{"id":11510,"date":"2024-10-28T17:10:00","date_gmt":"2024-10-28T14:10:00","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=11510"},"modified":"2024-10-28T17:10:07","modified_gmt":"2024-10-28T14:10:07","slug":"melancolia-ca-destin","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=11510","title":{"rendered":"Melancolia ca destin"},"content":{"rendered":"
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Marian Dr\u0103ghici, Lumin\u0103, \u00eencet<\/em>, Edi\u021bia a II-a, Tracus Arte, Bucure\u0219ti, 2023, prefa\u021b\u0103 de Ion Pop<\/figcaption><\/figure>\n<\/div>\n\n\n

Un motto din Titu Maiorescu vorbe\u0219te despre \u201eneobosita \u0219i nemiloasa cizelare\u201d specific\u0103 \u201ecelor p\u0103trun\u0219i de sfin\u021benia formei\u201d; un altul, din Eminescu, \u00een consens, apar\u021bine poetului Luceaf\u0103rului<\/em>: \u201eErau at\u00e2tea de \u00eendreptat\u201d; \u00een fine, un al treilea e din Czes\u0142aw Mi\u0142osz, fiind o judecat\u0103 privind rela\u021bia dintre credin\u021ba generat\u0103 de rezisten\u021ba personal\u0103.<\/p>\n\n\n\n

Ion Pop, \u00een Prefa\u021b\u0103<\/em>, subliniaz\u0103 rolul pe care \u00eel are a\u0219a-zisa \u201elamp\u0103 metaforic\u0103\u201d deambul\u00e2nd pe c\u0103r\u0103rile Poeziei. El consider\u0103 c\u0103 \u201eMulte dintre poemele acestei antologii, chiar dac\u0103 nu majoritatea, sunt, \u00een fapt, ni\u0219te arte poetice\u201d, care au drept obiect \u201elucrul la poem\u201d, \u201ecu \u00eencerc\u0103ri\/taton\u0103ri succesive de a rescrie poemul \u00abideal\u00bb\u201d.<\/p>\n\n\n\n

Rubrica c\u0103reia apar\u021bine acest gen de considera\u021bii critice nu permite desf\u0103\u0219ur\u0103ri ample de analize \u0219i sinteze, cum, de altfel, antologia, mai ales acum, la a II-a edi\u021bie, ar merita-o. C\u00e2t, cum, ce viziune, ce experimente \u0219i c\u00e2te dificult\u0103\u021bi \u00eenvinge autorul, f\u0103r\u0103 grab\u0103 (titlul se potrive\u0219te), dar \u0219i f\u0103r\u0103 o\u021biu, el arunc\u00e2ndu-se singur \u00een groapa cu lei. (Hic sunt leones!) \u201eLeii\u201d sunt comilitonii considera\u021bi stele fixe ale lumii rotitoare a poeziei: \u201eSaba, Montale, Ren\u00e9 Char, Sandburg, D\u00fcrer, Pessoa, Mircea Ciobanu (acesta l-a instruit pe Dr\u0103ghici \u00een misterele poeziei), Nichita St\u0103nescu, Wallace Stevens, E.A. Poe, Baudelaire \u0219.a. \u0218tefan Ion Ghilimescu precizeaz\u0103 nu mai \u0219tiu pe unde: \u201eAsemeni celor mai pre\u021bui\u021bi mae\u0219tri ai lumii din toate timpurile, \u00een materie, Dr\u0103ghici are instinctul de a adopta \u00een crea\u021bia sa tonul cel mai nobil \u0219i mai poetic cu putin\u021b\u0103, tonul melancoliei<\/em> (s.n.)\u201d Da, tonul melancoliei<\/em> ar fi un bun subtitlu al poeziei dr\u0103ghiciene.<\/p>\n\n\n\n

Cele trei texte critice selectate pentru coperta a IV-a ofer\u0103 \u0219i ele perspective capabile s\u0103 redea valoarea acestei poezii. Astfel, Al. Cistelecan ofer\u0103 un vector: \u201ePoezia lui Marian Dr\u0103ghici e un limbaj de convertire, un limbaj ce sufer\u0103, \u00eentr-un proces gradual, agresiunea prezen\u021bei divine. Ea devine o cale revelatorie \u0219i se \u00eenscrie \u00eentre limbajele tari, contopindu-se cu rug\u0103ciunea.\u201d<\/p>\n\n\n\n

Se observ\u0103 dintru \u00eenceput \u2013 ceea ce constituie un element de c\u0103p\u0103t\u00e2i pentru toat\u0103 poezia lui Marian Dr\u0103ghici (observ\u0103 Dan Cristea) \u2013 preocuparea major\u0103 pentru arta sau artele poetice. \u201e\u00cen aceast\u0103 privin\u021b\u0103, Marian Dr\u0103ghici este poetul care a reu\u0219it, probabil cel mai bine dintre poe\u021bii recen\u021bi, s\u0103 dea greutate, consisten\u021b\u0103, amploare epic\u0103 \u0219i dramatism credo-urilor sale despre poezie, limbajul acesteia \u0219i locul ei \u00een lume. Deopotriv\u0103, poetului i-a reu\u0219it o punere \u00een scen\u0103 extraordinar\u0103 a \u00abv\u00e2rstelor poetice\u00bb, a rupturilor de existen\u021b\u0103 \u0219i de poezie, a rela\u021biilor profunde dintre scris \u0219i poezie (\u00abtoat\u0103 biografia mi-este pus\u0103 \u00een scrisul meu, at\u00e2ta c\u00e2t\/c\u00e2t\u0103 e\u00bb).\u201d<\/p>\n\n\n\n

Ion Holban vine cu ale preciz\u0103ri utile: \u201e\u00cen poeticile de alt\u0103dat\u0103, romantic\u0103 \u0219i simbolist\u0103, visul<\/em> (s.a.) era un refugiu, un spa\u021biu securizant, departe de asprele atingeri ale realului \u2013 insula lui Euthanasiu \u2013 unde poetul elabora <\/em>(s.a.) textul. La Marian Dr\u0103ghici e textul visat<\/em> (s.a.); visul transcrie<\/em> (s.a.) ceea ce va fi fost deja scris altundeva, cu litere aurii, derul\u00e2ndu-se \u00eencet dinspre cer spre p\u0103m\u00e2nt asemeni sc\u0103rii lui Iacob pe care urc\u0103 \u0219i coboar\u0103 \u00eengerii; visul, iar nu poetul \u00ab\u00een vis\u00bb, elaboreaz\u0103<\/em> (s.a.) textul: melcul e poemul visat, cochilia purt\u0103toare e poetul \u00eensu\u0219i, \u00een formula at\u00e2t de original\u0103 a liricii lui Marian Dr\u0103ghici, al c\u0103rei \u00abfir\u00bb, iat\u0103, nu se afl\u0103 \u00ab\u00een cap\u00bb, ci \u00een nescrisul<\/em> (s.a.) ce a\u0219teapt\u0103 s\u0103 fie visat.\u201d<\/p>\n\n\n\n

\u201eO bufni\u021b\u0103 de zece tone\u201d, citesc undeva acest vers \u0219i \u00eemi r\u0103m\u00e2ne pe creier. \u00cemi sugereaz\u0103 tunetul care sf\u0103r\u00e2m\u0103 poezia ca pe un taifun; sunt \u00eenjgheb\u0103rile pasagere f\u0103cute de poet \u00een c\u0103utarea celei autentice, a poemului echivalent destinului: \u201eN-au \u00eent\u00e2lnit armonia.\/ Tunetul armoniei prea tari,\/ asta da,\/ lan\u021buri lan\u021buri \u00eentr-o cas\u0103 departe,\/ chiar z\u0103pada sub\u021bire a \u00eembr\u0103\u021bi\u0219\u0103rii din moarte.\/\/ N-au \u00eent\u00e2lnit armonia,\/ Tunetul picur\u00e2nd otrava armoniei prea tari\/ cu un scurt zuruit sub o raz\u0103 t\u00e2rzie. \u0218i dul\u0103ii, dul\u0103ii \u2013 doar urechi sub o raz\u0103 t\u00e2rzie.\/ \u0218i din nou un foarte scurt zuruit lan\u021buri lan\u021buri.\/\/ N-am \u00eent\u00e2lnit armonia nici eu.\/ Am \u00eent\u00e2lnit \u2013 ca s\u0103 vezi! \u2013\/ seara la mas\u0103 \u00eentre ai mei\/ arborele fix al mu\u021beniei.\/ \u0218i vertebrele clevetind\/ \u0219i ai mei\/ acel ram \u00eenflorind \u00een \u0219ira spin\u0103rii mele\/ acel ram de v\u00e2rf\/ acel ram.\/\/ \u0218i pe ram o bufni\u021b\u0103 de zece tone\/ (\u00eemi ap\u0103ru clar destinul).\u201d <\/p>\n\n\n\n

Poetul are credin\u021ba \u00een corpul imaginar al ideilor poemului, altfel, acestea din urm\u0103 au un corp literar\/literat, ceea ce consfin\u021be\u0219te valabilitatea drumului poeziei de la preexisten\u021b\u0103 la prospe\u021bimi ultime de o fragran\u021b\u0103 indimenticabil\u0103 (\u201eultimii fragi s\u0103lbatici\u201d). Fiin\u021ba \u00een miracol intr\u0103 \u00een demonia rumina\u021biei de sine. \u201eNumai sens \u0219i dulcea\u021b\u0103\u201d eman\u0103, \u00een chip paradoxal, din mecanismul acesta a c\u0103ut\u0103rii nes\u0103\u021bioase a poemului ideal, i.e. destinal. Lumea interioar\u0103 a fiin\u021bei poetice e un univers care, pentru folosi o revela\u021bie pascalian\u0103, are centrul pretutindeni \u0219i circumferin\u021ba nic\u0103ieri.<\/p>\n\n\n\n

Melancolia mi se pare axul acestei poezii \u2013 Marian Dr\u0103ghici este inegalabil la acest capitol. Pentru c\u0103 ea nu e o simpl\u0103 emo\u021bie precar\u0103, perisabil\u0103, ci un destin. Mi se pare limpede caracterul de destin al poetului. Marian Dr\u0103ghici, melancolicul delicat \u0219i puternic.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 literar\u0103 de Ioan Moldovan<\/p>\n","protected":false},"author":4,"featured_media":11511,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[56],"tags":[8,2264,2244,68],"coauthors":[1219],"class_list":["post-11510","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poeti-in-carti","tag-ioan-moldovan","tag-marian-draghici","tag-nr-6-2024","tag-poeti-in-carti"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2024\/10\/m-draghici.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11510"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11510\/revisions"}],"predecessor-version":[{"id":11512,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11510\/revisions\/11512"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/11511"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11510"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11510"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11510"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=11510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}