{"id":16439,"date":"2013-11-22T11:02:01","date_gmt":"2013-11-22T11:02:01","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=16439"},"modified":"2013-11-22T11:02:01","modified_gmt":"2013-11-22T11:02:01","slug":"adrian-dinu-rachieru-magda-isanos-si-%e2%80%9ccantecul-vietii%e2%80%9d","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2013\/11\/22\/adrian-dinu-rachieru-magda-isanos-si-%e2%80%9ccantecul-vietii%e2%80%9d\/","title":{"rendered":"Adrian Dinu Rachieru: Magda Isanos \u015fi \u201cC\u00e2ntecul vie\u0163ii\u201d"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/ro\/thumb\/e\/e0\/Magda_Isanos.jpg\/200px-Magda_Isanos.jpg\" alt=\"Magda Isanos.jpg\" width=\"200\" height=\"303\" \/><em>\u201eNu \u015ftiu, eu sorb c\u00e2ntecul sau el m\u0103 soarbe\u201d<\/em><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Cu \u201etriste\u0163i de c\u0103l\u0103tor\u201d, r\u00e2vnind un \u201esnop de soare\u201d, trec\u00e2nd de la revolt\u0103 la \u00eemp\u0103care, \u015fi-a \u00eenso\u0163it zborul fr\u00e2nt pe cerul literaturii Magda Isanos. Disponibilit\u0103\u0163ile de mare poet\u0103, cum observase Constantin Ciopraga, au explodat sub semnul urgen\u0163ei, omagiind frenetic via\u0163a \u015fi \u00eencerc\u00e2nd a \u00eenvinge disperarea. Evident, suferin\u0163a, boala, infirmitatea, sentimentul sf\u00e2r\u015fitului iminent i-au acutizat sensibilitatea \u015fi au gr\u0103bit maturizarea poetei, arz\u00e2nd etapele. Dar spaimele existen\u0163iale \u015fi \u201etrena mor\u0163ii\u201d nu \u00eenchipuie tablouri apocaliptice, nu hr\u0103nesc disper\u0103ri expuse \u00een vitrin\u0103 \u015fi nu sunt trase \u00eentr-un estetism rece.<\/p>\n<p style=\"text-align: justify;\">Mai degrab\u0103 o rug\u0103 despletit\u0103, iscat\u0103, e drept, de o \u201egrab\u0103 nevrotic\u0103\u201d (Alex \u015etef\u0103nescu) se insinueaz\u0103 \u00een aceste versuri elogiind \u201ezarea p\u0103m\u00e2ntului verde\u201d \u015fi n\u0103d\u0103jduind \u00eentr-o existen\u0163\u0103 prelungit\u0103 postum (\u201eca \u015fi cum a\u015f sta l\u00e2ng\u0103 vatr\u0103\u201d). N\u0103scut\u0103 la Ia\u015fi, la 17 aprilie 1916, Magda Isanos \u015fi-a legat copil\u0103ria \u015fi adolescen\u0163a de spa\u0163iul basarabean, p\u0103rin\u0163ii fiind medici la Costiujeni, \u00een coasta Chi\u015fin\u0103ului. Primele sale poezii vor fi g\u0103zduite \u00een revista Licurici (nr. 2\/1932), publica\u0163ie a Liceului de b\u0103ie\u0163i \u201eB. P. Hasdeu\u201d. Reamintim c\u0103 prima revist\u0103 serioas\u0103 \u00een care public\u0103 Magda Isanos este Via\u0163a Basarabiei: poezia Ploaie (nr. 3, martie 1934). Era atunci elev\u0103 \u00een ultimul an de liceu. Este posibil ca accesul \u00een paginile revistei (dac\u0103 se punea problema unei facilit\u0103ri) s\u0103-i fi fost \u00eenlesnit de m\u0103tu\u015fa ei, dr. Elena Alistar, ea \u00eens\u0103\u015fi publicist\u0103, important\u0103 figur\u0103 politic\u0103 \u015fi cultural\u0103 a Basarabiei.<br \/>\nVia\u0163a Basarabiei, editat\u0103 de Asocia\u0163ia Cultural\u0103 Cuv\u00e2nt Moldovenesc (\u00eenfiin\u0163at\u0103 \u00een 1931), sub directoratul lui Pan Halippa, era menit\u0103 s\u0103 propage, literar vorbind, programul Asocia\u0163iei, \u015fi anume \u201ecrearea, ajutorarea \u015fi sus\u0163inerea faptelor de cultur\u0103 na\u0163ional\u0103 \u015fi educa\u0163ie cet\u0103\u0163eneasc\u0103\u201d, \u201es\u0103 ajute Basarabia \u00een scop de a progresa pe calea culturii na\u0163ionale, educa\u0163iei cet\u0103\u0163ene\u015fti, \u00eencuraj\u00e2nd-o \u015fi sprijinind-o \u00een toate \u00eenceputurile bune\u201d. Se dorea deci o continuatoare a programului Astrei Basarabene, promovat de Rom\u00e2nia Nou\u0103 a lui Onisifor Ghibu, \u00een anii primului r\u0103zboi mondial \u015fi dup\u0103. Not\u0103m parantetic c\u0103 termenul na\u0163ional avea, \u00een acel context, alt \u00een\u0163eles dec\u00e2t \u00een mod obi\u015fnuit; el privea strict Basarabia, ca entitate autonom\u0103, cu treze reflexe de ap\u0103rare, \u00eencuraj\u00e2nd spiritul autohton. Opera sa, ne informeaz\u0103 Mihai Cimpoi, urmeaz\u0103 \u00eendeaproape programul revistei. Afirma\u0163ia, credem, e discutabil\u0103 c\u00e2t\u0103 vreme, de pild\u0103, articolul-bilan\u0163 Anul literar 1938 \u00een Basarabia, ap\u0103rut \u00een nr. 1\/1939 al revistei, semnat de N. Costenco, nici nu pomene\u015fte numele poetei, recunosc\u00e2nd c\u0103 \u00een via\u0163a literar\u0103 basarabean\u0103 \u201etotul se petrece \u00eentr-o tihn\u0103 vrednic\u0103 de timpuri f\u0103r\u0103 memorie, \u00een deplin dezacord cu ritmul vremii actuale\u201d. Colaboratoare de n\u0103dejde, p\u00e2n\u0103 \u00een 1940, a \u00censemn\u0103rilor ie\u015fene (\u00eenfiin\u0163at\u0103 de Gr. T. Popa), Magda Isanos a fost considerat\u0103 un \u201ecopil\u201d al publica\u0163iei (cf. Elisabeta Isanos); iar \u201eruptura\u201d de Via\u0163a Basarabiei era inevitabil\u0103 c\u00e2t\u0103 vreme revista, flutur\u00e2nd belicos teza autohtonismului se \u00eenn\u0103molise \u00een specifism \u015fi regionalism \u00eengust. Debutul editorial se produce \u00een 1943 c\u00e2nd, la 1 iunie, sub egida Institutului de Arte Grafice BRAWO din Ia\u015fi, apare volumul Poezii, singurul volum antum. Poeta, de o mare sensibilitate \u015fi sinceritate \u00een desf\u0103\u015fur\u0103rile sale lirice contractase o c\u0103s\u0103torie scurt\u0103 cu Leon Panteleev \u015fi mai apoi, \u00een 1938, se va \u00eenso\u0163i cu Eusebiu Camilar (Zeby), consfin\u0163ind \u201emariajul dintre poezie \u015fi proz\u0103\u201d, cum s-a spus. \u00cen acela\u015fi an \u00ee\u015fi lua licen\u0163a \u00een Drept. Va sf\u00e2r\u015fi la Bucure\u015fti (m. 17 noiembrie 1944), la nici 29 de ani.<br \/>\nSingura culegere antum\u0103, adun\u00e2nd doar 38 de titluri, probeaz\u0103 o gesticula\u0163ie tumultuoas\u0103, cu evlavioase ilumin\u0103ri, conjug\u00e2nd pasionalitatea \u015fi luciditatea. Vor urma C\u00e2ntarea mun\u0163ilor (1945), cu o prezentare semnat\u0103 de M. Beniuc \u015fi, peste un an, \u0162ara luminii (Svetuciaia Basarabia, am putea zice b\u0103nuind dedica\u0163ia), aduc\u00e2nd \u201efiorul a\u015fteptat al poeziei noi\u201d. Imnuri pentru p\u0103m\u00e2nt, un manuscris predat la Editura Funda\u0163iilor Regale \u00een noiembrie 1944 (\u201ecu c\u00e2teva zile \u00eenainte de a muri\u201d, m\u0103rturisea Eusebiu Camilar), n-a mai ap\u0103rut. Fire\u015fte, zestrea sa liric\u0103, v\u0103dind poft\u0103 de via\u0163\u0103 \u00eenso\u0163it\u0103 \u00eens\u0103 de obsesive cuget\u0103ri sumbre \u015fi un clasicism solar pigmentat cu premoni\u0163ii negre a fost exploatat\u0103 editorial, fie \u00een \u0163ar\u0103, fie la Chi\u015fin\u0103u, unde o strad\u0103, din neglijen\u0163\u0103 (oare?) a fost botezat\u0103 Isanov. Poeta n-a fost uitat\u0103 \u015fi drept dovad\u0103 stau \u015fi exegezele ivite \u00een anii din urm\u0103 (Elisabeta Isanos, Aliona Grati, George Sanda). \u015ei dac\u0103 \u201eboala de moarte\u201d, dup\u0103 spusa lui S. Kierkegaard, ne urm\u0103re\u015fte implacabil, este indiscutabil c\u0103 Magda Isanos ne-a oferit, sesiza t\u00e2n\u0103rul N. Manolescu, \u201eunele din cele mai calm-sf\u00e2\u015fietoare poezii \u00eenchinate mor\u0163ii\u201d. S\u0103 ad\u0103ug\u0103m contrapunctic c\u0103 \u00een ciclul Poemelor pentru soare (Voin\u0163a, 27 aprilie 1941), Magda Isanos \u00ee\u015fi m\u0103rturisea nostalgiile sudiste: \u201eEste o \u0163ar\u0103 undeva peste m\u0103ri \/ De care ochii mei sunt fl\u0103m\u00e2nzi\u201d. \u015etiind c\u0103 str\u0103mo\u015fii paterni ai Magdei au plecat din Samos (pe la 1750, crede Elisabeta Isanos) visata c\u0103l\u0103torie spre sud este \u00eentru totul explicabil\u0103, \u00eendrept\u0103\u0163ind o solaritate mereu primejduit\u0103 de nelini\u015ftile care o \u00eenv\u0103luie, anun\u0163\u00e2nd trecerea \u00een nefiin\u0163\u0103 (\u201emarele popas\u201d). Cu prospe\u0163ime \u015fi fragede uimiri, poeta descoper\u0103 \u201esensul luminos al lumii\u201d. Exalt\u0103rile ei se cheltuiesc spontan, las\u0103 senza\u0163ia improviza\u0163iei, desf\u0103\u015foar\u0103 o simplitate patetic\u0103. Totu\u015fi, s\u0103 nu uit\u0103m, exuberan\u0163a \u2013 \u00eempins\u0103 la temperatura incandescen\u0163ei \u2013 este controlat\u0103, iar tragismul r\u0103scolitor (invoc\u00e2nd o situa\u0163ie-limit\u0103) conduce spre o rezolvare panteist\u0103, sting\u00e2nd angoasele p\u00e2n\u0103 la blagianul \u201ecap\u0103t de cale\u201d. Aceast\u0103 contopire cu lumea vegetal\u0103 induce, s-a spus, o viziune mioritic\u0103; cea care \u201ese \u00eenva\u0163\u0103 a muri\u201d sper\u0103 c\u0103 va d\u0103inui \u00een ierburi \u015fi flori, veghind la lini\u015ftea lumii. Bine\u00een\u0163eles, nucleul dramatic al acestei poezii, tema \/ teama c\u0103l\u0103toriei spre dincolo, bolile care o asalteaz\u0103 cheam\u0103 \u00een sprijin un energetism testamentar, scutit de povara suavit\u0103\u0163ilor \u015fi dulceg\u0103riilor. Poeta va m\u0103rturisi: \u201eSufletu-mi arde de o flac\u0103r\u0103 \u00eenfrico\u015fat\u0103\u201d. Iubirea-maladie, bolile, ap\u0103sarea singur\u0103t\u0103\u0163ii nu obstruc\u0163ioneaz\u0103 g\u00e2ndul c\u0103 frumuse\u0163ea \u015fi binele vor domni \u00een lume. Animat\u0103 de st\u0103ri contrarii, \u00een conflict, poeta \u201ecu buze reci-fierbin\u0163i\u201d inocenteaz\u0103 lumea-gr\u0103din\u0103 (cf. Aliona Grati), c\u00e2nt\u0103 omul primordial, cel \u201ef\u0103r\u0103 timp \u015fi f\u0103r\u0103 vin\u0103\u201d, p\u0103m\u00e2ntul \u201efecundat de soare\u201d \u015fi invoc\u0103 \u201ebe\u0163ia de lumin\u0103\u201d. Acest fream\u0103t extatic, de o cuceritoare senzualitate suav\u0103 dezv\u0103luie un suflet lilial, ancor\u00e2nd \u00eentr-o \u201edelt\u0103 de vise\u201d \u015fi ascult\u00e2nd \u201eorga p\u0103durilor\u201d. Candoarea evlavioas\u0103 a poetei \u00eembrac\u0103 tonuri tandre, materne; confesiv\u0103, risipind afec\u0163iune \u015fi \u201earz\u00e2nd\u201d m\u0103rturisitor, cucerit\u0103 de o \u201enaiv\u0103 mirare\u201d, Magda Isanos produce\/secret\u0103 un lirism natural, doldora de vise vegetale, tutelate de o divinitate r\u0103sfr\u00e2nt\u0103 \u00een miracolul vie\u0163ii, de frapant\u0103 prospe\u0163ime. Intimismul, biograficul coabiteaz\u0103 cu aceast\u0103 explozie vegetal\u0103, procur\u00e2nd o stare de fericire pe suport panteist. P\u0103durea, de pild\u0103, e un loc t\u0103m\u0103duitor, resacralizat sub veghea \u201eochiului de lumin\u0103\u201d; simbolul apei, valorizat feminin, ne \u00eenso\u0163e\u015fte calm\u00e2nd motivul anxios al propriei dispari\u0163ii, dizolv\u00e2nd \u015firul de antinomii prin trecerea \u00een vegetal, vis\u00e2nd re\u00eentoarcerea.<br \/>\nParadoxal, \u00een pofida undei deceptive care o scald\u0103, poezia Magdei Isanos-Camilar a fost \/ este perceput\u0103 ca fiind vitalist\u0103. Mai mult, considerat\u0103 \u201eun copil al vremurilor noui\u201d (scria Cella Serghi), chiar poeta a fost v\u0103zut\u0103 ca o lupt\u0103toare, doritoare s\u0103 pun\u0103 ordine \u00eentr-o lume ie\u015fit\u0103 din matc\u0103. S\u0103 nu uit\u0103m, eram \u00een plin r\u0103zboi \u015fi poeta, dincolo de \u201egimnastica filosofic\u0103\u201d, \u00eensetat\u0103 de adev\u0103r, n\u0103d\u0103jduia, vedea \u2013 cu inima plin\u0103 de speran\u0163e \u2013 venind viitorul (\u201eo lume feciorelnic\u0103\u201d). Chiar m\u0103rturisea c\u0103 s-a \u0163inut \u201edeparte de oameni\u201d \u015fi \u201einima singuratic\u0103\u201d s-a trezit, \u00een fine, ru\u015finat\u0103 s\u0103 mai scrie \u201edespre flori\u201d. Acest puseu militant-agitatoristic corecta un suflet mic, contaminat de febr\u0103 revolu\u0163ionar\u0103, dezvolt\u00e2nd un vizionarism mistic \u201ede spe\u0163\u0103 basarabean\u0103\u201d, cum aprecia Mihai Cimpoi. Poeta dorea s\u0103 scrie \u201ede \u0163arini \u015fi oamenii lor\u201d (v. Cine va c\u00e2nta), cheltuind \u201epu\u0163ine cuvinte\u201d, invoca \u201epilda \u015fuvoaielor rev\u0103rsate\u201d. Dar eticheta de poet\u0103-lupt\u0103toare se justific\u0103, credem, mai ales prin apriga dorin\u0163\u0103 \/ voin\u0163\u0103 de a tr\u0103i. Via\u0163a-v\u00e2rtej, tinere\u0163ea \u015fi dragostea, obsesia singur\u0103t\u0103\u0163ii, suferin\u0163a, \u201ecalicia\u201d \u00een care se zbate (m\u0103rturisea \u00eentr-o scrisoare), toate o macin\u0103 \u015fi \u00ee\u015fi afl\u0103 t\u0103m\u0103duirea \u00een \u201elimba simpl\u0103 a bucuriilor\u201d. Temperament independent, Magda Isanos evoc\u0103 \u201ebucuria fraged\u0103\u201d a fiin\u0163\u0103rii \u015fi \u00eei aduce prinos de slav\u0103; dar are premoni\u0163ia mor\u0163ii, \u00ee\u015fi simte destinul \u015fi va recunoa\u015fte: \u201emi-a fost, se vede, scris s\u0103 pl\u00e2ng\u201d. Boala are o evolu\u0163ie \u201efadroaiant\u0103\u201d (precizeaz\u0103 \u00eentr-o alt\u0103 epistol\u0103, ea fiind \u201escribul familiei\u201d). Totu\u015fi, cu fruntea \u201el\u00e2ng\u0103 cer\u201d, gust\u00e2nd \u201ebucuria de-a fi t\u00e2n\u0103r sub soare\u201d, ea dovede\u015fte o vitalitate cople\u015fitoare, contagioas\u0103, \u00eemb\u0103tat\u0103 de spectacolul naturistic. Precum \u00een poemul testamentar dedicat \u201efemeii care iubea prim\u0103vara\u201d; acolo, gr\u0103dina paradisiac\u0103 (o livad\u0103 \u00eentomnat\u0103) poart\u0103 deja \u00eensemnele mor\u0163ii. Chiar dac\u0103 via\u0163a \u201esun\u0103 \u00eenalt\u201d, poeta \u015ftie prea bine c\u0103 \u201en-o s\u0103 fim a doua oar\u0103\u201d. Con\u015ftientizeaz\u0103, a\u015fadar, trecerea, suport\u0103 dureros tirania limitelor, are con\u015ftiin\u0163a sf\u00e2r\u015fitului, afl\u00e2ndu-\u015fi odihna \u00een \u201ep\u0103m\u00e2ntul cald\u201d. Fiindc\u0103 oamenii \u201es-acop\u0103r cu moarte\u201d\u2026 Acest destin comun (\u201evom c\u0103dea sub coas\u0103\u201d, avertizeaz\u0103 un vers din Iarba) \u00eeng\u0103duie comuniunea cu natura; iarba e \u201esora cea bun\u0103\u201d, \u00eenc\u00e2t poeta refuz\u0103, cu un gest orgolios, \u201eraiul trist\u201d. Contopirea panteist\u0103 \u00eei rezerv\u0103 o beatitudine cosmic\u0103, alung\u00e2nd tenebrele mor\u0163ii. Se am\u0103ge\u015fte c\u0103 o r\u0103zvr\u0103tire post-mortem ar fi cu putin\u0163\u0103: \u201e\u015fi-oi scoate chip de floare, \/ din p\u0103m\u00e2nt, \/ obrazul tinere\u0163ii de-alt\u0103dat\u0103\u201d (v. La marginea cimitirului). Fiindc\u0103, afl\u0103m, \u201e\u00een flori \u00ee\u015fi deschis mor\u0163ii fere\u015ftile\u201d (v. Flori). Cea plecat\u0103 va mirosi a \u0163\u0103r\u00e2n\u0103, crede c\u0103 \u00een \u201ep\u0103m\u00e2ntul cald\u201d \u00eei va fi bine; totu\u015fi, o interoga\u0163ie o st\u0103p\u00e2ne\u015fte terifiant: \u201eTu, ochi, cum ai s\u0103 rabzi s\u0103 nu le vezi?\u201d Re\u00eentoarcerea e interzis\u0103 a\u015fadar, chiar un poem recapitulativ lanseaz\u0103 interdic\u0163ia: Copilul meu, s\u0103 nu m\u0103 cau\u0163i.<br \/>\nObsedat\u0103 de certitudinea mor\u0163ii poeta cere un r\u0103gaz (v. Doamne, n-am ispr\u0103vit). Din p\u0103cate nu s-a putut bucura de el. \u015ei dac\u0103 doar destinele fr\u00e2nte sunt cele \u00eemplinite (cum credea Cioran), atunci putem conchide c\u0103 \u00een scurtul popas p\u0103m\u00e2ntesc Magda Isanos \u015fi-a \u00eemplinit destinul poetic. Celebritatea nu se datoreaz\u0103 faptului c\u0103 a murit t\u00e2n\u0103r\u0103 (insinua Marian Popa), de\u015fi nu neg\u0103m c\u0103 accidentul biologic intr\u0103 \u00een ecua\u0163ia valoriz\u0103rii. Nici tentativa de politizare a acestei lirici, \u00eencerc\u00e2ndu-se o recuperare pe linie ideologic\u0103, n-a prea avut sor\u0163i de izb\u00e2nd\u0103. \u00cenc\u00e2t, departe de capcanele poeziei \u201elene\u015fe\u201d, \u00eendatorat\u0103 unui feminism dulceag, Magda Isanos dezvolt\u0103 \u2013 nota M. Cimpoi \u2013 un blagianism de fond, vidat, e drept, de substan\u0163\u0103 metafizic\u0103 ori tensiune vizionar\u0103. F\u0103r\u0103 elogii infla\u0163ioniste, urmele sale scriptice, eliber\u00e2nd o jubila\u0163ie senzorial\u0103, dureaz\u0103 \u015fi vor subjuga, suntem convin\u015fi, \u015fi sensibilitatea receptiv\u0103 a viitoarelor cohorte de cititori.<br \/>\nScris\u0103 sub iminen\u0163a mor\u0163ii, c\u00e2nd lumina \u201efuge\u201d \u015fi o \u201em\u00e2n\u0103 misterioas\u0103\u201d alung\u0103 florile, c\u00e2nt\u00e2nd, cu exuberan\u0163\u0103 senzorial\u0103, gr\u0103dina ca metafor\u0103 a paradisului sufletesc \u015fi spa\u0163iu securizant (cum demonstra, temeinic, Aliona Grati), poezia Magdei Isanos, f\u0103r\u0103 a se \u00eenscrie \u00een orizontul metafizic, dar \u015fi f\u0103r\u0103 a suferi de \u201enaivism\u201d, vorbe\u015fte conving\u0103tor, cu vibra\u0163ie orfic\u0103, despre bucuria \u201ede-a fi t\u00e2n\u0103r sub soare\u201d. Cu sete de via\u0163\u0103, a\u015fadar, \u00eengem\u0103n\u00e2nd luciditatea cu pasionalitatea, poeta, tumultuoas\u0103 pe alocuri, rostindu-\u015fi spaimele \u015fi repudiind dulceg\u0103riile, \u015ftia prea bine c\u0103 moartea e \u201emarele popas\u201d.<br \/>\nCumva \u201eculpabil\u0103\u201d (probabil) pentru intimismul cultivat (cu decen\u0163\u0103, \u00een ton cald, f\u0103r\u0103 a exhiba impudorile eului), Magda Isanos \u00ee\u015fi exprima, am v\u0103zut, \u201edragostea de oameni ne\u00eenvins\u0103\u201d, aduc\u00e2nd, cu \u015ftiuta-i sinceritate \u015fi simplitate, \u201eve\u015ftile mari\u201d. Va c\u00e2nta, a\u015fadar, Anul unu \u015fi ziua p\u0103cii, denun\u0163\u0103 \u201eabatoarele Istoriei\u201d \u015fi sl\u0103ve\u015fte lumea nou\u0103: o rev\u0103rsare de for\u0163e, entuziasm, curcubee falnice, holde \u015fi imnuri, c\u00e2ntecul-leag\u0103n etc. f\u0103r\u0103 a c\u0103dea \u00een capcana poeziei de tribun\u0103, lozincard\u0103: \u201eDe ramuri \u015fi flori \/ Eram plin\u0103 p\u00e2n\u0103-n subsuori\u201d. \u00cencrederea \u00een oameni o \u00eendrept\u0103\u0163e\u015fte s\u0103 invoce \u201ecuvinte de foc\u201d, chiar dac\u0103 sf\u00e2r\u015fitul e anxios-perceptibil: \u201eTrebuie s\u0103 pream\u0103resc ceva \u015fi s\u0103 mor\u201d. Poeta ne asigur\u0103 \u00eens\u0103: \u201eC\u00e2ntecul e-n mine\u201d. Lep\u0103d\u00e2ndu-se de intimismul excesiv, repudiind dulceg\u0103riile sentimentaloide (ca p\u0103cate congenitale ale abundentului lirism feminin), ea semna \u201eprologul poeziei de azi\u201d (Marin Bucur, 1964). \u015ei propunea o ingenioas\u0103 ars combinatoria (cf. Aliona Grati), acutiz\u00e2nd \u2013 printr-o nelini\u015fte resemnat\u0103 \u2013 \u201esindromul temporal\u201d. \u015etiind c\u0103 va p\u0103r\u0103si cur\u00e2nd aceast\u0103 lume, \u00eenv\u0103\u0163\u00e2nd a muri, oferindu-\u015fi complice, sesiza Constantin Ciopraga, \u201eun schimb de priviri cu moartea\u201d.<br \/>\nUrm\u00e2nd a se risipi \u00een acel \u0163inut luminos, \u00een promisul confort al spa\u0163iilor familiale, multiplicat\u0103 \u00een ipostaze vegetale: \u201eflorile trosnesc \/ Ca ni\u015fte-aripi de \u00eenger care cresc\u201d. Am\u00e2n\u00e2nd, ne\u00eencrez\u0103toare, acest inevitabil final: \u201enu pot crede c-am s\u0103 mor \u00een cur\u00e2nd\u201d; convins\u0103 chiar de \u015fansa \u00eenvierii: \u201eIe\u015fi din sicriu \/ \u015fi prive\u015fte: r\u0103sare soarele\u201d. Dar explozia de vitalitate (cople\u015fitoare) contrasteaz\u0103 flagrant cu triste\u0163ea din ad\u00e2nc; via\u0163a \u201esun\u0103 \u00eenalt\u201d dar finitudinea ne cheam\u0103: \u201ene-ntoarcem \u00een p\u0103m\u00e2nt\u201d.<br \/>\nCea care \u00ee\u015fi dorea s\u0103 scrie \u201ecu pu\u0163ine cuvinte\u201d, d\u0103ruindu ne, cu naturale\u0163e, fluidul afectiv, arderea etc. se dedubleaz\u0103 parc\u0103 (f\u0103r\u0103 a tri\u015fa), observa C\u0103lina Trifan: \u201eAtunci au venit \u00eengerii \u015fi m-au chemat, \/ Doamne, nu pot pleca, n-am terminat! \/ Deschide colivia, s\u0103 zboare \/ c\u00e2ntecele mele ner\u0103bd\u0103toare\u201d (v. Doamne, n-am ispr\u0103vit). Poeta de \u201eo rar\u0103 profunzime\u201d (ne anun\u0163a Mihai Codreanu), cea care \u015ftia prea bine c\u0103 \u201eAt\u00e2ta soare, Doamne, \u2013 at\u00e2ta soare \/ o s\u0103 mai fie \u00een lume dup\u0103 noi\u201d s-a retras definitiv, r\u0103m\u00e2n\u00e2nd o voce inconfundabil\u0103, de un tragism r\u0103scolitor, \u00een peisajul liricii rom\u00e2ne\u015fti. Chiar dac\u0103 N. Manolescu, revizuindu-se, o expediaz\u0103 acum pe lista \u201eautorilor de dic\u0163ionar\u201d\u2026<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: right;\"><strong>Adrian Dinu Rachieru<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201eNu \u015ftiu, eu sorb c\u00e2ntecul sau el m\u0103 soarbe\u201d &nbsp; Cu \u201etriste\u0163i de c\u0103l\u0103tor\u201d, r\u00e2vnind un \u201esnop de soare\u201d, trec\u00e2nd [&#038;hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-16439","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/16439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=16439"}],"version-history":[{"count":2,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/16439\/revisions"}],"predecessor-version":[{"id":16441,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/16439\/revisions\/16441"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=16439"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=16439"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=16439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}