{"id":4429,"date":"2022-05-30T14:41:28","date_gmt":"2022-05-30T11:41:28","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=4429"},"modified":"2022-06-07T20:48:32","modified_gmt":"2022-06-07T17:48:32","slug":"poezia-luminoasa-mariana-dumitrescu","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=4429","title":{"rendered":"Poezia luminoas\u0103 (Mariana Dumitrescu)"},"content":{"rendered":"\n

Precocit\u0103\u021bile s\u00eent, de regul\u0103, o pacoste bibliografic\u0103 pentru beneficiarii lor. Dac\u0103 n-ai \u00eens\u0103 norocul s\u0103 fii Mozart ori Rimbaud, vei \u00eendura ve\u0219nic jena de a te fi pripit. N-ar fi fost \u00eens\u0103 caz chiar grav pentru eleva Mariana \u0218erban, devenit\u0103 peste c\u00ee\u021biva ani de la debut[1]<\/a> actri\u021ba \u0219i poeta Mariana Dumitrescu (n. 1924 \u2013 d. 1967). Nu \u0219tiu c\u00eet de mare p\u0103cat \u00ee\u0219i va fi socotit Mariana Dumitrescu debutul ei cam prea prim\u0103v\u0103ratic, dar l-a isp\u0103\u0219it printr-o lung\u0103 de tot t\u0103cere, c\u0103ci urm\u0103torul volum[2]<\/a> \u00eei apare abia \u00een anul \u00een care moare (chiar cu o s\u0103pt\u0103m\u00een\u0103 \u00eenaintea mor\u021bii, zice Emil Manu[3]<\/a>), iar ultimul[4]<\/a> e, fire\u0219te, postum. Pe man\u0219eta acestuia Ion Brad vorbe\u0219te de \u201enumeroasele manuscrise ce le-a l\u0103sat familiei (poezii, proz\u0103, studii estetice),\u201d dar nu \u0219tiu ca acestea s\u0103 fi fost valorificate. Nu \u0219tiu nici dac\u0103 boala va fi fost printre cauzele suspend\u0103rii apari\u021biilor editoriale, ori dac\u0103 nu cumva poeta s-a mul\u021bumit cu transpunerea poemelor sale \u00een liedurile compuse de Mihail Jora \u0219i de al\u021bi compozitori (ori va fi fost sub interdic\u021bie?). \u00cen orice caz, Emil Manu zice c\u0103 \u201epoeta era cunoscut\u0103 mai ales prin tonalitatea liedurilor scrise pe versurile sale (Mihail Jora, Alfred Mendelsohn, Tudor Ciortea, Paul Jelescu, Carmen Petra-Basacopol etc.)\u201d[5]<\/a> dec\u00eet prin poeziile ca atare. Nu-i, a\u0219adar, de mirare c\u0103 lipse\u0219te din antologia actorilor-poe\u021bi,[6]<\/a> de\u0219i e o poet\u0103 mult mai calificat\u0103 dec\u00eet mul\u021bi dintre cei prezen\u021bi \u00een ea. \u00cen mai toate comentariile se face trimitere la o lung\u0103 suferin\u021b\u0103, Vladimir Streinu afirm\u00eend chiar c\u0103 Mariana \u201ef\u0103cea parte dintre fiin\u0163ele alese s\u0103 sufere\u201d \u0219i consider\u00eend-o \u201eo Iphigenie necunoscut\u0103 \/ce\/ urc\u0103 \u00een versurile ei treptele sacrificiului, pe care \u015fi-l acoper\u0103 de ochii tuturor.\u201d[7]<\/a> De \u201esuferin\u021b\u0103 sublimat\u0103\u201d \u00een poezie vorbe\u0219te \u0219i \u0218erban Cioculescu[8]<\/a> iar Al. Piru de o \u201epoezie a setei de via\u021b\u0103 exacerbat\u0103 de presim\u021birea mor\u021bii\u201d[9]<\/a>. Pentru Constantin H\u00e2rlav volumele de maturitate ale Marianei constituie \u201em\u0103rturia poetic\u0103 a unei vie\u021bi \u00een confruntare cu suferin\u021ba, cu presim\u021birea mor\u021bii\u201d.[10]<\/a> (Nu prea s-ar zice). Nimic din toate astea, fire\u0219te, \u00een clasa a VIII-a \u0219i-n poeziile acestei clase.<\/p>\n\n\n\n

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Clasa a VIII-a (de liceu pe-atunci) e un anotimp de vis\u0103ri (mai ales dac\u0103 \u0219tii c\u0103 te-a\u0219teapt\u0103 apoi Facultatea de Litere \u0219i Filosofie \u0219i Conservatorul de Muzic\u0103 \u0219i Art\u0103 Dramatic\u0103), anul \u00een care \u00een timpul lec\u021biilor te ui\u021bi pe fereastr\u0103 \u0219i vezi tot felul de feerii asiatice \u0219i te visezi \u00cen \u021aara Soarelui-R\u0103sare…<\/em>, acolo unde te plimbi cu bra\u021bele pline de \u201ecrizanteme ro\u0219ii ca arama\u201d \u0219i unde te po\u021bi sui imediat \u201epe albul Fushi-Yama.\u201d Mariana nu zburd\u0103 \u00eens\u0103 chiar f\u0103r\u0103 griji prin Japonia, China \u0219i India, c\u0103ci e \u00eengrijorat\u0103, ne spune \u00een simpaticele cuvinte c\u0103tre Iubi\u021bi(i) cititori<\/em>, de \u0219ansele pe care \u201ecei ce vor citi versurile sau r\u00eendurile\u201d sale le au pentru a se putea \u201etranspune \u00een st\u0103rile mele suflete\u0219ti\u201d. Are trac, e cople\u0219it\u0103 de emo\u021bia debutului, mai ales pentru c\u0103 ea \u201ea scris numai av\u00eentat(\u0103) de porniri entuziaste,\u201d \u0219i, ca precau\u021bie, vrea s\u0103 l\u0103mureasc\u0103 pu\u021bin \u201epe cititorii mei asupra \u021belului urm\u0103rit\u201d, dar nu printr-o \u201eexpunere schematic\u0103, preten\u021bioas\u0103 \u0219i greoaie,\u201d ci doar prin intermediul \u201eunei mici spovedanii.\u201d \u00ce\u0219i cere \u0219i iertare de la preten\u021bio\u0219i pentru c\u0103 \u201ev\u00eersta \/…\/ \u0219i lipsa de experien\u021b\u0103 mai vast\u0103 nu mi-au \u00eeng\u0103duit s\u0103 prezint \u00een primul meu volum lucr\u0103ri care s\u0103 mul\u021bumeasc\u0103 toate exigen\u021bele.\u201d Dar o bun\u0103 parte din ele pot fi mul\u021bumite. Mariana are o versifica\u021bie fluent\u0103, f\u0103r\u0103 cusur de ritm, \u0219i o imagina\u021bie exultant\u0103 \u0219i delicat\u0103, \u00eenconjurat\u0103 de o autoironie protectiv\u0103 \u0219i de referin\u021be culturale spontane, rulate f\u0103r\u0103 nici o ostenta\u021bie. Pe un fond copil\u0103ros, cu trimiteri la basme, creionul \u00eei fuge numaidec\u00eet \u00een reverii de ornamenta\u021bie: \u201e\u00cen p\u0103r \u021bi-a\u0219 pres\u0103ra m\u0103rg\u0103ritare,\/ \u0218i boabe de rubine lucitoare.\/ Pe g\u00eet \u021bi-a\u0219 pune colier de raze,\/ Pe umeri, \u021bes\u0103tur\u0103 de topaze…\u201d etc. (Slove pentru Muza mea: Prim\u0103vara…<\/em>). Nu poate lipsi, fire\u0219te, la aceast\u0103 v\u00eerst\u0103 un anume bovarism tematic, luat de Mariana din c\u0103r\u021bile poetelor melancolice, c\u0103ci \u0219i ea se apuc\u0103 de r\u0103sfoit un Album de amintiri <\/em>(dar de unde l-o fi avut deja?), \u00eenchiz\u00eendu-l \u0219i ea peste melancolia lui etern\u0103: \u201eAm \u00eenchis cu degete tremur\u0103toare\/ Un album cu scoar\u021be ruginite,\/ \u0218i-am l\u0103sat \u00een el s\u0103 pl\u00eeng\u0103 vis\u0103toare,\/ Poze vechi, \u0219i stihuri pr\u0103fuite…\u201d. Tot de pe la suratele elogioase va fi venind \u0219i pl\u00eensul pe teancul de scrisori: \u201eV-am reg\u0103sit \u00eentr-un sertar sculptat,\/ \u00cen mald\u0103r pr\u0103fuit \u0219i dat uit\u0103rii…\/ V-am reg\u0103sit scrisori de alt\u0103dat\u2019,\/ \u0218i-am pl\u00eens cu voi pe undele\u2019nser\u0103rii…\u201d etc. (Scrisori…<\/em>). Poze, acestea, melancolice, luate din sertarele altora, c\u0103ci sertarul Marianei e unul plin de exultan\u021be \u0219i miraje: \u201ePriveam mirat\u0103-argintul lunei pline…\/ Atunci, din umbr\u0103-au ap\u0103rut candide,\/ Z\u00eembind, cu pa\u0219i de dans u\u0219or, silfide… Pe cap aveau cunun\u0103 de verbine,\/\/ Purtau rochi\u021be albe \u0219i u\u0219oare,\/ Pantofi lucra\u021bi \u00een fir \u0219i \u00een m\u0103rgele…\/ \u00cen p\u0103rul lor luceau timide stele,\/ Pe g\u00eet le sc\u00eenteiau fr\u00eenturi de soare…\u201d etc. (Vis de prim\u0103var\u0103…<\/em>). Acestea s\u00eent, de fapt, epifaniile la care particip\u0103, nu doar asist\u0103, Mariana. \u0218i pentru ea e \u00eens\u0103 mai prestigios conceptul poeziei cu suferin\u021b\u0103, a\u0219a c\u0103 exerseaz\u0103 depresii fictive: \u201eAm vrut s\u0103 g\u0103sesc Prim\u0103vara… S-o iau cu mine…\/ \u0218i-am c\u0103utat-o-n toate ungherile lumii…\/ Dar n-am g\u0103sit dec\u00eet iarn\u0103 \u0219i suspine…\/ \u00cemi era frig, \u0219i-mi \u00eenghe\u021baser\u0103 g\u00eendurile toate…\u201d (Am vrut…<\/em>). Catastrofele de sentiment din clasa a VIII-a s\u00eent, desigur, cele mai cumplite, a\u0219a c\u0103 \u0219i-n sufletul Marianei \u201ee iarn\u0103 grea\u201d, de\u0219i afar\u0103-i prim\u0103var\u0103, iar zilele devin doar un \u201ebuchet de vise spulberate\u201d. Se face at\u00eeta jale-n suflet \u00eenc\u00eet \u00eencep s\u0103 se aud\u0103 chem\u0103rile m\u00eeng\u00eeietoare ale mor\u021bii: \u201eNe chiam\u0103 fundul de abis al lutului,\/ \u0218i s\u00eengele-n ad\u00eencuri r\u0103v\u0103\u0219it…\/ De undeva din nop\u021bile trecutului,\/ Ne chiam\u0103 visu-n lacrimi pl\u0103m\u0103dit…\u201d etc. (Chem\u0103rile lutului…<\/em>). Un bovarism suferitor simpatic tocmai prin nepotrivirea cu elanul spontan spre reverii \u0219i cu fondul ludic genuin. Pe acesta mizeaz\u0103 Mariana \u00een C\u00eentece pentru copii<\/em>, unde se las\u0103 dus\u0103 de spiritul jocului p\u00een\u0103 la parafraze dup\u0103 Top\u00eerceanu: \u201e\u0218ase melci, aduc pe umeri,\/ Litier\u0103 din argint…\/ Z\u00eembitoare \u0219i senin\u0103,\/ O l\u0103cust\u0103 smaragdin\u0103,\/ C\u00eent\u0103-o arie, despre ochii…\/Ce te mint…\/\/ Filosof, platonic acru,\/ Un bondar de chihlimbar,\/ Se condamn\u0103 \u00een t\u0103cere,\/ C-a g\u0103sit a\u0219a pl\u0103cere,\/ \u00centr-un cerc de ciupercu\u021be…\/ Cu-ochi de jar\u201d etc. (Humoresc\u0103<\/em>). Poate fi \u00eens\u0103 \u0219i patetic\u0103, exers\u00eend pe toate tonurile, cum e-n \u201epoemul dramatic \u00een trei p\u0103r\u021bi\u201d Din durerile neamului<\/em> (de care zice c\u0103 s-a \u201edifuzat la radio, \u00een cadrul Orei osta\u0219ului\u201d<\/em>). C\u0103 era o fat\u0103 cult\u0103 devine ne\u00eendoios prin m\u0103nunchiul de traduceri ata\u0219at (Ovidiu, Hora\u021biu, Milton, Shelley, Goethe \u0219.a. \u2013 dovad\u0103 c\u0103 liceul era altceva pe atunci). Drept s\u0103 spun, mie-mi pare r\u0103u c\u0103 Mariana n-a mai scos m\u0103car \u00eenc\u0103 un volum de vis\u0103ri studen\u021be\u0219ti, dup\u0103 cele liceale.<\/p>\n\n\n\n

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Volumele ei relevante fac o unitate \u0219i par a fi fost preg\u0103tite de ea \u00eens\u0103\u0219i pentru apari\u021bie. Cel pu\u021bin a\u0219a s-ar putea deduce dintr-Un cuv\u00eent…<\/em> pus \u00een deschiderea Ierbii timpului <\/em>(\u0219i datat 1966), volum extras \u201edintr-o colin\u0103 de plachete\u201d. Despre acest volum Mariana zice c\u0103 ar cuprinde \u201eo epoc\u0103 de via\u021b\u0103 \u0219i un dosar metafizic\u201d (lucru de care-l convinge pe Emil Manu, care o \u0219i parafrazeaz\u0103 numaidec\u00eet: \u201ecartea e conceput\u0103 \u0219i \u00een\u021beleas\u0103 ca un dosar metafizic <\/em>al unei vie\u021bi\u201d),[11]<\/a> ad\u0103ug\u00eend apoi c\u0103 \u201epoetul trebuie s\u0103 fie un interpret, \u0219i un sintetist\u201d, \u201eun seismograf social\u201d care ar trebui \u201es\u0103 scrie mai mult dec\u00eet jurnale de bord lirice\u201d, fiind \u201eobligat s\u0103 fie mai mult dec\u00eet un fotoreporter al unei actualit\u0103\u021bi sociale.\u201d Mariana, \u00een orice caz, nu e un astfel de fotoreporter \u0219i nici \u201ejurnale lirice\u201d nu scrie, fie pentru c\u0103-ntr-adev\u0103r credea \u00een misiunea transpersonal\u0103 a liricii, fie pentru c\u0103, a\u0219a cum zice \u0218erban Cioculescu \u00een prefa\u021ba la Poezii,[12]<\/strong><\/a> <\/em>\u201enota \/ei\/ specific\u0103 este poate pudoarea sim\u021birii, fr\u00eena, rezerva.\u201d Un eu sublimat, decontextualizat biografic \u0219i social, scrie poezia Marianei.<\/p>\n\n\n\n

Dac\u0103 n-ar exista referin\u021bele biografice la suferin\u021b\u0103 n-ar exista nici un temei pentru a-i c\u0103uta urmele \u00een Iarba timpului. <\/em>Chiar \u0219i cu ele, c\u0103utarea r\u0103m\u00eene (aproape) zadarnic\u0103, pentru c\u0103 Mariana e o poet\u0103 luminoas\u0103 \u0219i nu ia alte noti\u021be elegiace dec\u00eet cele deduse din reflec\u021biile pe seama timpului. Nici acestea nu trag \u00eens\u0103 spre melancolii \u0219i nostalgii, ci mai degrab\u0103 spre \u00eenc\u00eent\u0103ri \u0219i beatitudini: \u201eM\u0103-nconjoar\u0103 anii mei\/ \u0218i c\u00eent\u0103…\/\/ Cum s\u0103 nu c\u00eent \u0219i eu cu ei?…\/ Cum s\u0103-i alung?…\/\/ R\u0103sun\u0103 sub bol\u021bile netede\/ Baladele vie\u021bii mele…\/\/ Un c\u00eentec prelung…\u201d (Baladele<\/em>). Dac\u0103-s aranjate cronologic (foarte probabil), aceasta e o poezie de tinere\u021be, dar nici mai t\u00eerziu bun\u0103tatea timpului nu se schimb\u0103 \u0219i lucrarea lui nu devine una represiv\u0103: \u201eCi te v\u0103d, ciudatule timp,\/ Ca pe o iarb\u0103 de lumin\u0103,\/ Care \u021bi-ai f\u0103cut r\u0103d\u0103cin\u0103\/ \u00cen inimile noastre\u201d etc. (Iarba timpului<\/em>). Iar asta pentru c\u0103 sufletul Marianei e unul pur imnic, exultant \u0219i euforizant, solar la modul absolut: \u201eMuzicile din inima mea de le-a\u0219 c\u00eenta,\/ Jivinile p\u0103m\u00eentului le-a\u0219 \u00eembuna,\/ C\u0103 mi-e sufletul ca soarele lui Cuptor,\/ \u0218i c\u00eend mi-e bine,\/ Iubesc oamenii,\/ Pl\u00eeng,\/ \u0218i mi-e dor…\u201d (De-a\u0219 culege<\/em>). E un suflet care tr\u0103ie\u0219te \u00een regim de exaltare \u0219i-n punctua\u021bie strict exclamativ\u0103, f\u0103c\u00eend lumea candid\u0103 \u0219i estetiz\u00eend-o: \u201eNu-mi vine s\u0103 cred,\/ Ce drepte \u0219i limpezi\/ Pot fi lucrurile uneori…\/ Gr\u0103mezile de nori\/ \u00cemi par volburi de flori,\/ Cerul de le\u0219ie\/ Maram\u0103 str\u0103vezie,\/ Peste feciorelnica frunte a p\u0103m\u00eentului…\u201d etc. (Marea prim\u0103var\u0103<\/em>). Imagina\u021bia Marianei decoreaz\u0103 lumea cu giuvaericale \u0219i o transform\u0103 \u00eentr-o bijuterie: \u201eCerul \u00eei \u00eentindea\/ Plas\u0103 de safire,\/ Sub\u021bire,\/ \u0218i soarele,\/ Un lan\u021b de argint,\/ S\u0103 se \u021bie…\u201d etc. (Sensuri<\/em>). Ca \u0219i la Agatha Grigorescu, \u0219i la Mariana lumea se umple de salbe \u0219i de broderii, \u00eentr-o caligrafie a ornamentelor feminine. E greu de construit un \u201edosar metafizic\u201d din at\u00eetea pietre pre\u021bioase \u0219i alte juvaeruri (dar nu e chiar imposibil, fire\u0219te), cu at\u00eet mai mult cu c\u00eet Mariana e o vitalist\u0103 a luminii: \u201eUite cum se rostogole\u0219te\/ Peste pietrele sterpe\/ \u0218i peste lutul mustos,\/ \u00cen talazuri de lumin\u0103,\/ Uria\u0219a,\/ N\u0103valnica,\/ Via\u021ba,\/ Iubitule, bun\u0103 diminea\u021ba…\u201d (Bun\u0103 diminea\u021ba<\/em>). De fapt, o vitalist\u0103 pur \u0219i simplu: \u201eAlelei,\/ Uite-a\u0219a,\/ Pentru mine \u0219i pentru to\u021bi voi c\u00eenta…\/ \u0218i-am s\u0103 strig ca un drac \u00eempieli\u021bat,\/ Pe sub toate ferestrele,\/ C\u00eentecele pe care lumea le-a uitat…\/ Alelei,\/ Alelei,\/ L-am prins pe Dumnezeu de picior\u201d etc. (Chiot<\/em>). Interjec\u021biile de acest soi, luate parc\u0103 de la Emil Botta, nu s\u00eent singurele adieri care vin dintr-acolo. Mai degrab\u0103 dec\u00eet \u201eunele \u00eenr\u00eeuriri din Blaga \u0219i Minulescu\u201d, dup\u0103 cum crede Al. Piru,[13]<\/a> (nici nu \u0219tiu cum ar fi putut sta cei doi laolalt\u0103; ar fi \u00eensemnat ca sufletul Marianei s\u0103 fie sf\u00ee\u0219iat \u00eentre frivolitate \u0219i pasiune metafizic\u0103; asta se-nt\u00eempl\u0103 \u00eens\u0103 doar la Claudia Millian, \u0219i nici la ea simultan), peste poezia Marianei trece duhul lui Botta, vizibil at\u00eet \u00een arta exclama\u021biilor \u0219i interoga\u021biilor, c\u00eet \u0219i \u00eentr-o oarecare familiaritate cu himerele \u0219i \u00eentr-un fel de scenarii confesive teatralizate: \u201e\u0218i cu satana m-am \u00eent\u00eelnit,\/ Domnul frumos,\/ Cu violete\/ La chiotoare…\/ \u0218i saluturi cu el am schimbat…\/ Eram \u00een lotc\u0103?…\/ Eram \u00een r\u0103dvan oare?…\/ Sau \u00eentr-o claie de stele,\/ \u00cen f\u00eenul parfumat\/ Al firmamentului dep\u0103rtat?\u201d etc. (Am uitat<\/em>). Cam tot \u00eentr-acolo trag \u0219i traducerile de mistere, transpuse caligrafic: \u201eGr\u0103m\u0103tici nev\u0103zu\u021bi din \u021b\u0103r\u00een\u0103,\/ \u00cenarma\u021bi cu peni\u021be de aur,\/ Cu tu\u0219 verde \u0219i clorofil\u0103,\/ Scriu pentru istoria scoar\u021bei\/ O nou\u0103 fill\u0103…\u201d (Pirosfera<\/em>). Exultan\u021bele (s\u00eent multe prim\u0103veri \u0219i dimine\u021bi \u00een poezia Marianei) s\u00eent electrizate, fire\u0219te, \u0219i de iubire \u2013 una care face solar orice peisaj dezolant: \u201ePretutindeni e noapte…\/ Doar \u00een inima mea\/ Un soare \u00eendep\u0103rtat s-a aprins,\/ \u0218i-acum volburi de fl\u0103c\u0103ri\/ Se-nal\u021b\u0103 spre tine…\/ Uria\u0219\u0103-auror\u0103,\/ \u021a\u00ee\u0219ne\u0219te din g\u00eendul meu viu…\u201d etc. (Toamn\u0103 t\u00eerzie<\/em>). E un sentiment \u021binut \u00een permanen\u021b\u0103 la temperatura jarului, dar \u0219i cu o voca\u021bie animist\u0103 a tandre\u021bii \u0219i d\u0103ruirii: \u201eMereu m\u0103 aplec peste tine…\/ S\u00eent \u00een clapele pianului pe care c\u00een\u021bi,\/ S\u00eent \u00een p\u00eeinea oache\u0219e pe care o m\u0103n\u00eenci,\/ \u00cen pietrele pe care le calci\/ \u0218i-n ceasornicul care-\u021bi m\u0103soar\u0103 via\u021ba…\/ S\u00eent \u00een zorile care-\u021bi s\u0103rut\u0103\/ Geana ars\u0103 de nesomn…\u201d etc. (Nu e\u0219ti singur<\/em>). \u00centr-o lume iremediabil bun\u0103 tr\u0103ie\u0219te Mariana \u0219i chiar \u0219i moartea lucreaz\u0103 aici tandru \u0219i cu unelte de bijutier: \u201eC\u0103 morm\u00eentul meu e un leag\u0103n,\/ M\u0103rg\u0103ritar negru\/ \u00cencrustat \u00een bijuteria domoal\u0103\/ A unui cimitir toropit sub luceferi,\/ \u0218i cimitirul e un m\u0103rg\u0103ritar negru\/ \u00cencrustat \u00een bijuteria domoal\u0103 a planetei\u201d etc. (Morm\u00eentul meu va fi un leag\u0103n<\/em>). Nici chiar angoasele nu-s lipsite de tandre\u021bea insinuan\u021bei, fie ea oric\u00eet de pervers\u0103: \u201eExist\u0103 pe lume o z\u00een\u0103 hirsut\u0103,\/ Cu ochi ce nu clipesc,\/ \u0218i cu gura mut\u0103…\/ Nelini\u0219tea…\/\/ \u00ce\u021bi strecoar\u0103 ades \u00een oase\/ Otr\u0103vite chiparoase,\/ \u00cen chip de m\u00eeng\u00eeiere etern\u0103,\/ Gr\u0103mezi de cobre sub pern\u0103\u201d etc. (Nelini\u0219tea<\/em>). Mariana nu se las\u0103 \u00eens\u0103 prins\u0103 \u00een mrejele anxiet\u0103\u021bilor, ci c\u00eent\u0103, orice-ar fi, \u201ecu o sf\u00ee\u0219ietoare bucurie,\u201d[14]<\/a> partitura exultant\u0103 a vie\u021bii, \u00eentr-o \u2013 zice H\u00e2rlav \u2013 \u201elaud\u0103 melancolic\u0103 a vie\u021bii\u201d.[15]<\/a> Nici nu prea melancolic\u0103, de fapt, ci mai degrab\u0103 pur incantatorie.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Poezii<\/em>-le din 1967 au o conduit\u0103 confesiv\u0103 mai accentuat\u0103 \u0219i practic\u0103 obi\u0219nuit versifica\u021bia verticalizat\u0103 hieratic, cu versuri de rozariu. Nu-s pl\u00eengeri nici aici, Mariana fiind mai degrab\u0103 dedicat\u0103 miracolelor \u0219i gramaticii delicate \u00een care acestea pot fi transcrise: \u201eClipa delicat\u0103, precis\u0103,\/ C\u00eend se dizolv\u0103 anotimpurile\/ Unul \u00eentr-altul,\/ Nu e nic\u0103ieri scris\u0103…\u201d etc. (Osmoze…<\/em>). Dragostea r\u0103m\u00eene o devo\u021biune care transcende moartea, pe care Mariana nici n-o simte ca o limit\u0103: \u201eDac-ai s\u0103 m\u0103 chemi,\/ Am s\u0103 vin…\/\/ Oric\u00eend ai s\u0103 m\u0103 chemi,\/ Am s\u0103 vin…\/\/ Plec s\u0103-\u021bi aduc \u00een ulcior ap\u0103 nou\u0103,\/ \u0218i-o creang\u0103 de rou\u0103\/ Din stele…\u201d etc. (Bun r\u0103mas<\/em>). Timpul r\u0103m\u00eene la fel de prietenos, chiar dac\u0103 mai are pu\u021bine de d\u0103ruit: \u201eO, timp,\/ Prietene timp,\/ D\u0103ruie\u0219te-mi o prim\u0103var\u0103 nou\u0103…\u201d etc. (Rug\u0103minte…<\/em>). Nici la Blandiana moartea nu-i at\u00eet de tandr\u0103 precum e la Mariana, la care ea devine pur\u0103 inflorescen\u021b\u0103 \u0219i narcoz\u0103: \u201eMai t\u00eerziu,\/ \u0218i tu vei fi fruct\/ Cu miros de c\u0103p\u0219un\u0103,\/ Cu miez de-ntunerec\/ \u0218i s\u00eemburi de lun\u0103…\/ \u0218i tu vei fi c\u00eentec,\/ Cu armonii\/ De z\u0103branice \u0219i paftale de cer…\u201d etc. (\u00cen livezile de apoi…<\/em>). Nimic nu tulbur\u0103 voca\u021bia imnifor\u0103 a Marianei, c\u0103ci toate cele negative s\u00eent tr\u0103ite \u00eentr-o pozitivitate absolut\u0103: \u201eDe\u0219i n-am harf\u0103 de lumin\u0103,\/ De\u0219i nici pas\u0103re nu s\u00eent,\/ Eu c\u00eent \u00een ramurile nop\u021bii,\/ \u00cen fiecare noapte c\u00eent…\u201d (C\u00eentecul din ramurile nop\u021bii<\/em>). Sentimentul continuit\u0103\u021bii scoate moartea dintre sanc\u021biuni \u0219i o transform\u0103 \u00eentr-un elan al rena\u0219terii: \u201eM\u0103 voi trezi cu ei,\/ Tot proasp\u0103t\u0103 \u0219i t\u00een\u0103r\u0103 ca acum…\/ \u00cen miile de p\u0103pu\u0219i de fum,\/ Mereu, mereu,\/ \u00cen str\u0103nepo\u021bii mei m\u0103 voi trezi,\/ De-a pururi \u00een ei m\u0103 voi trezi…\u201d (M\u0103 voi trezi iar…<\/em>). E cea mai pozitiv\u0103 moarte din poezia noastr\u0103. La Mariana, moartea nu e dec\u00eet odihna din \u201eziua a \u0219aptea\u201d (Cosmogonie mic\u0103<\/em>). Vechile elanuri vitaliste se mai trezesc \u0219i aici, sub forma unor chiote ancestrale, cam cum le scoteau \u0219i g\u00eendiri\u0219tii: \u201eDumnezeule,\/ Cum \u021bip\u0103-n mine\/ S\u00eengele dac…\u201d (Ancestra\u021bii<\/em>), dar linia dominant\u0103 r\u0103m\u00eene transfigurarea suferin\u021bei p\u00een\u0103 la beatificarea ei. C\u0103ci Mariana e poeta care \u201epreface lacrimile-n poezie\u201d (Alchimistul<\/em>) \u2013 \u0219i nu-n poezie pl\u00eeng\u0103cioas\u0103. \u0218i mai \u0219tie \u0219i c\u0103 \u201eToate se petrec at\u00eet de bine,\/ \u0218i f\u0103r\u0103 mine,\/ \u0218i f\u0103r\u0103 mine…\u201d (\u0218i f\u0103r\u0103 mine<\/em>). Exerci\u021bii de eleva\u021bie \u0219i de spiritualizare face Mariana tot mai frecvent, ie\u0219ind de sub legea gravita\u021biei: \u201eSufletul meu se-nal\u021b\u0103 cu greutate…\/ A… s-arunc vedenia amforei cu lacrimi,\/ Adiind ve\u0219ted a flori de tei,\/ \u0218i p\u0103rerile de r\u0103u,\/ Care-at\u00eern\u0103 c\u00eet trei\/…\/ S\u0103-mi mai arunc peste bord\/ \u0218i umbra…\/ …\/ Ca s\u0103 urc foarte departe,\/ Ar trebui s-arunc peste bord\/ Amintirile…\u201d (Nacela<\/em>). \u201eEroismul sacrificiului consim\u021bit\u201d remarcat de Vladimir Streinu[16]<\/a> e at\u00eet de consim\u021bit \u00eenc\u00eet \u00ee\u0219i pierde, de fapt, orice urm\u0103 sacrificial\u0103, l\u0103s\u00eend la vedere doar \u201efrumuse\u021bea voluntariatului la sublim\u201d.[17]<\/a> Mariana trece dincolo duc\u00eend cu sine amintirile de aici \u0219i invers\u00eend astfel ecua\u021bia nostalgiei paradisiace: ea va p\u0103stra \u00een paradis urmele nostalgiei terestre. P\u0103cat c\u0103 doar a atins inflexiunea acestei teme din care \u0219i-ar fi putut face adev\u0103rata identitate. Oricum, Mariana, prin bucuria cu care tr\u0103ie\u0219te \u0219i prin puterea cu care-\u0219i transfigureaz\u0103 suferin\u021ba \u00een exultan\u021b\u0103, r\u0103scump\u0103r\u0103 multe din lacrimile v\u0103rsate de o mul\u021bime de poete pentru c\u0103 au ratat o \u00eent\u00eelnire cu iubitul. Mariana, de\u0219i pe patul de suferin\u021b\u0103, se poart\u0103 de parc\u0103 n-a ratat niciuna.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> Mariana \u0218erban, clasa VIII-a, Liceul \u201eRegina Maria\u201d, Bucure\u0219ti, Viorile prim\u0103verii, <\/em>Versuri, Tipografia ziarului \u201dUniversul\u201d, Bucure\u0219ti, 1942.<\/p>\n\n\n\n

[2]<\/a> Cuv\u00eent \u00eenainte de \u0218erban Cioculescu, Editura pentru literatur\u0103, Bucure\u0219ti, 1967.<\/p>\n\n\n\n

[3]<\/a> \u00cen Literatura rom\u00e2n\u0103 contemporan\u0103. I. Poezia, <\/em>coordonator Marin Bucur, Editura Academiei, Bucure\u0219ti, 1980, p. 351.<\/p>\n\n\n\n

[4]<\/a> Iarba timpului, <\/em>Poezii, cu un desen de Theodor Pallady, Editura pentru literatur\u0103, Bucure\u0219ti, 1968.<\/p>\n\n\n\n

[5]<\/a> Literatura rom\u00e2n\u0103 contemporan\u0103,<\/em> p. 351.<\/p>\n\n\n\n

[6]<\/a> Actori poe\u021bi \u2013 poe\u021bi actori, <\/em>antologie de Lucia Nicoar\u0103 \u0219i Cristiana Gavril\u0103, dup\u0103 o idee de Mircea Ghi\u021bulescu, Prefa\u021b\u0103 de Cristiana Gavril\u0103, Editura Brumar, Timi\u0219oara, 2008.<\/p>\n\n\n\n

[7]<\/a> Vladimir Streinu, Pagini de critic\u0103 literar\u0103, <\/em>IV, Marginalia, eseuri. Edi\u0163ie alc\u0103tuit\u0103 de George Muntean, Bucure\u015fti, Editura Minerva, 1976, pp. 75, 76.<\/p>\n\n\n\n

[8]<\/a> \u00cen Cuv\u00eent \u00eenainte <\/em>la Poezii, <\/em>p. 7.<\/p>\n\n\n\n

[9]<\/a> Al. Piru, Poezia rom\u00e2neasc\u0103 contemporan\u0103. <\/em>1950-1975. Genera\u021bia v\u00eerstnic\u0103, Editura Eminescu, Bucure\u0219ti, 1975, p. 265.<\/p>\n\n\n\n

[10]<\/a> \u00cen Dic\u021bionarul general al literaturii rom\u00e2ne, <\/em>D-G, Edi\u021bia a II-a revizuit\u0103, ad\u0103ugit\u0103 \u0219i adus\u0103 la zi, Editura Muzeul Literaturii Rom\u00e2ne, Bucure\u0219ti, 2016, p. 377.<\/p>\n\n\n\n

[11]<\/strong><\/a> <\/strong>Literatura rom\u00e2n\u0103 contemporan\u0103…, <\/em>p. 362.<\/p>\n\n\n\n

[12]<\/a> P. 5.<\/p>\n\n\n\n

[13]<\/a> Al. Piru, op. cit., <\/em>p. 265.<\/p>\n\n\n\n

[14]<\/a> \u0218erban Cioculescu, op. cit., <\/em>p. 8.<\/p>\n\n\n\n

[15]<\/a> Dic\u021bionarul general…, <\/em>p. 377.<\/p>\n\n\n\n

[16]<\/a> Vladimir Streinu, op. cit., <\/em>p 75.<\/p>\n\n\n\n

[17]<\/a> Idem.<\/p>\n","protected":false},"excerpt":{"rendered":"

Precocit\u0103\u021bile s\u00eent, de regul\u0103, o pacoste bibliografic\u0103 pentru beneficiarii lor. Dac\u0103 n-ai \u00eens\u0103 norocul s\u0103 fii Mozart ori Rimbaud, vei \u00eendura ve\u0219nic jena de a te fi pripit. N-ar fi fost \u00eens\u0103 caz chiar grav pentru eleva Mariana \u0218erban, devenit\u0103 peste c\u00ee\u021biva ani de la debut[1] actri\u021ba \u0219i poeta Mariana Dumitrescu (n. 1924 \u2013 d. 1967). Nu \u0219tiu c\u00eet de mare p\u0103cat \u00ee\u0219i va fi socotit Mariana Dumitrescu debutul ei cam prea prim\u0103v\u0103ratic, dar l-a isp\u0103\u0219it printr-o lung\u0103 de tot t\u0103cere, c\u0103ci urm\u0103torul volum[2] \u00eei apare abia \u00een anul \u00een care moare (chiar cu o s\u0103pt\u0103m\u00een\u0103 \u00eenaintea mor\u021bii, zice Emil<\/p>\n","protected":false},"author":7,"featured_media":4430,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[53],"tags":[82,441,1014,974],"coauthors":[],"class_list":["post-4429","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fete-pierdute","tag-al-cistelecan","tag-fete-pierdute","tag-mariana-dumitrescu","tag-nr-1-2022"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/05\/Mariana_Dumitrescu-e1654624099783.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4429","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=4429"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4429\/revisions"}],"predecessor-version":[{"id":4528,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4429\/revisions\/4528"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/4430"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4429"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4429"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4429"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=4429"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}