{"id":13207,"date":"2025-06-17T12:36:03","date_gmt":"2025-06-17T09:36:03","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=13207"},"modified":"2025-06-17T12:36:10","modified_gmt":"2025-06-17T09:36:10","slug":"pre-pillatiene","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=13207","title":{"rendered":"Pre-pillatiene"},"content":{"rendered":"
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Ion Pillat, Primele versuri. Poezii inedite \u0219i variante timpurii (1905-1912)<\/em>, Editura Spandugino, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n

Cercet\u0103torilor devota\u021bi le sare norocul \u00een cale c\u00eend nici nu se a\u0219teapt\u0103. Cum, bun\u0103oar\u0103, i s-a \u00eent\u00eemplat lui Carmen Br\u0103garu taman c\u00eend credea c\u0103 a ajuns la fundul sacului cu investiga\u021biile pillatiene. Dar tocmai atunci (dac\u0103 nu atunci, c\u00eend?!) a dat peste \u201edou\u0103 manuscrise pillatiene extrem de pre\u021bioase\u201d, dup\u0103 cum ne asigur\u0103 ea \u00een prefa\u021ba \u2013 \u201ePillat \u00eenainte de Pillat\u201d\u2013 la Ion Pillat, Primele versuri. Poezii inedite \u0219i variante timpurii (1905-1912)<\/em>, Editura Spandugino, 2024. Cum i-au c\u0103zut ele \u00een m\u00een\u0103, cum arat\u0103 \u0219i ce cuprind e prima poveste a c\u0103r\u021bii editate \u0219i \u00eengrijite de Carmen (dotat\u0103 cu un relevant \u201estudiu introductiv\u201d, cu \u201enote, variante\u201d \u0219i o \u201eschi\u021b\u0103 cronologic\u0103\u201d, lucruri de meserie scrupuloas\u0103). Prima poveste o st\u00eerne\u0219te imediat pe a doua, iar Carmen porne\u0219te \u00een c\u0103utarea proprietarului ini\u021bial al caietului din care au fost smulse foile care i-au parvenit. Dup\u0103 o detectivistic\u0103 laborioas\u0103 o \u0219i identific\u0103 pe proprietar\u0103 \u00een persoana Floric\u0103i Rosetti, \u201emuza lui Ion Pillat \u00eentre anii 1909-1914\u201d (p. 21) \u2013 un stagiu bini\u0219or peste standardul de trei ani al idilelor de june\u021be. P\u00een\u0103 s-o dibuiasc\u0103 \u0219i s\u0103 numeasc\u0103 manuscrisul Caietul Floric\u0103i Rosetti, <\/em>Carmen plonjeaz\u0103 \u00een epoca \u00eenceputului de secol XX \u0219i recompune peisajul animat de amatoarele de \u201ealbume\u201d \u0219i de zurbagii din \u201ebirj\u0103rie\u201d, \u00een climatul c\u0103rora s-a petrecut \u0219i adolescen\u021ba viitorului poet. Cu at\u00eetea probe la \u00eendem\u00een\u0103 (48 de prezen\u021be ale lui Pillat \u00een albumul Floric\u0103i, p. 24), e \u0219i normal c\u0103 eventuala idil\u0103 a devenit subiect de curiozitate ireprimabil\u0103. Pare acum sigur c\u0103 Florica a fost \u201eprima \u0219i adev\u0103rata dragoste\u201d (p. 24) a lui Pillat, m\u0103car c\u0103 f\u0103r\u0103 noroc \u0219i consolat\u0103 \u00eentr-o prietenie. O iubire \u00eens\u0103 \u00een folosul poeziei, c\u0103ci sub imboldul ei Pillat \u00eencepe frenetic \u201ea a\u0219terne versuri izvor\u00eete acum din preaplinul inimii\u201d, f\u0103r\u0103 a mai fi st\u00eenjenit \u201ede modele livre\u0219ti\u201d (p. 26) (din analiza poemelor n-ar rezulta, Carmen \u00eens\u0103\u0219i men\u021bion\u00eend destule \u201emodele\u201d \u2013 \u0219i mai ales \u201einspira\u021bia melancolic-eminescian\u0103\u201d, p. 27). Caietul Floric\u0103i <\/em>e \u00eens\u0103 un document relevant, c\u0103ci cuprinde \u201eun num\u0103r impresionant de texte inedite, precum \u0219i variantele timpurii, mult diferite de cele consacrate, ale unor poezii\u201d (p. 29). Numai bine pentru ca \u2013 \u00een Note \u0219i variante <\/em>\u2013 Carmen s\u0103 desf\u0103\u0219oare o mig\u0103loas\u0103 investiga\u021bie de laborator \u0219i s\u0103 eviden\u021bieze, pe baza variantelor, formula creativit\u0103\u021bii pillatiene. Cel\u0103lalt manuscris valorificat pentru edi\u021bia de fa\u021b\u0103 provine din Fondul Saint-Georges al Bibliotecii Na\u021bionale \u0219i ar putea reprezenta \u201ecea dint\u00eei alc\u0103tuire proprie a poetului \u00eenainte de debutul \u00een volum\u201d (p. 49) \u2013 un fel de schi\u021b\u0103 \u2013 intitulat\u0103 Slove<\/em> \u2013 pentru un posibil debut. Drumul spre debut e urm\u0103rit de Carmen pas cu pas, ca \u0219i soarta primelor poeme, care au ap\u0103rut \u00een volum abia dup\u0103 debutul propriu-zis. Dup\u0103 socoteala lui Carmen, vor fi fost \u201epeste 100 de poezii\u201d care au premers debutului cu Vis\u0103ri p\u0103g\u00eene<\/em> (p. 53) \u0219i din care bun\u0103 parte vor fi recuperate \u00een volumele ulterioare. Productivitatea aceasta \u2013 \u201eexplozia liric\u0103 \u00eenregistrat\u0103 \u00een 1910\u201d, zice Carmen (idem) \u2013 de la 18-19 ani \u201ese datoreaz\u0103 \u00eent\u00eelnirii cu Florica\u201d \u2013 tot ce se poate, iubirea poate produce \u0219i revela\u021bia voca\u021biei poetice, printre alte ravagii. Chiar dac\u0103 le-a mai \u201eperfec\u021bionat\u201d la recuperare, poemele din acest sezon n-au emo\u021bionat critica vremii, m\u0103car c\u0103 acum Carmen le ia ap\u0103rarea \u0219i zice (\u00eempotriva lui C\u0103linescu anume) c\u0103 \u201e\u00eel reprezint\u0103 pe autor \u00een n\u0103valnica pornire adolescentin\u0103\u201d (p. 59). Numai c\u0103 \u201en\u0103v\u0103lnicia\u201d nu e \u00een firea poeziei pillatiene \u0219i probabil criticii vor fi sim\u021bit ostenta\u021bia. Din devotament (poate excesiv), Carmen justific\u0103 primele crea\u021bii spun\u00eend tran\u0219ant c\u0103 \u201e\u00eentreaga poezie pillatian\u0103 de mai t\u00eerziu […] se reg\u0103se\u0219te in nuce<\/em> \u00een aceste prime produc\u021bii lirice\u201d (p. 64). Se poate, nu e r\u0103u ca un poet s\u0103-\u0219i demonstreze organicitatea viziunii chiar \u0219i c\u00eend \u00eenc\u0103 n-are viziune. Dar de \u201e\u00eentreaga\u201d nici nu poate fi vorba. Mai r\u0103m\u00eene problema: c\u00eend devine un poet \u2013 poet.<\/p>\n\n\n\n

Fire\u0219te, nu putem citi azi compozi\u021biile liceanului dec\u00eet din perspectiva poetului care a devenit (nici m\u0103car nu-i putem urm\u0103ri \u201eevolu\u021bia\u201d cu aten\u021bia criticilor interbelici) \u0219i reflexul cel mai imediat \u0219i mai \u00eendrept\u0103\u021bit e s\u0103 c\u0103ut\u0103m urmele poetului matur \u00een exerci\u021biile din adolescen\u021b\u0103. S\u0103 le privim, a\u0219adar, ca pre-figurale, prevestitoare sau \u2013 \u00een caz maxim \u2013 ca pe ni\u0219te produc\u021bii \u00een care e invelat\u0103 poetica viitoare. E ceea ce face \u0219i Carmen. Dar dac\u0103 am pune ipoteza c\u0103 aceste caiete s\u00eent tot ce a r\u0103mas de la Pillat (n-avem cum, desigur, dar s\u0103 zicem), nu cred c\u0103 l-am putea scoate din gr\u0103mada de s\u0103m\u0103n\u0103tori\u0219ti de tipul ejusdem farinae. <\/em> Liceanul Pillat scria cum se scria atunci, nici vorb\u0103 de tupeul liceenilor ce vor veni dup\u0103 el \u0219i care s-au s\u0103turat \u0219i sc\u00eerbit de literatur\u0103 \u00eenainte de a o citi \u0219i s-au f\u0103cut avangardi\u0219ti. Firea lui Pillat era mai degrab\u0103 evlavioas\u0103, inclusiv literar, \u0219i \u00een\u021belegea s\u0103-\u0219i fac\u0103 mai \u00eent\u00eei temele cu toat\u0103 s\u00eerguin\u021ba. Era cititor al S\u0103m\u0103n\u0103torului<\/em> \u0219i scria ca pentru aceast\u0103 revist\u0103 (p\u00een\u0103 s\u0103 deprind\u0103 gustul \u201efrancez\u201d). Temele s\u00eent majoritar de plai (precum la maturitate, ce-i drept) iar peisagistica \u2013 predominant pastoral\u0103 \u2013 expus\u0103 nostalgiei \u0219i melancoliei. Dar \u201eexecu\u021bia\u201d e strict s\u0103m\u0103n\u0103torist\u0103, ca \u00een aceast\u0103 alt\u0103 \u201ejun\u0103 Rodic\u0103\u201d din La izvor: <\/em>\u201eAmurgul moare jos \u00een vale\/ \u0218i mieii-n turm\u0103 se cobor.\/ Un ciob\u0103na\u0219 p\u0103\u0219ind agale\/ Tainic doine\u0219te-n urma lor.\/\/ De la cules de mure iese\/ O fat\u0103 mare cu-n urcior;\/ L-a auzit de pe colnice,\/ Gr\u0103be\u0219te pasul spre izvor.\/\/ Colo-n r\u0103scrucea din z\u0103voi\/ S-au \u00eent\u00eelnit\u2026 mieii s-adap\u0103\/ \u0218i ea cu pumnii am\u00eendoi\/ \u00cei d\u0103, r\u00eez\u00eend cu hohot, ap\u0103.\u201d  Un idilism de cr\u00eeng se strecoar\u0103 \u00een toate peisajele, realizate din p\u0103cate dup\u0103 tipic s\u0103m\u0103n\u0103torist, cu mult dor \u0219i o und\u0103 de jale: \u201eUmbra plopilor din cale\/ Se lunge\u0219te-ncet pe drum,\/ Colo-n satul de pe vale\/ Lene\u0219 se \u00eenal\u021b\u0103 fum.\/\/ De la coas\u0103 c\u00eerduri, c\u00eerduri,\/ Vin fl\u0103c\u0103ii doinind rar,\/ Sus \u00een deal de pov\u00eerni\u0219uri\/ Sc\u00eer\u021b\u00eeie prelung un car.\/\/\u2026\/\/ Luna dup\u0103 culmi r\u0103sare.\/ Sun\u0103 un caval de dor,\/ I-a cuprins cu fermecare\/ Vraja zilelor ce mor\u201d (\u00censerare<\/em>). S\u00eent \u00eens\u0103 \u0219i locuri \u00een care scrie viitorul Pillat \u2013 \u0219i chiar cu sentimentul de participare la un sacrament al aceluia \u2013, transform\u00eend peisagistica \u00een imnic\u0103 \u0219i contempla\u021bia \u00een fior religios: \u201e\u2026\/\/ Te sim\u021bi ca \u00eentr-un templu \u00een tainica-nserare,\/ Un templu de odihn\u0103, de pace \u0219i de dor,\/ Drept facl\u0103 se aprinde luceaf\u0103r g\u00eenditor,\/ Drept rug\u0103 se aude a v\u00eentului suflare\u201d etc. (\u00cen amurg<\/em>). Desigur c\u0103 iubirea iradiaz\u0103 peste tot (\u201ecauza\u201d poeziei iese mereu la iveal\u0103) \u0219i nu-i de mirare c\u0103 toate Anotimpurile <\/em>s\u00eent ipostaziate erotic. Se vede \u00eens\u0103 c\u0103 lec\u021bia parnasian\u0103 era binevenit\u0103, c\u0103ci cele dou\u0103 medita\u021bii \u00cen catedral\u0103<\/em> au mai mult\u0103 siguran\u021b\u0103 \u00een conturarea atmosferei \u0219i \u00een manipularea temei reflexive. Influen\u021bele, de la cele de versifica\u021bie la cele de \u201epre-viziune\u201d, s\u00eent just eviden\u021biate de Carmen \u0219i vizibile cu ochiul liber.<\/p>\n\n\n\n

Ocazionalele<\/em> din Caietul Floric\u0103i <\/em>\u2013 \u0219i care nu-s mai mult de at\u00eet \u2013 deconspir\u0103 \u00eens\u0103 o disponibilitate ludic\u0103 reprimat\u0103, dar foarte \u201esimpatic\u0103\u201d \u00een jocul de flirturi: \u201e\u00cen bahnhoful de la Wien\/ Nu g\u0103se\u0219ti pahar cu vin,\/ Nici m\u0103car un \u0219pri\u021b cre\u0219tin\u201d etc. (\u00cen bahnhoful de la Wien). <\/em>Dac\u0103 \u2013 zic o speran\u021b\u0103 \u2013 cumva Carmen se preg\u0103te\u0219te de o edi\u021bie critic\u0103 (nu \u0219tiu dac\u0103 se mai fac d-astea), le-ar sta bine \u0219i acestor improviza\u021bii \u00eentr-o addenda<\/em>. \u00cen orice caz, cele dou\u0103 caiete valorificate aici ar merita prinse \u00eentr-o astfel de edi\u021bie, chiar dac\u0103 nu s\u00eent o revela\u021bie.<\/p>\n","protected":false},"excerpt":{"rendered":"

de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":13208,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376,52],"tags":[82,375,2491,2485],"coauthors":[1120],"class_list":["post-13207","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","category-rubrici","tag-al-cistelecan","tag-carnete-critice","tag-ion-pillat","tag-nr-4-2025"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/06\/prepil.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/13207","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\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13207"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/13207\/revisions"}],"predecessor-version":[{"id":13209,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/13207\/revisions\/13209"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/13208"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13207"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=13207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}