fte \u00een momentul suprem \u00een care-\u015fi cap\u0103t\u0103 un sens, prin expresia revelatoare.<\/p>\n

F\u0103r\u0103 ‘ndoial\u0103, cu to\u021bii tr\u0103im ca s\u0103 exprim\u0103m. In dragoste, c\u0103ut\u0103m expresia cea mai satisf\u0103\u00adc\u0103toare a vitalit\u0103\u021bii noastre, a instinctului de perpetuare prin genera\u021bie \u2014 \u00een r\u0103zboi ca \u015fi \u00een revolta social\u0103, se exprim\u0103 voin\u021ba popoarelor \u015fi a societ\u0103\u021bilor de-a se manifesta nest\u00e2njenite, \u00eempotriva oprim\u0103rii din afar\u0103 sau a tiraniei l\u0103untrice. Dar \u00een toate aceste \u00eemprejur\u0103ri ac\u00adcentul cade pe func\u021biunile vie\u021bii care nu sunt <\/em>mai pu\u021bin chiar atunci c\u00e2nd n’au isbutit s\u0103 fie exprimate. \u015ei totu\u015fi, nimeni nu poate mai mult dec\u00e2t s\u0103 le afirme, <\/em>\u00een m\u0103sura \u00een care ele exist\u0103.<\/p>\n

Artistul tr\u0103e\u015fte \u00eens\u0103 numai \u00een m\u0103sura \u00een care exprim\u0103. A fi, \u00eensemneaz\u0103 pentru el a exprima. Via\u021ba nu devine o realitate pentru puterea lui cunosc\u0103toare dec\u00e2t prin expresie. Propria lui existen\u021b\u0103, ca \u015fi a celorlal\u021bi, \u00eei apare ca o vag\u0103 aproximare a realit\u0103\u021bii ce i se reveleaz\u0103 prim mijlocirea expresiei creatoare \u2014a cuvintelor, \u00een cazul poetului. Dar pe c\u00e2nd, practic, \u00een\u021belesu\u00adrile se comunic\u0103 prin cuvinte, \u00een limbajul aces\u00adtuia cuvintele \u00ee\u015fi caut\u0103 \u00een\u021belesuri necondi\u021bio\u00adnate de constr\u00e2ngerea de-a se irosi pentru fo\u00adlosul oricui, determin\u00e2nd apari\u021bia unei existen\u021be autonome, a poemului<\/em>.<\/p>\n

Desprinderea simbolic\u0103 a poeziei de constr\u00e2ngerile limbajului prozaic, a fost \u00eenchipuit\u0103, \u2014 \u00eentre al\u021bi autori de notorietatea celor aminti\u021bi la \u00eenceputul acestor r\u00e2nduri \u2014 \u015fi de poetul pu\u021bin cunoscut la noi, Jean Pellerin, \u00een versurile de un desen at\u00e2t de gra\u021bios din La romance du retour <\/em>pe care le vom cita :<\/p>\n

Le vers se lave de la prose
\nComme Aphrodite jaillissant
\nDe l’\u00e9cume qui la fomente
\nD\u2019un serpent vert, algue infamante
\nLib\u00e8re un torse eblouissant.<\/em><\/p>\n

Exemplul este \u00eens\u0103 ilustrativ \u015fi pentru ceea ce socotim c\u0103 \u021bine chiar de esen\u021ba artei poe\u00adtului: func\u021biunea demirurgic\u0103 a verbului poetic, a versului, care asemenea zei\u021bei ce iese din spuma m\u0103rii, se contureaz\u0103, \u00eentr’o av\u00e2ntare ideal\u0103, isvor al unei neistovite \u00eenc\u00e2nt\u0103ri.<\/p>\n

Plasticitatea vie a corpului \u00een mi\u015fcare este chipul pe care-l \u00eemprumut\u0103 poezia: \u00eentr’un ad\u00admirabil poem \u00eentr’un vers al lui Ion Pillat:<\/p>\n

De c\u00e2nd \u00ee\u021bi legi sandala s’au deslegat milenii.
\n<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Friz\u0103)<\/p>\n

In perspectiva mereu curg\u0103toare a timpului, mi\u015fcarea celui care-\u015fi leag\u0103 sandala sugereaz\u0103 desigur, prin farmecul netulburat al gestului de o gra\u021bie perfect\u0103, perenitatea artei. A\u015fa dar, ceeace supravie\u021bue\u015fte neantului existen\u021belor rostogolite \u00een albia timpului, e gestul sau im\u00adpulsul creator de art\u0103. \u015ei iat\u0103 cum, f\u0103r\u0103 s\u0103 vrea s\u0103 fie cu dinadinsul instructiv\u0103 sau m\u0103car con\u00adcludent\u0103, poezia, prin simplul fapt c\u0103 este, <\/em>re\u00adprezint\u0103 un criteriu suprem.
\n
\nMihai Niculescu<\/strong>
\n\u201cUniversul Literar\u201d, Anul XLIX, Nr. 40, S\u00e2mb\u0103t\u0103 28 Septembrie 1940<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Cuvintele \u2014 materia prim\u0103 a poeziei \u2014 au o biografie secret\u0103 care nu se consum\u0103 prin des\u00adf\u0103\u015furare cronologic\u0103 aparent\u0103, \u00een v\u0103zul tutu\u00adror, ca faptele oamenilor \u00een istorie. Indiferent dac\u0103 poetul pleac\u0103 dela \u201eefectul final” pe care vrea s\u0103-l provoace la cititor \u2014 cum pretindea Poe \u2014 sau dela expresia revelatoare a unei in\u00adtui\u021bii profunde a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,29],"tags":[],"class_list":["post-4340","post","type-post","status-publish","format-standard","hentry","category-presa-interbelica-din-tara","category-presa-romaneasca"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p3OdDs-180","jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/posts\/4340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4340"}],"version-history":[{"count":10,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/posts\/4340\/revisions"}],"predecessor-version":[{"id":4651,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=\/wp\/v2\/posts\/4340\/revisions\/4651"}],"wp:attachment":[{"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.miscarea.net\/w\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}