{"id":8400,"date":"2023-09-08T21:49:16","date_gmt":"2023-09-08T18:49:16","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=8400"},"modified":"2023-09-08T21:49:20","modified_gmt":"2023-09-08T18:49:20","slug":"patru-cinturi-despre-viata-lumii","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=8400","title":{"rendered":"Patru c\u00eenturi despre via\u021ba lumii"},"content":{"rendered":"
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Romulus Br\u00e2ncoveanu, Estimp. 4 poeme<\/em>, Rocart, 2023<\/figcaption><\/figure>\n<\/div>\n\n\n

Romulus Br\u00e2ncoveanu a debutat de at\u00eetea ori \u00eenc\u00eet \u0219i lui \u00eei vine greu s\u0103 mai \u021bin\u0103 socoteala. Pe man\u0219eta de la Estimp. 4 poeme <\/em>(Rocart, 2023) \u00eel consemneaz\u0103 doar pe cel din Focul concentric \u2013 9 poe\u021bi <\/em>(din 1984), trec\u00eend peste cele anterioare. Ca \u0219i pierdute, poemele acestor debuturi \u2013 destule pentru ca Gellu Dorian s\u0103-l considere (\u00een Cititorul de poezie,<\/em> Junimea, 2022, p. 199) un \u201edebutant perpetuu\u201d \u2013 vor fi str\u00eense \u00een Replay<\/em>-ul din 2020. \u0218i cam astea-s, p\u00een\u0103 acum, toate ispr\u0103vile poetice ale lui Romulus, m\u0103car c\u0103 el e dintre primii lunedi\u0219ti. O vreme i-au stat \u00eempotriv\u0103 filtrele instalate la edituri, dar nici Romulus nu s-a prea str\u0103duit s\u0103 se \u021bin\u0103 de drum, lu\u00eend-o pe al\u0103turi, pe cel filosofic. E oarecum de mirare av\u00eend \u00een vedere elanul lui discursiv \u0219i pantagruelismul retoric \u00eenv\u00eertit de o mori\u0219c\u0103 ludic-suprarealist\u0103. La a\u0219a poft\u0103 de vorb\u0103, rostogolit\u0103 epopeic, \u00een endecasilabe \u0219i mai mult dec\u00eet at\u00eet, te-ai a\u0219tepta ca poetul s\u0103 nu se poat\u0103 ab\u021bine, ba chiar s\u0103 \u0219i scape controlul spuselor \u0219i nespuselor. E drept c\u0103-i mereu pe cale s\u0103 p\u0103\u021beasc\u0103 a\u0219a ceva, dar \u00een Estimp <\/em>eposul n\u0103valnic al memoriei \u0219i fanteziei e administrat prin sec\u021bionarea c\u00eenturilor \u00een autonomii fragmentare. S\u00eent \u00eens\u0103 autonomii relative, c\u0103ci fiecare c\u00eent, pe c\u00eet e de centrifugal, pe at\u00eet e \u00eentors din r\u0103t\u0103cirile sale \u00een st\u00eenga \u0219i-n dreapta, \u00eenainte \u0219i \u00eenapoi, de un leit-motiv care-l readuce \u00een condi\u021bie centripet\u0103. Pare c\u0103 Romulus lucreaz\u0103 la o partitur\u0103 simfonic\u0103 a memoriei \u0219i imagina\u021biei, al c\u0103rei motiv central, recurent \u0219i ordonator, \u021bine de reflec\u021bia clandestin-filosofic\u0103 \u0219i nu neap\u0103rat de un for confesiv.<\/p>\n\n\n\n

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De regul\u0103 toat\u0103 zburda poemului, l\u0103sat s\u0103 umble \u00een voie prin sertarele memoriei biografice \u0219i culturale, prin via\u021ba cotidian\u0103 \u0219i prin domenii de fantezie, e reconvertit\u0103 \u00eentr-o reflec\u021bie existen\u021bial\u0103.<\/p>\n<\/blockquote>\n\n\n\n

Oric\u00eet\u0103 vreme a l\u0103sat s\u0103 treac\u0103 \u00eentre volume, Romulus \u0219i-a conservat calit\u0103\u021bile. Cele spuse de Lauren\u021biu Ulici pentru poemele de debut s\u00eent actuale \u0219i pentru poemele de acum, c\u0103ci \u0219i acum \u201elibert\u0103\u021bile suprarealismului\u201d, \u201edebitul de avalan\u0219\u0103\u201d \u0219i \u201ecultul subtextului\u201d \u0219i al aluzivit\u0103\u021bilor reprezint\u0103 un soi de for\u021be stihiale slobozite pe o gril\u0103 controlat\u0103. Biografia \u0219i istoria rev\u0103zute la microscop s\u00eent luate de-a valma nu at\u00eet de entuziasmul memoriei, c\u00eet de acela al fantezismului. Firul ambelor e mereu rupt \u0219i re\u00eennodat, pentru c\u0103 Romulus are ba vertijuri imaginative, ba vertijuri \u201emonografice\u201d \u0219i orice detaliu care-i iese \u00een cale devine dominant, p\u00een\u0103 la epuizarea lui descriptiv\u0103. Mersul poemelor pare alandala din pricina acestei voca\u021bii baroce, c\u0103reia i se d\u0103 mereu satisfac\u021bie \u0219i care trebuie apoi retezat\u0103 brusc pentru a rea\u0219eza poemul pe \u0219inele ini\u021biale. E un principiu dimovian de devia\u021bii, abateri, r\u0103t\u0103ciri \u0219i reveniri, de l\u0103sat poemul s\u0103 zburde \u0219i de tras apoi de h\u0103\u021buri pentru a-l readuce pe \u0219leau. Orice iese \u00een calea versului devine at\u00eet de absorbant \u00eenc\u00eet opre\u0219te av\u00eentul epic sau confesiv \u0219i las\u0103 imagina\u021bia s\u0103 umple \u00eentreg popasul: \u201eUndeva, \u00een spatele casei, ni\u0219te copaci al c\u0103ror nume nu-l \u0219tiu,\/ Ailanthus altissima?<\/em>, pare-se, au \u00eenflorit.\/ E o floare b\u0103tut\u0103, solzoas\u0103, cu petale de aluminiu\/ Ca ni\u0219te unghii date cu oj\u0103 sub\u021bire,\/ Care se crap\u0103 \u00een timpul verii \u0219i devin de cupru, \u00een toamn\u0103\u201d etc. (Am \u00een\u021beles \u0219i eu, dup\u0103 at\u00eeta vreme<\/em>). Dar nu poet naturist vrea s\u0103 fie Romulus \u0219i copacul nu e, de fapt, dec\u00eet un avatar simbolic. Fotografia de azi abia relev\u0103 fotografia de ieri, a copilului \u201ecrescut cu cheia la g\u00eet printre blocuri\u201d \u0219i care \u201es-a julit la genunchi, a alergat dup\u0103 tramvaie\/ \u0219i dup\u0103 camioane din care curgea nisip ud\u201d etc. V\u00eertejul \u00een care se angajeaz\u0103 poemele amestec\u0103 subit planurile simbolice \u2013 ori doar alegorice \u2013 cu cele brutal realiste \u0219i cu deschiderile de perspective aluzive, cu reflec\u021bii grave sau ironice \u0219i nu mai pu\u021bin cu r\u0103sturn\u0103ri ludice \u0219i autoironice: \u201eA\u0219a g\u00eendeam eu la faptul c\u0103 unii oameni s\u0103n\u0103to\u0219i \u0219i-au \u00eenchipuit\/ C\u0103 boala stimuleaz\u0103 literatura. Frumoas\u0103 imagine.\/ Atr\u0103g\u0103toare idee\/ \u0218i eu ca un personaj al acestor autori,\/ Oameni s\u0103n\u0103to\u0219i, energici \u0219i cu dorin\u021ba de c\u00ee\u0219tig.\/\/ Sper c\u0103 au observat c\u0103 m-am tot schimbat,\/ C\u0103 am devenit mai realist\/ C\u0103 pun mai multe virgule \u0219i\/ \u00cencep versurile cu liter\u0103 mare,\/ C\u0103 m\u0103 str\u0103dui s\u0103 respect Gramatica Academiei\/ \u0218i, \u00een cur\u00eend, voi scrie\/ Negru pe alb, cu rim\u0103.\/ Trecutul a \u00eenflorit \u00een spatele casei\u201d (Cum plou\u0103 \u0219i nu plou\u0103 bacovian, ci nepermis de mult<\/em>). De regul\u0103 toat\u0103 zburda poemului, l\u0103sat s\u0103 umble \u00een voie prin sertarele memoriei biografice \u0219i culturale, prin via\u021ba cotidian\u0103 \u0219i prin domenii de fantezie, e reconvertit\u0103 \u00eentr-o reflec\u021bie existen\u021bial\u0103. Cheia cea mai folosit\u0103 \u00een astfel de reconversii e ultimul vers, dar pot fi \u0219i inser\u021biile alarmante din corpul poemului. \u00cen jurul acestor incizii anxioase joac\u0103 poemele ca un roi sc\u0103pat \u0219i capturat cu subtilitate. Siglele grele nu s\u00eent l\u0103sate \u00eens\u0103 nici ele s\u0103 induc\u0103 panic\u0103 \u00een aceast\u0103 verv\u0103 de mozaicar, c\u0103ci imediat ce-s pronun\u021bate asupra lor se repede un fantezism frivol, ironic \u0219i subversiv: \u201eToamna vine de sus \u0219i din neant.\/ Ah! \u00cen neant, c\u00eent\u0103 un b\u0103rbat smead \u0219i sub\u021bire ca a\u021ba\/ Aplec\u00eendu-se peste un \u021bambal mic, c\u00eet un laptop,\/ Iar din sc\u00eenteia corzilor lui cade\/ Funingine peste Lunca Siretului\u201d (\u00cen urma lor se \u00eentunec\u0103, deocamdat\u0103<\/em>). Proba e ca engramele nelini\u0219tii s\u0103 reziste \u0219i-n haine parodice, s\u0103 (se) activeze \u0219i frivolizate: \u201eTrecutul \u00eencepe de m\u00eeine.\/\/ Dar stai, clip\u0103! Stai \u0219i pune-m\u0103 \u00een fundal!\/ De aici n-o s\u0103 plec.\/ Voi reveni mai vesel \u0219i cu relat\u0103ri\/ De din vale de Rovine.\/ Din neant\u201d (Sunt numai eu, prima mea parte<\/em>). Cameleonismul discursiv al lui Romulus \u00een jurul acestor nuclee de uraniu se zbenguie.<\/p>\n\n\n\n

O predispozi\u021bie spre cl\u0103ile de asocia\u021bii \u0219i referin\u021be \u2013 ce nu poate fi \u00eenfr\u00eenat\u0103 nicidecum (\u201eOamenii p\u0103\u0219esc grijulii peste acel acoperi\u0219 \u00eenfrunzit,\/ \u00centunecat, al clipei, al \u00eentrist\u0103rii,\/ \u00cen care se adun\u0103 pentru c\u00eeteva zile\/ P\u0103s\u0103ri \u0219i mu\u0219i\u021be, efemeridele prim\u0103verii,\/ Imperii de peste Dun\u0103re,\/ Cu Bizan\u021bul \u0219i Roma lor,\/ \u00cemp\u0103r\u0103\u021bii \u00eentregi cu suzeranii lor \u0219i cu puterile lor protectoare,\/ Cu Principatele lor Dun\u0103rene,\/ Partida lor na\u021bional\u0103 \u0219i Partida rus\u0103,\/ Cu bolile lor tratate cu paracetamol libelular,\/ Cu eternitatea lor, cu zeii lor \u0219i cu soarele lor\u201d etc. \u2013 Nu trec niciodat\u0103 pe podul c\u0103tre Frumoasa<\/em>) \u2013 pare a sta \u00een calea coeren\u021bei acestor c\u00eenturi av\u00eentate homeric. Dar minele existen\u021bialiste plasate ici \u0219i colo readuc toat\u0103 verva dezl\u0103n\u021buit\u0103 la consisten\u021ba unei depresii funciare, ireversibile: \u201eNu e nevoie, de fapt, de nimeni\/ \u00cen lumea aceasta.\/ \u00cen genere, vreau s\u0103 spun,\/ Nu e nevoie anume de cineva pe lume.\/ Viitorul e trecutul din care vom lipsi cu to\u021bii\u201d (Ordo amoris, \u00eemi \u0219opte\u0219ti<\/em>). Un spectacol de verv\u0103, cele patru c\u00eenturi s\u00eent, de fapt, o medita\u021bie\/viziune asupra timpului (de unde \u0219i \u201ecapitolele\u201d c\u0103r\u021bii \u2013 Trecutul<\/em>, Prezentul<\/em>, Viitorul<\/em>, Estimp<\/em>), o nou\u0103 Viea\u021b\u0103 a lumii<\/em>, tratat\u0103 mai u\u0219ure spre a nu b\u0103ga de seam\u0103 c\u00eet e de zadarnic\u0103. O prestidigita\u021bie discursiv\u0103 care ascunde angoasele printre bengale.<\/p>\n","protected":false},"excerpt":{"rendered":"

Carnete critice de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":8401,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376],"tags":[82,375,140,1812],"coauthors":[1120],"class_list":["post-8400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","tag-al-cistelecan","tag-carnete-critice","tag-critica-literara","tag-nr-5-2023"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/09\/Brancoveanu.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8400","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=8400"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8400\/revisions"}],"predecessor-version":[{"id":8402,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8400\/revisions\/8402"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/8401"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8400"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8400"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8400"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=8400"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}