{"id":4899,"date":"2022-06-30T12:55:40","date_gmt":"2022-06-30T09:55:40","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=4899"},"modified":"2022-06-30T12:55:46","modified_gmt":"2022-06-30T09:55:46","slug":"maestrul","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=4899","title":{"rendered":"Maestrul"},"content":{"rendered":"\n
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Thomas Mann, Moartea la Vene\u021bia. Povestiri 1893-1912,<\/em> traducere de Ion Roman, prefa\u021b\u0103, comentarii \u0219i selec\u021bie de citate de Ioana P\u00e2rvulescu, not\u0103 biobibliografic\u0103 \u0219i note de Thomas Kleininger, Editura Humanitas Fiction, 2021<\/figcaption><\/figure><\/div>\n\n\n\n

C\u00eend Thomas Mann (1875-1955) primea Nobelul literar \u00een 1929, toate aceste dou\u0103zeci \u0219i cinci de povestiri \u0219i nuvele fuseser\u0103 deja publicate, iar prozatorul, la doar cincizeci de ani, era considerat un clasic \u00een via\u021b\u0103, c\u0103r\u021bile lui erau traduse peste tot \u0219i \u021binea conferin\u021be \u00een marile ora\u0219e europene. Peste foarte pu\u021bin timp, Thomas Mann avea s\u0103 decid\u0103 s\u0103 nu se mai \u00eentoarc\u0103 \u00een Germania nazist\u0103 \u0219i se stabilea temporar, \u00eempreun\u0103 cu familia, \u00een Sudul Fran\u021bei, \u0219i apoi definitiv l\u00eeng\u0103 Z\u00fcrich, unde ast\u0103zi se afl\u0103 \u0219i morm\u00eentul s\u0103u.<\/p>\n\n\n\n

\u201eLa un scriitor n\u0103scut \u00een secolul XIX, e firesc s\u0103 te \u00eentrebi dac\u0103 \u0219i \u00een ce m\u0103sur\u0103 mai vorbe\u0219te limba cititorilor din secolul XIX? Nu cumva a intrat \u00een r\u00eendul clasicilor care stau sus \u00een bibliotec\u0103, at\u00eet de sus, \u00eenc\u00eet e foarte greu s\u0103-i mai sco\u021bi din raft? A celor care au norocul s\u0103 fie cita\u021bi, dar nu-l au prea des pe cel de a fi citi\u021bi?\u201d se \u00eentreab\u0103 \u00een prefa\u021ba \u2013 substan\u021bial\u0103 \u0219i binevenit\u0103, completat\u0103 de note asupra fiec\u0103rei proze cu trimiteri rom\u00e2ne\u0219ti \u2013 a acestui prim volum, din cele dou\u0103 care vor constitui integrala prozei sale scurte, Ioana P\u00e2rvulescu, mare admiratoare \u0219i traduc\u0103toare din opera sa. Eseista \u0219i prozatoarea afirm\u0103 c\u0103 Thomas Mann \u201epare a fi prozatorul care a ratat cel mai rar din toat\u0103 istoria literaturii moderne\u201d \u0219i, \u00eentr-adev\u0103r, citindu-i fie \u0219i numai proza scurt\u0103 \u2013 pe care a \u00eenceput s-o scrie \u00eenc\u0103 de la 18 ani \u0219i nu s-a oprit p\u00een\u0103 la 78 de ani \u2013, ai de la \u00eenceput convingerea c\u0103 te afli \u00een preajma unui geniu literar care m\u00eenuie\u0219te teme mari, nu foarte diverse, dar complicate (\u201er\u0103utatea \u0219i cinismul s\u00eent mereu la mod\u0103\u201d), \u0219i subiecte tulbur\u0103toare (incestul, nefericirea, ratarea, \u00eemb\u0103tr\u00eenirea, moartea), construind personaje extrem de vii, de la nefericitul de r\u00eend la artistul chinuit, cu o fine\u021be psihologic\u0103 \u0219i un limbaj de o frumuse\u021be, exactitate \u0219i profunzime impresionante. De altfel, migala \u0219i priceperea pentru portretistic\u0103 \u0219i caracterizare s\u00eent absolut remarcabile, cu at\u00eet mai mult cu c\u00eet ast\u0103zi par o art\u0103 literar\u0103 pierdut\u0103.<\/p>\n\n\n\n

Scris\u0103 \u00een anul tragediei Titanicului, capodopera \u201eMoartea la Vene\u021bia\u201d \u2013 ecranizat\u0103 \u00een 1971 admirabil, \u00een ciuda sau poate tocmai datorit\u0103 libert\u0103\u021bilor luate, de Luchino Visconti \u2013 este un text apropiat perfec\u021biunii. Dar nu e nicidecum singurul: \u201eMicul domn Friedemann\u201d, \u201eTristan\u201d sau \u201eTonio Kr\u00f6ger\u201d (pentru a  numi doar c\u00eeteva cuprinse \u00een acest prim volum), s\u00eent toate mici monumente literare. Iar o proz\u0103, poate mai pu\u021bin citat\u0103 \u0219i citit\u0103, precum \u201eLuischen\u201d, o capodoper\u0103 a cruzimii (care \u00eencepe astfel: \u201eExist\u0103 c\u0103snicii a c\u0103ror origine nu poate fi imaginat\u0103 nici de fantezia cea mai exersat\u0103 beletristic\u201d), este, de fapt, o bijuterie transgresiv\u0103 ce pare c\u0103 dep\u0103\u0219e\u0219te modernismul epocii. Dar \u0219i textele de mai mic\u0103 amploare, de doar c\u00eeteva pagini, precum \u201eLa profet\u201d, \u201eDezam\u0103gire\u201d, \u201eDrumul spre cimitir\u201d sau \u201eAccidentul de cale ferat\u0103\u201d, au gra\u021bie \u0219i o nelini\u0219te cumva kafkian\u0103. Chiar \u0219i \u201eDulapul de haine\u201d, singura proz\u0103 fantastic\u0103 din opera thomasmannian\u0103 (\u0219i \u00een care se afl\u0103 frapanta fraz\u0103 \u201estau aici \u0219i m\u0103 uit la tine ca la un g\u00eendac c\u0103zut pe spate\u201d, scris\u0103 cu zece ani \u00eenaintea Metamorfozei<\/em>), este o alegorie frisonant\u0103 – \u0219i aici nu s\u00eent de acord cu Ioana P\u00e2rvulescu, care o num\u0103r\u0103 printre prozele ce pot fi u\u0219or trecute cu vederea.<\/p>\n\n\n\n

Efectul lecturii povestirilor sale, deopotriv\u0103 curajoase \u0219i complexe, cu un umor de o mare subtilitate (atunci c\u00eend nu e f\u0103\u021bi\u0219: \u201eun t\u00een\u0103r filozof cu \u00eenf\u0103\u021bi\u0219are de cangur\u201d), \u00eentre\u021bin\u00eend leg\u0103turi evidente cu marile sale romane, este c\u0103 te sim\u021bi tu \u00eensu\u021bi inteligent, apt de o mai bun\u0103 privire asupra oamenilor, psihicului, vie\u021bii.<\/p>\n\n\n\n

Aceasta nu este prima edi\u021bie \u00een rom\u00e2n\u0103 a povestirilor lui Thomas Mann, dar este, de departe, cea mai elegant\u0103 grafic \u0219i cea mai cuprinz\u0103toare, av\u00eend prefa\u021b\u0103, not\u0103 biobliografic\u0103, note, comentarii \u0219i chiar \u0219i o selec\u021bie de citate memorabile (\u201escriitorul este un om c\u0103ruia \u00eei vine mai greu s\u0103 scrie dec\u00eet altor oameni\u201d). Vechea traducere a lui Ion Roman este \u00eenc\u0103 imbatabil\u0103, exact\u0103 \u0219i elegant\u0103, tocmai de aceea e p\u0103cat c\u0103 la aceast\u0103 nou\u0103 redactare a fost l\u0103sat perfectul simplu \u00een cele c\u00eeteva proze cu narator protagonist, deci la persoana \u00eent\u00eei, ceea ce face ca arti\u0219tii fr\u0103m\u00eenta\u021bi de aspira\u021bii \u00eenalte ai urma\u0219ului lui Goethe \u0219i Wagner s\u0103 se exprime oltene\u0219te ca \u00eentr-o scenet\u0103 cu Nea M\u0103rin.<\/p>\n","protected":false},"excerpt":{"rendered":"

C\u00eend Thomas Mann (1875-1955) primea Nobelul literar \u00een 1929, toate aceste dou\u0103zeci \u0219i cinci de povestiri \u0219i nuvele fuseser\u0103 deja publicate, iar prozatorul, la doar cincizeci de ani, era considerat un clasic \u00een via\u021b\u0103, c\u0103r\u021bile lui erau traduse peste tot \u0219i \u021binea conferin\u021be \u00een marile ora\u0219e europene. Peste foarte pu\u021bin timp, Thomas Mann avea s\u0103 decid\u0103 s\u0103 nu se mai \u00eentoarc\u0103 \u00een Germania nazist\u0103 \u0219i se stabilea temporar, \u00eempreun\u0103 cu familia, \u00een Sudul Fran\u021bei, \u0219i apoi definitiv l\u00eeng\u0103 Z\u00fcrich, unde ast\u0103zi se afl\u0103 \u0219i morm\u00eentul s\u0103u. \u201eLa un scriitor n\u0103scut \u00een secolul XIX, e firesc s\u0103 te \u00eentrebi dac\u0103 \u0219i<\/p>\n","protected":false},"author":9,"featured_media":4900,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[53,52],"tags":[87,1067,1064,98,1066],"coauthors":[],"class_list":["post-4899","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fete-pierdute","category-rubrici","tag-marius-chivu","tag-moartea-la-venetia","tag-nr-4-2022","tag-proza-scurta","tag-thomas-mann"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/06\/Moartea-la-Venetia1.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4899","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\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4899"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4899\/revisions"}],"predecessor-version":[{"id":4901,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4899\/revisions\/4901"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/4900"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4899"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=4899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}