{"id":21210,"date":"2015-02-15T19:48:08","date_gmt":"2015-02-15T19:48:08","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=21210"},"modified":"2015-02-15T19:50:28","modified_gmt":"2015-02-15T19:50:28","slug":"adrian-dinu-rachieru-%e2%80%93-stefan-augustin-doinas-in-%e2%80%9epelerinaj-la-verb%e2%80%9d","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2015\/02\/15\/adrian-dinu-rachieru-%e2%80%93-stefan-augustin-doinas-in-%e2%80%9epelerinaj-la-verb%e2%80%9d\/","title":{"rendered":"Adrian Dinu Rachieru: \u0218tefan Augustin Doina\u0219, \u00een \u201epelerinaj la verb\u201d"},"content":{"rendered":"

\"\"Din stirpea liricilor intelectuali\u015fti, cu o poezie \u201econstruit\u0103\u201d \u015fi t\u0103lm\u0103ciri exemplare, venind dup\u0103 aridul interludiu proletcultist, \u015etefan Augustin Doina\u015f (1922-2002) debuta t\u00eerziu (Cartea mareelor<\/em>, 1964), aproape odat\u0103 cu Ana Blandiana, dup\u0103 ce principalii protagoni\u015fti \u015faizeci\u015fti ocupaser\u0103 scena. El anun\u0163a, \u00eens\u0103, recuperator, o alt\u0103 v\u00eerst\u0103 liric\u0103, \u0163in\u00eend, prin poemele cerchiste, de o alt\u0103 atmosfer\u0103 cultural\u0103. Dar acel debut editorial, jinduit, am\u00eenat, for\u0163at, blocat \u015fi, mai t\u00eerziu, regretat, ascundea un \u015fir de frustr\u0103ri \u015fi, desigur, o dram\u0103, t\u0103inuite \u00een subteranele crea\u0163iei, dar, mai ales, \u00een intimitatea creatorului. Fiindc\u0103, reamintim, manuscrisul Alfabet poetic<\/em> (ini\u0163ial, cu titlul Manual de dragoste<\/em>), \u00eencununat, \u00een 1947, cu premiul Sbur\u0103torul<\/em>, n-a mai ap\u0103rut (prin desfiin\u0163area Funda\u0163iilor Regale<\/em>). Peste un deceniu, alt manuscris, Poezii<\/em>, trezise reticen\u0163a lui Petru Dumitriu, director la ESPLA, \u00een pofida unor referin\u0163e favorabile, semnal\u00eend un posibil debut major<\/em> \u00een acel context vitreg. Ovid S. Crohm\u0103lniceanu, de pild\u0103, \u00een Referatul<\/em> s\u0103u (15 ianuarie 1957), men\u0163iona c\u0103 avem de-a face cu un poet orfic, \u201eun talent rar\u201d, \u201epu\u0163in obi\u015fnuit\u201d, e drept, cam inaderent la cotidian prin produc\u0163iile sale \u201eatemporale\u201d, insist\u00eend, finalmente, pe st\u0103ruin\u0163a editurii de a recompleta tematica<\/em>. Volumul, fire\u015fte, n-a v\u0103zut lumina tiparului. \u00centre timp, \u015etefan Popa (Doina\u015f) fusese re\u0163inut la 4 februarie 1957, t\u00eer\u00eet \u00een proces (februarie-mai) pentru \u201eomisiune de denun\u0163\u201d, \u00eencarcerat \u00een Bucure\u015fti (\u201ela Securitate \u015fi la Uranus\u201d, va povesti lui Emil \u015eim\u0103ndan) \u015fi, peste un an, \u201epus \u00een libertate\u201d, dup\u0103 ce oferise angajamentul olograf, sub numele conspirativ Andrei Golfin, folosit informativ, supravegheat, livr\u00eend \u2013 spun sursele \u2013 \u201emateriale de valoare\u201d. Dar Andrei Golfin, scrie George Neagoe \u00eentr-o carte aprig comentat\u0103 (v. Asul de pic\u0103: \u015etefan Aug. Doina\u015f<\/em>, Cartea Rom\u00e2neasc\u0103<\/em>, 2013), nu-l scutea pe \u015etefan Aug. Doina\u015f de unele \u201eobliga\u0163ii literare\u201d, \u00eenc\u00eet poetul va achita \u201eun tribut dolofan\u201d (p. 215), doritor a \u00eembr\u0103\u0163i\u015fa, reabilitant, limpezindu-se<\/em>, \u201eideologia progresist\u0103\u201d. \u00cenc\u00eet, abia \u00een decembrie 1961, providen\u0163ialul G. Iva\u015fcu \u00eei va deschide por\u0163ile Contemporanului<\/em> (v. Istorie, Toamn\u0103 refuzat\u0103<\/em>) dup\u0103 interdic\u0163ii, umilin\u0163e \u015fi memorii patetice, d\u00eend asigur\u0103ri c\u0103 este \u201ecu totul ata\u015fat Partidului \u015fi Guvernului\u201d. Reintegrarea sa a fost greoaie \u015fi monografia lui George Neagoe, mai degrab\u0103 o biografie politic\u0103<\/em> (sesiza Paul Cernat), developeaz\u0103 acribios astfel de episoade, ocultate de poet, foarte reticent, ne amintim, \u015fi cu desecretizarea Dosarelor, convins c\u0103 \u201es\u00eent (acolo) adev\u0103ruri care trebuiesc \u00eengropate\u201d. Noua istorie literar\u0103 nu le poate, \u00eens\u0103, ignora. Mai ales c\u0103 Doina\u015f\u00a0\u00a0 \u015fi-a interzis Jurnalul<\/em>, dorind \u2013 cu \u00eend\u00eerjire, m\u0103rturisea \u2013 a fi \u201eo prezen\u0163\u0103 ireductibil artistic\u0103\u201d (imagine<\/em>), alung\u00eend biograficul.<\/p>\n

Bine\u00een\u0163eles, cercetarea dosarelor din fondul CNSAS presupune pruden\u0163\u0103 (sub asaltul mistific\u0103rilor) \u015fi expertiz\u0103 \u015ftiin\u0163ific\u0103, respect\u00eend ferm legisla\u0163ia deconspir\u0103rii. Or, \u015fi \u00een cazul Doina\u015f<\/em>, pornind de la declara\u0163ia lui Adrian P\u0103unescu (\u00een 2003), primit\u0103 cu mari rezerve \u015fi de la dezbaterile de la Clubul Prometheus<\/em>, \u00een cadrul \u201e\u00eent\u00eelnirilor Rom\u00e2niei literare<\/em>\u201d (26 noiembrie 2003), \u201evalorific\u00eend\u201d zvonistica din interiorul CNSAS (unii membri aplic\u00eendu-i grosier eticheta de turn\u0103tor, f\u0103r\u0103 \u201eacoperire procedural\u0103\u201d, cum va obiecta, \u00eendrept\u0103\u0163it, Gabriel Andreescu), procesul de necrofagie<\/em>, isc\u00eend furtuni \u00een media, s-a precipitat; unii l-au ap\u0103rat \u201ecu mult aplomb\u201d, zicea N. Manolescu (cazul lui G. Dimisianu), al\u0163ii s-au str\u0103duit s\u0103-i ruineze statutul de \u201ereper moral\u201d, inventariind \u201emeandrele unei ced\u0103ri\u201d. P\u00een\u0103 \u015fi Gelu Ionescu era obligat s\u0103 constate c\u0103 acel Doina\u015f rigid, ceremonios, suferind de \u201eacademism\u201d, om f\u0103r\u0103 ezit\u0103ri<\/em>, spirit aulic (cum se dorea), se dovedea \u201eprofund ascuns\u201d.<\/p>\n

Este evident c\u0103 poetul Doina\u015f<\/em> afl\u0103 \u00een cultur\u0103 un principiu genezic<\/em>, nota M. Ni\u0163escu; e vorba despre o \u201econdi\u0163ionare cult\u0103\u201d, inspira\u0163ia fiind intelectual\u0103 (exterioar\u0103). St\u0103p\u00eenind modalit\u0103\u0163ile prozodice, cu un tehnicism impecabil \u015fi av\u00eend fascina\u0163ia Formei, el \u00een\u0163elege poezia ca techn\u00e9<\/em>, asigur\u00eend filtrul cultural, implicit r\u0103ceala distan\u0163\u0103rii. La Doina\u015f, s-a spus repetat, poezia se hr\u0103ne\u015fte din poezie. Deopotriv\u0103 eseist, dramaturg, traduc\u0103tor, o con\u015ftiin\u0163\u0103 lucid\u0103, negre\u015fit, autorul C\u0103r\u0163ii mareelor<\/em> (adun\u00eend acolo \u015fi produc\u0163ii dezonorante) nu putea fi taxat, sub faldurile neoromantismului, drept un poet al elementarului, \u201ebeat de cosmos\u201d, cum credea, \u00eentr-o anume faz\u0103, Ion Negoi\u0163escu. Bine\u00een\u0163eles, crea\u0163ia sa liric\u0103 poate fi etapizat\u0103. Voce ferm\u0103, dar nescutit\u0103 de dileme, refuz\u00eend efuziunile, Doina\u015f \u00een\u0163elegea poezia ca anti-mimesis<\/em>. Combustibilul livresc \u00eencuraja medita\u0163ia liric\u0103 asupra poeziei \u00eense\u015fi, \u00eenc\u00eet, reflect\u00eend (barochizant) asupra limbajului, abstractizarea era inevitabil\u0103. Dar ultimul Doina\u015f<\/em> recuno\u015ftea c\u0103 poezia s-a \u201ep\u0103tat\u201d, culeg\u00eend, din unghi etic-politic, ecourile vie\u0163ii imediate, ca poet-martor<\/em>. \u00cenc\u00eet ipoteza manolescian\u0103 a celor \u201etrei Doina\u015f\u201d (v. Rom\u00e2nia literar\u0103<\/em>, nr. 32\/1987) pare a se confirma, chiar dac\u0103 Alex \u015etef\u0103nescu descoperea \u201epatru v\u00eerste poetice\u201d; dup\u0103 prelungita etap\u0103 mitologic-baladesc\u0103 (coabit\u00eend, subteran, cu produc\u0163iile \u201epe linie\u201d \u00eencredin\u0163ate lui Ion Motoarc\u0103, devenit vedet\u0103 a realismului socialist), a urmat efortul abstractiz\u0103rii, cu accent ontologic \u015fi, \u00een fine, puseul moralist-polemic, scutur\u00eend, \u00een \u201epalidul receptacol al zilei\u201d, \u201epraful orbitor al banalit\u0103\u0163ii\u201d. Dar dincolo de astfel de compartiment\u0103ri (discutabile), poetul \u00eencearc\u0103 a descifra, sub spectacolul aparen\u0163elor, \u201eal lucrurilor tainic chip\u201d, ca pecete definitorie a travaliului s\u0103u liric. S\u0103 \u00een\u0163elegem c\u0103, dac\u0103 \u00eel recunoa\u015ftem pe Doina\u015f ca poet mare<\/em>, ne restr\u00eengem doar la prima etap\u0103, de claritate clasicist\u0103, cum sugera N. Manolescu? Sau c\u0103 poetul \u00eensu\u015fi, \u00eembr\u0103\u0163i\u015f\u00eend Ideea<\/em> ca \u201eamant\u0103 f\u0103r\u0103 patim\u0103\u201d, tras\u0103 \u00eentr-o imagine \u00eenghe\u0163at\u0103, \u00eenso\u0163it\u0103 de \u201emuzica verbului\u201d, \u00ee\u015fi va fi contemplat e\u015fecul? E drept, efortul sisific de a fixa \u201eo vaporoas\u0103 n\u0103luc\u0103\u201d, aspir\u00eend la \u201ea prinde fiin\u0163\u0103\u201d, r\u0103m\u00eene doar \u201eo prezen\u0163\u0103 imaginar\u0103 din oglind\u0103\u201d. Altfel spus, un e\u015fec acceptat, recunoscut, precum \u00een Poemul exorcist<\/em>, f\u0103r\u0103 a se \u00eenn\u0103moli \u00eentr-o \u201elogocra\u0163ie g\u0103unoas\u0103\u201d. Baladesc, parabolic, imnic, chiar oracular, Doina\u015f scrie \u00een replic\u0103, se a\u015faz\u0103 \u00een intertextualitate, experimenteaz\u0103 tema metamorfozelor, vrea supunerea Logosului. \u00ce\u015fi dore\u015fte o modificare a imaginii, de\u015fi evolu\u0163ia<\/em> i-a fost contestat\u0103, lu\u00eend, se \u015ftie, un start \u00eenalt. Chiar declinant\u0103, dac\u0103 e s\u0103-l credem pe George Neagoe, convins c\u0103 rela\u0163iile cu Securitatea au condus la pierderea talentului. \u201eConfiscat de regim\u201d, al\u0103turi de ceilal\u0163i cerchi\u015fti \u201ecaptura\u0163i\u201d, Doina\u015f, \u201e\u00eendestulat de cultur\u0103\u201d, s-a dovedit un politician al literaturii<\/em>, \u00eenc\u00eet, dup\u0103 1958, stric\u00eendu-\u015fi stilul, \u201enu-\u015fi va recupera voca\u0163ia\u201d. R\u0103m\u00een\u00eend \u201eun mare scriitor mediocru\u201d, afirm\u0103 t\u00een\u0103rul critic (lucr. cit.<\/em>, p. 308). O definire de sine ne vine \u00een sprijin: \u201eDetestat de oamenii dintr-o bucat\u0103 \u015fi\/ \u00eenvinuit \u00eentotdeauna cu dovezi,\/ eu nu m\u0103 aflu nicic\u00eend acolo unde apar \u015fi\/ nici nu s\u00eent a\u015fa cum m\u0103 vezi\u201d (v. Autoportet<\/em>).<\/p>\n

Evident, nu poate fi vorba de proteismul imposturii; sau de texte plate, incriminate, deseori, de Doina\u015f \u00eensu\u015fi. El a cultivat discursul mixt<\/em>, la confluen\u0163a filosofiei, poeziei \u015fi religiei, dob\u00eendind identit\u0103\u0163i alternative<\/em>. \u015ei, pe merit, elogii pentru intelectualismul ermetizat, deghizamentul alegoric, semnifica\u0163iile simbolice etc., f\u0103r\u0103 a fi aderent la poezia momentului. Mai mult, era \u201eun eretic al modernismului\u201d uitat oficial (cf. Mircea C\u0103rt\u0103rescu), for\u0163\u00eend \u201efruntariile postmodernismului\u201d cu o poezie con\u015ftient\u0103 de sine, doar aparent \u201edemodat\u0103\u201d, prezent\u00eend, sub aparen\u0163e iluzorii, m\u0103\u015ftile sinelui r\u0103sfr\u00eent \u00een proteismul \u00eenf\u0103\u0163i\u015f\u0103rilor; diversitatea \u00een\u015fel\u0103toare a \u00eentrup\u0103rilor \u00eentre\u0163inea, \u00eens\u0103, sub un cer platonician, foamea de Unu<\/em>. Ceea ce nu excludea \u015fi rezerva unor critici, sprijinitori entuzia\u015fti ai neomoderni\u015ftilor congeneri, \u00een \u201econflict\u201d cu cerchi\u015ftii recupera\u0163i dup\u0103 carantin\u0103<\/em> (cf. C. Regman), deveni\u0163i, totu\u015fi, \u201ealia\u0163i de conjunctur\u0103\u201d (cf. George Neagoe). Chiar C. Regman insinua ideea c\u0103 Doina\u015f ar fi \u201erefuzat de critici\u201d, \u00eentr-un serial din Tomis<\/em> (1968).<\/p>\n

Cititor \u00eenr\u0103it<\/em>, av\u00eend cultul c\u0103r\u0163ii \u015fi afl\u00eend acolo un \u201econcentrat de t\u00eelcuri\u201d (\u00eenviate<\/em> prin lectur\u0103), \u015etefan Aug. Doina\u015f reprezint\u0103, ne\u00eendoielnic, tipul poetului cult<\/em> (cf. I. Negoi\u0163escu), cu o biografie spiritual\u0103 \u201emascat\u0103\u201d. Doar dulcea tiranie a cli\u015feelor, prelungind, \u00een c\u00eempul exegetic, un confort lenevos, face din \u015etefan Aug. Doina\u015f un poet \u201e\u00eempietrit\u201d, \u201e\u00eenghe\u0163at\u201d, \u201eprins\u201d \u00eentr-o formul\u0103, contrazic\u00eend ori s\u0103r\u0103cind eul plural<\/em>. Autorul Alfabetului poetic<\/em> locuie\u015fte \u00een spa\u0163iul clasicit\u0103\u0163ii, ne anun\u0163a, cu ani \u00een urm\u0103, Ion Pop. Evident, criticul avea dreptate. Rostirea sa, \u201eiubitoare de clarit\u0103\u0163i\u201d, educat\u0103 prin experien\u0163e istoricizate, efortul de limpezire \u015fi disciplinare, \u00een fine, severa ordonare a materiei rebele, haotice, v\u0103desc \u2013 \u00een epoca fragmentarismului \u2013 o ferm\u0103, vigilent\u0103 \u015fi cuprinz\u0103toare con\u015ftiin\u0163\u0103 poetic\u0103. Dar Omul cu compasul<\/em> (1966), geometriz\u00eend \u00een str\u0103dania de a deslu\u015fi \u201eeternul chip \/ al lucrurilor lumii trec\u0103toare\u201d vrea s\u0103 poposeasc\u0103 \u00een \u201etimpuri frugale\u201d, palp\u00eend esen\u0163ele sub pojghi\u0163a fenomenalului. Spirit reflexiv, \u015et. Aug. Doina\u015f nu este doar un h\u0103r\u0103zit \u201em\u00eenuitor de cuvinte\u201d. Chiar dac\u0103 poezia poate fi un \u201edesc\u00eentec<\/em> al condi\u0163iei umane\u201d \u015fi cuv\u00eentul, pe urmele lui G. Benn, se vrea un totem modern<\/em>. Fostul \u201etraficant de ireal\u201d se declar\u0103 sc\u00eerbit de vocale \u015fi pare interesat de cotidianul frust \u015fi realul \u201egros\u201d (vezi Interiorul unui poem<\/em>). Se dezice, oare, \u015fi de proteism, recunosc\u00eendu-\u015fi, odat\u0103 cu spectacolul degrad\u0103rii, al c\u0103derii din rosturile sacre, \u201einconsisten\u0163a\u201d? E confiscat de \u201edesfr\u00eeul limbajului\u201d \u015fi sedus de \u201ezgomotul natural al Fiin\u0163ei\u201d? Astfel de interoga\u0163ii nu clatin\u0103, bine\u00een\u0163eles, statutul \/ statura poetului, dar ne oblig\u0103 s\u0103 repunem \u00een discu\u0163ie m\u0103car c\u00eeteva din afirma\u0163iile congelate, pretins-infailibile, care \u00eel a\u015fezau (definitiv?) \u00eentr-o formul\u0103 poetic\u0103<\/em>, cinstind ceremonialul \u015fi altitudinea rostirii.<\/p>\n

O cultur\u0103 ca a noastr\u0103, cu \u015ftiute \u015fi virile prejudec\u0103\u0163i anti-livre\u015fti, pare a ezita \u00eenc\u0103 \u00een ceea ce unii au numit valorizarea<\/em> (\u201eantologizarea\u201d) livrescului. Umanitatea, scria Adrian Marino, nu poate fi dec\u00eet livresc\u0103. Pu\u0163ini (din promo\u0163iile mai vechi) au ridicat m\u0103nu\u015fa aruncat\u0103 de hermeneutul clujean. Printre ei, negre\u015fit, construindu-\u015fi o traiectorie literar\u0103 inconfundabil\u0103, se \u00eenscrie \u015etefan Augustin Doina\u015f. S\u0103 nu \u00een\u0163elegem de aici c\u0103 poetul ar dispre\u0163ui realul. E vorba, \u00eent\u00eei, de o alt\u0103 sensibilitate cultural\u0103<\/em>, care, se vede, nu agreeaz\u0103 talentul frust, primitivitatea necorupt\u0103, chiotul vital \u0163\u00ee\u015fnind triumfalist. De\u015fi aceast\u0103 proeminen\u0163\u0103 reflexiv\u0103 nu alung\u0103 \u201esenzualitatea formelor\u201d (observa\u0163ia e a lui Al. Cistelecan). Iar erudi\u0163ia nu e\u015fueaz\u0103 \u00een opacitate. Mai cu seam\u0103 c\u0103 \u201ealchimia postmodernismului\u201d (ca mi\u015fcare inclusiv\u0103<\/em>) alung\u0103 inocen\u0163a; sensibilitatea \u2013 nu spunem o noutate \u2013 nu poate fi genuin\u0103, iar con\u015ftiin\u0163a creatoare, prizonier\u0103 a infernului poetic, transfer\u0103 valorilor livre\u015fti rolul de valori vitale<\/em>. Iat\u0103 noul context, \u201eexpun\u00eend\u201d, uneori ostentativ, conven\u0163ionalitatea \u00een discurs, \u00eentre\u0163in\u00eend o cultur\u0103 a senza\u0163iei<\/em>; acest halou cultural, cu solide ancore \u00een stratul referen\u0163ial, face inevitabil\u0103 medierea<\/em>, filtr\u00eend \u015fi rafin\u00eend (armoniz\u00eend) rela\u0163iile poetului cu lumea.<\/p>\n

\u00cen al doilea r\u00eend, nu putem uita c\u0103 \u015et. Aug. Doina\u015f propunea, dincolo de condi\u0163ia-i seniorial\u0103, o dubl\u0103 prezen\u0163\u0103<\/em> (Gh. Grigurcu). El este, deopotriv\u0103, poet (\u015fi \u00eenc\u0103 un poeta doctus<\/em>, cum s-a spus) \u015fi exeget. De unde \u015fi permeabilitatea sa cultural\u0103. B\u0103nuiala, c\u00eeteodat\u0103 m\u0103rturisit\u0103 de unii comentatori, c\u0103 poetul, str\u0103in de aura boemei, de tonul belicos \u015fi insurgen\u0163a ultimului val, s-ar \u00eenchide \u00een carapacea tradi\u0163ionalismului, cinstind doar virtuozitatea tehnic\u0103, m\u0103rturise\u015fte, de fapt, fidelitatea fa\u0163\u0103 de o formul\u0103; dar st\u0103p\u00eenind legile versifica\u0163iei, urnind, a\u015fadar, ma\u015fin\u0103ria poetic\u0103, nu rezult\u0103 deloc c\u0103 acest efort r\u00eevne\u015fte impersonalizarea. E drept, medita\u0163ia r\u0103bdurie asupra conceptului modern de poezie ori popasurile analitice (discut\u00eend produc\u0163ia confra\u0163ilor) impun prin ordine \u015fi \u00eendemnul la rigoare. Devorat de luciditate, criticul Doina\u015f \u00ee\u015fi a\u015faz\u0103 gospod\u0103re\u015fte ideile \u015fi ia distan\u0163\u0103, prin glacialitatea conceptelor, fa\u0163\u0103 de \u201eclipa cea repede\u201d, lep\u0103d\u00eendu-se, s-ar p\u0103rea, de fidelitatea<\/em> fa\u0163\u0103 de o formul\u0103 \u015fi de seduc\u0163ia efemeridelor. Ceea ce nu \u00eenseamn\u0103 c\u0103 poetul Doina\u015f, cerebraliz\u00eend \u015fi solemniz\u00eend fluxul imagistic, urc\u00eend cotele gravit\u0103\u0163ii orfice, ignor\u0103 zarva concretului, fo\u015fg\u0103iala informului (jinduit cu discre\u0163ie). \u00centre a iubi artizanalul (\u00een pofida reliefului proteic al operei) \u015fi a fi ispitit de spectacolul genezic, a\u015fezat \u201epe prag de n\u0103mol \u015fi v\u0103p\u0103i\u201d, poetul \u00ee\u015fi tr\u0103ie\u015fte dedublarea<\/em>. Imaginarul s\u0103u nu refuz\u0103 \u201ededesupturile\u201d, oferindu-i neistovita \u015fans\u0103 a concretiz\u0103rii \u015fi ini\u0163ierii, chiar dac\u0103 spiritul auroral, con\u015ftient de sine, cu desf\u0103\u015fur\u0103ri explozive de candoare \u015fi miracol, este \u00een permanen\u0163\u0103 sub control. Eclipsele lucidit\u0103\u0163ii nu s\u00eent, a\u015fadar, posibile. Intelec\u0163ia curge \u00eenspre armonie orchestral\u0103, o muzicalitate scutit\u0103 de frustr\u0103ri, cu sonorit\u0103\u0163i poate c\u0103utate, oricum str\u0103ine de \u0163\u00eefn\u0103 \u015fi emfaz\u0103. Ar fi vorba, credem, de un eleatism care, iat\u0103, nu-\u015fi refuz\u0103 \u0163inuta statuar\u0103 (Eugen Simion). Iar cuv\u00eentul dob\u00eende\u015fte rangul de institu\u0163ie orfic\u0103. Arta poetic\u0103 nu insist\u0103, reamintim, pe drama cuv\u00eentului \u015fi nici nu invoc\u0103 posibilele tensiuni semantice, \u00eentre\u0163inute artificios de unii. Astfel de nelini\u015fti nu b\u00eentuie prin lirismul doina\u015fian, resping\u00eend \u2013 cu aceea\u015fi fermitate \u2013 \u015fi pitorescul ori poezia epidermic\u0103, mustind de seve grele, seduse de pofta b\u0103loas\u0103 a balcaniz\u0103rii. S\u0103 fie vorba, atunci, de glacialitate \u015fi ascez\u0103, de o poezie scris\u0103 \u201epe foi de ghea\u0163\u0103\u201d? N-am zice, c\u00eet\u0103 vreme nu de o ideatic\u0103 uscat\u0103 ne ciocnim iar intermedierea livresc\u0103<\/em>, de neevitat, nu cap\u0103t\u0103 accente ostentative. St\u0103p\u00een pe un univers, Doina\u015f ne las\u0103 s\u0103 ghicim, \u201ejupuind\u201d simbolul, scheletul unei viziuni<\/em>. Iar \u00eenfiorarea spiritului vibratil nu exclude rigoarea, chiar dac\u0103 \u201ecristalele s-au spart \u015fi s\u00eengereaz\u0103\u201d. \u00centre trufie \u015fi ruin\u0103, con\u015ftientiz\u00eend z\u0103d\u0103rnicia \u015fi curgerea, dar av\u00eend o \u201ehalc\u0103 de timp\u201d (pe care va \u00eencrusta \u201elitere argintate\u201d) poetul respir\u0103 \u201e\u00een amplul du-te-vino al suveicii\u201d(art\u0103 poetic\u0103<\/em>). Iubirea nu poate fi dec\u00eet o \u201emasc\u0103 dulce a nesf\u00eer\u015fitei spaime\u201d. Vizitat de nostalgii, el nu e ispitit de demonul deconstructivist, de at\u00eetea isme destructuraliste, ci vrea s\u0103 rotunjeasc\u0103 poemul, \u00een numele unei viziuni \u201eperfect asumate\u201d. Cel pu\u0163in a\u015fa ne lini\u015ftea \u00eentr-un Avertisment<\/em> care deschidea volumul de Versuri<\/em> (Ed. Eminescu<\/em>, 1972), explic\u00eend strategia alternan\u0163ei criteriilor formale cu cele de natur\u0103 tematic\u0103. Dincolo de tematism (\u015fi ideea, la Doina\u015f, mereu \u201epip\u0103ie \u00eenaltul\u201d) r\u0103m\u00eene perfec\u0163ia formei, lupt\u00eend cu \u201efluidele tulburi\u201d, cu \u201ev\u0103zul ca dinamit\u0103 pur\u0103\u201d, chiar cu invazia grotescului \u015fi derizoriului. Poetul se vrea \u201einginer de armonii\u201d \u015fi, \u00een consecin\u0163\u0103, \u00eenghea\u0163\u0103 \u015fuvoiul lirismului: \u201eun prund de diamante st\u0103 pe loc\u201d. \u00centre fo\u015fnetul bibliotecii \u015fi agresivitatea realului, el atinge gra\u0163ios, f\u0103r\u0103 reveren\u0163e, starea de gratuitate, plonj\u00eend \u00een inima reveriei, v\u0103z\u00eend pe dinafar\u0103 \u201eochiu-n care \/ m\u0103 desf\u0103\u015for, o clip\u0103, ca un vis\u2026\u201d<\/p>\n

Ispita livrescului (naturaliz\u00eend cultura) nu \u00eenseamn\u0103 \u015fi interdic\u0163ia realului, somativ, desigur. Suveica poetic\u0103 face, neobosit\u0103, naveta \u00eentre ace\u015fti doi poli. Doar c\u0103 preferin\u0163a e limpede formulat\u0103 \u015fi intim asumat\u0103. \u00centre \u201eduhoarea clipei\u201d \u015fi \u201etemplul de cle\u015ftar\u201d, poetul calc\u0103 dincolo de lirica imediatului \u015fi presiunea prezentului, f\u0103r\u0103 a fi scutit de fiorul deceptiv (\u00eempins \u00een dezam\u0103gire moral\u0103). El culege \u201ecolbul sunetelor moarte\u201d (oracol mut<\/em>), fiindc\u0103 \u015ftie preabine c\u0103 \u201evine-un timp c\u00eend orice templu moare\u201d (frumuse\u0163ea<\/em>). O respira\u0163ie cast\u0103, un spa\u0163iu eteric domnesc peste acest teritoriu liric, invit\u00eendu-ne s\u0103 sorbim din cupele \u201ecrinilor invol\u0163i\u201d. Totu\u015fi, Omul cu compasul<\/em> a\u015faz\u0103 \u00een pagin\u0103 versuri credincioase \u201eclipei de foc\u201d, \u00eencerc\u00eend a zg\u00eeria pe nisip \u201eformula unei alte ordini\u201d. Peste \u201epoleiurile lunii\u201d, peste aceast\u0103 lumin\u0103 spectral\u0103 cade, s\u0103 observ\u0103m, o concrete\u0163e pictural\u0103. R\u00eevnitul \u201et\u0103r\u00eem de lini\u015fti\u201d, incluz\u00eend perfec\u0163ia (f\u0103r\u0103 pusee anxioase), e mereu zg\u00eel\u0163\u00eeit de stihialul aluvionar \u015fi informul \u00een clocot. \u201eMuiat\u0103 \u00een origini\u201d (cum s\u00eentem preveni\u0163i), imagina\u0163ia luxuriant\u0103 devine, de fapt, sub domnia lucidit\u0103\u0163ii \u015fi a r\u00eevnei hieratizante, un recital formal, desf\u0103\u015furat \u00eentr-un laborator sterilizat, peste care pogoar\u0103 o ploaie de sunete celeste. Acel \u201egong de aur\u201d (v. Goethe pe catafalc<\/em>) exprim\u0103, f\u0103r\u0103 umbra vreunui echivoc, nostalgia tiparului (ancestral) \u015fi goana neostoit\u0103 dup\u0103 forme. Prin ele, poetul reu\u015fe\u015fte \u201esmulgerea din smoal\u0103\u201d \u015fi accede, \u00een pofida trupului nisipos, protejat cu \u201ezale de rou\u0103\u201d, la secretul vie\u0163ii, culeg\u00eendu-i fructul greu: \u201epe creanga ta, minunile s-au copt\u201d (v. Copacul Weimar<\/em>). Dar tot el \u015ftie c\u0103 precara-i fiin\u0163\u0103, jefuit\u0103 de timp, locuind \u00een \u201e\u00eemp\u0103r\u0103\u0163ia clipei\u201d, descoper\u0103 doar scrumul vie\u0163ii. Criza identit\u0103\u0163ii se consum\u0103 \u00een decor apocaliptic, iar motivul \u201e\u00eengerului c\u0103zut\u201d poate fi un filon productiv, \u00eennobil\u00eend banalul, odat\u0103 cu inconfortabila constatare a golirii de sacru: \u201edivinul scurs din corpurile goale\u201d. \u015ei atunci, salvator, se insinueaz\u0103 refugiul \u00een paradisul bibliotecii. Acolo, pens\u00eend cuvinte rare \u015fi, afl\u00eend sonorit\u0103\u0163i pure, \u00eendelung \u015flefuite, poetul are de-a face cu o natur\u0103 \u201efiltrat\u0103\u201d, l\u0103s\u00eend cov\u00eer\u015fitoarea impresie a imaterialit\u0103\u0163ii. Acolo, afl\u00eend un loc cultural<\/em>, decanteaz\u0103 \u201esevele trunchiului p\u0103dure\u0163\u201d, n\u0103zuind spre lic\u0103rul sublim<\/em>. \u201eGata pentru zbor\u201d (v. Sonetul timpului<\/em>), poetul simte dep\u0103rtarea (\u201e\u015fi-n urm\u0103 anii g\u00eelg\u00eeie-n cascade\u201d) \u015fi se \u00eenchin\u0103, biruitor, clipei vii<\/em>. \u201eEvul luminii\u201d devine o amintire, zarea strivitoare \u015fi \u201efrunzi\u015ful stelar\u201d \u00eel \u00eempresoar\u0103, fiorul erotic \u2013 chem\u00eend viforele tinere\u0163ii \u015fi galopul s\u00eengelui \u2013 nu uit\u0103 c\u0103 \u201ela \u00eenceput a fost cuv\u00eentul IUBIRE\u201d (v. poem<\/em>). Doar cenu\u015fa \u201eva tres\u0103ri\u201d, descoperind un \u201etrup de aburi, pur \u015fi pal\u201d, r\u0103t\u0103citor \u00een edenul cultural (\u00een pofida \u201eversurilor-zero\u201d, \u015fi ele prezente). \u00centre natur\u0103 \u015fi cultur\u0103 e un \u201ec\u00eemp de lupt\u0103\u201d, iar \u201ecapcanele arhaice\u201d, p\u00eendind din \u201eziua cea dint\u00eei\u201d, sub amenin\u0163area \u201ecurcubeului nocturn\u201d, nu-l \u00eempiedic\u0103 pe poet a cerca palparea abstrac\u0163iunilor. Este aici o aventur\u0103 strict livresc\u0103, o cronologie a formelor develop\u00eend o via\u0163\u0103 spiritual\u0103<\/em> (ca singur\u0103 biografie public\u0103?) Doina\u015f a fost, indiscutabil, un rafinat cunosc\u0103tor al poeziei. Peregrin prin \u201emitologicale\u201d, el ne las\u0103 s\u0103 ghicim, \u00een cutele textului, o eterat\u0103 respira\u0163ie antic\u0103 \u015fi, \u00een acela\u015fi timp, las\u0103 s\u0103 p\u0103trund\u0103 miresme tari, violen\u0163a cromatic\u0103 (v. caii<\/em>). Dar nu agreeaz\u0103 re\u0163eta postmodernist\u0103; iube\u015fte Forma, nu juxtapunerea de forme \u015fi coduri \u015fi, \u00een pofida intarsiei livre\u015fti, a reverbera\u0163iilor intertextuale, nu are, afi\u015fat\u0103 \u201ela vedere\u201d, pl\u0103cerea combinatorie, e\u015fu\u00eend \u00een parada simbolurilor desc\u0103rnate. Sub clorotica paloare a soarelui, Venus e \u201epalid\u0103-n azururi\u201d, dar \u201einimile de noroi\u201d pulseaz\u0103. Erosul r\u0103m\u00eene un principiu cosmic. Aceast\u0103 lirosofie<\/em> stinge conflictul dintre natur\u0103 \u015fi cultur\u0103; ea nu se vitaminizeaz\u0103 cultural pentru simplul motiv c\u0103 nu poate exista astfel. Cultura este chiar Poezia<\/em> \u015fi nu fondul ei nutri\u0163ional. Platonician, invoc\u00eend \u201eJum\u0103tatea de om\u201d doritoare a-\u015fi afla \u00eemplinirea (cuplul etern, m\u00eenat de rebreanianul calvar al c\u0103ut\u0103rii), poetul viseaz\u0103 \u015fi adast\u0103 la \u201erecile oglinzi cu prund de argint\u201d (forma omului<\/em>). \u015ei tot rebreanian (nu invoca marele ardelean \u201eromanul sferoid\u201d?), \u015etefan Aug. Doina\u015f purcede la aflarea locului privilegiat<\/em>, fertilizat de s\u00eenge livresc. \u00centr-acolo \u00eel m\u00een\u0103, cum se dest\u0103inuie, doar \u201epelerinajul sferic\u201d, f\u0103r\u0103 a se \u00eemboln\u0103vi de o demiurgie \u0163\u00eefnoas\u0103. \u00cen \u201ep\u0103durea (sa) de simboluri\u201d, poetul ascult\u0103, cu umilin\u0163\u0103, \u015foaptele Bibliotecii f\u0103r\u0103 a \u00eentoarce spatele realului \u201egros\u201d. De la baladesc la lirismul gnomic, el nu a obturat caracterul referen\u0163ial al poeziei sale, explicitat \u00een Orfeu \u015fi tenta\u0163ia realului <\/em>(1974). Mai mult, recuno\u015ftea Doina\u015f, smulg\u00eendu-se din iner\u0163ie odat\u0103 cu intrarea \u00een politic\u0103<\/em>, \u201efilonul activist\u201d (despre care vorbea V. Nemoianu) l-a \u00eempins \u00eentr-o alt\u0103 direc\u0163ie: poezia ca replic\u0103 la real<\/em>. Estetismul ceremonios, senten\u0163ios, solemn face loc vituperan\u0163ei. Radicalizarea, vestit\u0103 prin V\u00een\u0103toare cu \u015foim<\/em> (1985), cre\u015fte, pe filier\u0103 arghezian\u0103, \u00eenstrun\u00eend coarda sarcastic\u0103 \u00een frazare sacadat\u0103: de la Lamenta\u0163ii<\/em> (1993), excit\u00eend moralistul (dezam\u0103git c\u0103 patria \u201ea \u00eenc\u0103put \u00eentr-o gur\u0103 spurcat\u0103\u201d), la Psalmi<\/em> (1997), dezv\u0103luind c\u0103ut\u0103rile \u015fi revoltele fiin\u0163ei muritoare, acuz\u00eend imperfec\u0163iunea divinit\u0103\u0163ii. Pamfletarul, \u00eens\u0103, nu exceleaz\u0103 \u015fi presupusul vitalism e mimat, cobor\u00eend periculos cota estetic\u0103. Dar acele \u201esemne noi\u201d, N. Manolescu le deslu\u015fea \u00eenc\u0103 \u00een volumul V\u00een\u0103toare cu \u015foim<\/em>, viz\u00eend \u2013 voalat \u2013 subtextul politic; al\u0163ii, din acelea\u015fi pricini, tot nedeclarate, depl\u00eengeau \u201estridenta involu\u0163ie\u201d a poetului. Oricum, st\u0103p\u00een peste o oper\u0103 vast\u0103, discret, distant, p\u0103truns de solemnitate, Doina\u015f, dup\u0103 1989, chiar \u201ese \u00eennoie\u015fte\u201d: devine academician \u015fi senator PAC, cultiv\u0103 publicistica politic\u0103, p\u0103r\u0103sind, desigur, limbajul codat, consolid\u00eendu-\u015fi aura, de\u0163in\u00eend func\u0163ii \u00eenalte. Dar \u015etefan Aug. Doina\u015f, observ\u0103 judicios G. Neagoe, \u201ea jucat pentru sine\u201d.<\/p>\n

*<\/p>\n

Debutul editorial, prin Cartea mareelor<\/em>, un hibrid liric, ulterior repudiat, \u00eel anexa (fals) genera\u0163iei \u015faizeciste. Noviciatul s\u0103u literar \u0163inea, \u00eens\u0103, de o alt\u0103 epoc\u0103; or, dorin\u0163a de a reveni \u00een via\u0163a literar\u0103 l-a obligat pe Doina\u015f la numeroase concesii (nu doar propagandistice). Prima dintre ele prive\u015fte \u201epovestea\u201d promi\u0163\u0103torului Motoarc\u0103, falsul poet nou, de fulger\u0103tor succes, autor al Agronomului<\/em> (printre altele), anun\u0163\u00eend pe \u201eme\u015fterul de m\u00eeine\u201d, un episod considerat, peste ani, \u201epenibil\u201d de \u00eensu\u015fi Doina\u015f. Curios, \u00eentr-o referin\u0163\u0103 anexat\u0103 Dosarului penal, lotul Mihail Grama (1957), C. Regman laud\u0103 aceste colabor\u0103ri-fars\u0103, asigur\u00eend c\u0103 Doina\u015f (autorul de drept, \u00een travesti) c\u00eenta \u201erealit\u0103\u0163ile noi\u201d, \u00eencerc\u00eend, astfel, a-i da o m\u00een\u0103 de ajutor fostului cerchist. Doina\u015f debuta la Jurnalul literar<\/em> (nr. 50\/10 decembrie 1939), sub auspicii c\u0103linesciene. Dar acolo \u201egospod\u0103rea\u201d G. Iva\u015fcu. Evenimentele furtunoase, \u00een avalan\u015f\u0103 l-au desp\u0103r\u0163it de comilitonii cerchi\u015fti. Din singur\u0103tatea de la H\u0103lmagiu (unde profesa) se dest\u0103nuia epistolar lui Negoi\u0163escu, de pild\u0103, vorbind despre descuraj\u0103rile \u015fi proiectele sale. Se sim\u0163ea r\u0103u \u201evorbind rom\u00e2ne\u015fte\u201d, m\u0103rturisea \u00een 1950, de\u015fi \u00een el clocoteau poemele patriotice<\/em> (e drept, pe filiera H\u00f6lderlin, Pindar); se va dedica traducerilor (ca transfer de \u201evaloare estetic\u0103\u201d), trezind \u201evalen\u0163e dormit\u00eende\u201d, frecvent\u00eend afinii spirituali. Se g\u00eende\u015fte la o comedie, D\u2019ale festivalului<\/em>, de fapt o \u015farj\u0103 politic\u0103 \u015fi \u00ee\u015fi divulg\u0103 obsesiile \u015fi orgoliile. Curios, o pies\u0103 antistalinist\u0103 (decriptat\u0103 de I. Negoi\u0163escu \u015fi denun\u0163at\u0103 de Radu Enescu), Brutus \u015fi fii s\u0103i<\/em>, \u201en-ar fi prezentat vreun interes \u00een anchet\u0103\u201d, credea Doina\u015f, la distan\u0163\u0103 de evenimente. \u015ei mai curios, Sonetele m\u00eeniei<\/em>, texte negre\u015fit ostile, \u201eescapiste\u201d, transparente chiar prin titlu, ar fi fost \u201eignorate\u201d, de\u015fi, \u00een logica anchetei, ar fi suplimentat anii de deten\u0163ie. Cobor\u00eend \u00een epoc\u0103, trebuie s\u0103 recunoa\u015ftem, pe urmele lui George Neagoe, c\u0103 Cercul literar<\/em>, dup\u0103 destr\u0103mare, a devenit \u201eo pepinier\u0103 a racol\u0103rilor\u201d. Doina\u015f era terorizat de g\u00eendul c\u0103 pierde contactul cu mediul literar, c\u0103 va r\u0103m\u00eene un anonim<\/em> \u015fi, dup\u0103 eliberare, p\u00een\u0103 \u00een 1963, c\u00eend va fi angajat la Lumea<\/em>, dorind \u201ea munci \u015fi a publica\u201d, face eforturi de a intra \u00een gra\u0163iile regimului. Episodul Motoarc\u0103, t\u0103inuit lung\u0103 vreme (de\u015fi amicii cerchi\u015fti \u015ftiau), probeaz\u0103 ascunzi\u015furile biografiei, sub aparen\u0163a unui trecut irepro\u015fabil. F\u0103c\u00eend din elevul de la liceul Moise Nicoar\u0103<\/em> din Arad, atac\u00eend cu aplomb temele oficiale<\/em> ale primului cincinal, o vedet\u0103 (meteoric\u0103), bine pl\u0103tit\u0103, condamnat\u0103 apoi, prin propria-i neputin\u0163\u0103, la \u201et\u0103cere\u201d scriitoriceasc\u0103, Doina\u015f nu s-a dedat doar la un mic pariu<\/em>, \u201enevinovat\u201d, scufundat \u00eentr-o legend\u0103 ce\u0163oas\u0103, ci ascundea o falie \u00eentre biografie \u015fi crea\u0163ie. Invazia cerchi\u015ftilor \u00een Bucure\u015fti (prin 1955) \u00eei va deschide alte por\u0163i, ie\u015find din izolare, p\u0103r\u0103sind, prin demisie, profesoratul (pe ruta Caporal Alexa-H\u0103lmagiu-Gurahon\u0163). Angajat ca redactor la revista Teatru<\/em> (\u00eenfiin\u0163at\u0103 \u00een 1956), \u015etefan Augustin Doina\u015f public\u0103 cronici dramatice, at\u00eet cu pseudonim, aproape uitat dup\u0103 lunga t\u0103cere publicistic\u0103, c\u00eet \u015fi cu adev\u0103ratu-i nume (\u015etefan Popa, ca \u201ecivil\u201d), \u00eemplinindu-\u015fi visul. El, m\u0103rturisea timi\u015foreanul Deliu Petroiu, alt cerchist, \u201et\u00eenjea dup\u0103 Bucure\u015fti\u201d. A revenit \u201epe furi\u015f\u201d (cf. George Neagoe) \u00een via\u0163a literar\u0103, p\u0103r\u0103sind \u201eexilul interior\u201d. Dar asupra trecutului s\u0103u planeaz\u0103 un \u015fir de \u00eentreb\u0103ri, fisur\u00eendu-i exemplaritatea. Dac\u0103 acuza de legionarism nu st\u0103 \u00een picioare, caracterul s\u0103u acomodant<\/em> (cf. V. Nemoianu), duplicitar, identit\u0103\u0163ile colabora\u0163ioniste (Andrei Golfin, Gogu Ivan) \u015fi, pe de alt\u0103 parte, figura de opozant, ca rezistent \u00een radicalizare, ap\u0103r\u00eend demnitatea breslei, cu atacuri, totu\u015fi, tolerate (vezi Raportul<\/em> la Colocviul Na\u0163ional ie\u015fean, 18 octombrie 1978) ridic\u0103 grave semne de \u00eentrebare. Dob\u00eendind autoritatea \u015fi credibilitate, \u201emai conciliant\u201d dup\u0103 \u201989, recuper\u00eendu-\u015fi manuscrisele confiscate, se va pronun\u0163a \u00eempotriva<\/em> deschiderii dosarelor SRI. Util ambelor tabere, crede G. Neagoe, \u201e\u00eengem\u0103n\u00eend\u201d \u015fi servind impulsuri potrivnice, histrionicul Doina\u015f pare un trickster<\/em>, \u201ecompens\u00eendu-\u015fi\u201d colabora\u0163ionismul prin scrierile valoroase, \u00eenso\u0163ind proteismul operei, \u00een regres, cu un cameleonism stupefiant, dezam\u0103gitor. Cartea lui George Neagoe, \u00een pofida \u201ealunec\u0103rilor adolescentine\u201d \u015fi a \u201emetaforismului zv\u0103p\u0103iat\u201d (cf. Alex Goldi\u015f), nu este doar a unui \u201ebun documentarist\u201d, chiar remarcabil, cum afirm\u0103 Alexandru Dumitriu. Ea prive\u015fte fenomenul cultural \u00een rama epocii \u015fi lumineaz\u0103 cotloanele ei, prob\u00eend tic\u0103lo\u015fia at\u00eetor scriitori (de la mici la\u015fit\u0103\u0163i, invidii, la dela\u0163iuni cu consecin\u0163e privative), ruin\u00eendu-\u015fi prestigiul moral, plia\u0163i zelos cutumelor Puterii, aservi\u0163i sau doar mim\u00eend servilismul. \u00cen cazul Doina\u015f, lider moral al Uniunii Scriitorilor, \u015focul<\/em> (previzibil) a trezit varii reac\u0163ii. Gelu Ionescu (\u00een Apostrof<\/em>, nr. 2\/2014), \u201enel\u0103murit\u201d dup\u0103 o dubl\u0103 lectur\u0103, identifica \u201etrei metehne\u201d \u00een demonstra\u0163ia lui George Neagoe: resentimentarismul, calitatea analizelor (unor texte poetice) \u015fi teribilismul, prin risipa unor fraze bombastice. C\u0103 n-o fi g\u0103sit exegetul, \u201etonul neutralit\u0103\u0163ii necesare\u201d e vizibil, c\u0103 nu Securitatea l-ar fi constr\u00eens pe Doina\u015f s\u0103-\u015fi piard\u0103 talentul (\u201edisipat\u201d) e, iar\u0103\u015fi, limpede. Dar explor\u00eend biografia factologic\u0103, \u201emeandrele unei ced\u0103ri\u201d, criticul fic\u0163ionalizeaz\u0103? Atenteaz\u0103, oare, la statuia scriitorului? S\u0103 conteze doar opera (r\u0103scump\u0103r\u00eend biografia) ca singur\u0103 biografie<\/em>? \u201eContextele genetice\u201d, se \u015ftie, nu privesc doar filtrul livresc, ignor\u00eend dezinvolt \u201etrucarea autobiografiei\u201d (prin omisiuni, mistific\u0103ri, cosmetiz\u0103ri). Iar rectific\u0103rile, bazate pe verific\u0103ri temeinice, vin s\u0103 corecteze o imagine livrat\u0103 ca irepro\u015fabil\u0103. Recrutat, \u201ehingherit\u201d \u015fi sprijinit, ascuns sub identit\u0103\u0163i conspirative, oferind materiale informative \u201evaloroase\u201d, dovedind apoi \u201edel\u0103sare\u201d \u015fi un randament \u201esc\u0103zut\u201d, scos din re\u0163ea (1984), opozant, fie \u015fi de un \u201eeroism \u00eent\u00eerziat\u201d, \u015etefan Aug. Doina\u015f ne dezv\u0103luie, \u00een posteritate, un profil complex, refuz\u00eend enun\u0163uri \u201eunivoce\u201d, cum ne previne \u00eensu\u015fi George Neagoe. Revizuirile, str\u0103ine acum de virila \u201elogic\u0103 de front\u201d (cf. Paul Cernat) \u015fi tiparul maniheic, cu pusee umorale, cad pe umerii noilor critici. \u015ei Doina\u015f, ca \u201epolitician al literaturii\u201d, \u00een picaj dup\u0103 ultimele dezv\u0103luiri, trecut prin purgatoriul umilin\u0163elor (de unde \u015fi cognomenul \u201eOcna\u015f\u201d, oferit de cinicul Petru Dumitriu) are dreptul unor clarific\u0103ri, aduc\u00eend la ramp\u0103 opinii \u00een conflict. Gabriel Andreescu pare convins c\u0103 Doina\u015f este o victim\u0103 a CNSAS; demonstra\u0163ia, sper\u0103m, urmeaz\u0103. Precau\u0163ia \u00een manevrarea dosarelor r\u0103m\u00eene, \u00eens\u0103, obligatorie, refuz\u00eend zvoneria entuziast\u0103, doritoare de macul\u0103ri \u015fi execu\u0163ii. Opera sa, major\u0103, chiar \u201efoarte pu\u0163in tipic rom\u00e2neasc\u0103\u201d, spunea \u00eentr-o dezbatere, f\u0103r\u0103 un specific pronun\u0163at, vidat\u0103 de adieri folclorice, balcanizante, r\u0103m\u00eene, negre\u015fit. Aici consensul exege\u0163ilor e deplin, nu st\u00eerne\u015fte violente dezacorduri. Iar poetul, b\u0103nuind c\u0103 va avea parte de o posteritate seismic\u0103, denun\u0163\u00eend vituperant \u00een Sonetele m\u00eeniei<\/em> (confiscate, pierdute \u201edefinitiv\u201d, credea, tip\u0103rite sub form\u0103 modificat\u0103, \u00eentr-o reconstituire \u201eaproximativ\u0103\u201d; v. Ovidiu la Tomis. Versuri din exil<\/em>, 1998) \u201esupliciul ru\u015finos\u201d, \u201eplasa ro\u015fie\u201d, \u201ep\u0103ianjenul cu stea\u201d (XVI), ne avertiza: \u201eAcoperi\u0163i-mi trupul cu \u0163\u0103r\u00een\u0103: \/ un deget tot o s\u0103-mi r\u0103m\u00een\u0103 \/ la nalta judecat\u0103 s\u0103 v\u0103 chem\u201d (IX). Cazul Doina\u015f<\/em> r\u0103m\u00eene un proces deschis<\/em>. Din p\u0103cate, \u00eentre imaginea senioral\u0103, construit\u0103 r\u0103bduriu, cu tenacitate \u015fi adev\u0103rul \u015focant, dezv\u0103luit prin cercetarea Arhivelor, se casc\u0103 h\u0103ul unor incompatibilit\u0103\u0163i neverosimile \u015fi al unor \u201erela\u0163ii \u00eencurcate\u201d \u00een textura epocii, transport\u00eend \u00een viitorime o imagine contradictorie, ambiguizat\u0103, risipindu-i aura: o natur\u0103 clasic\u0103, disponibil\u0103, exersat\u0103 pe varii registre, \u00eenv\u0103luit\u0103 \u00eentr-un larg-admirat \u201ehalou\u201d intelectual, dramatic declasat\u0103, moralmente judec\u00eend, supus\u0103, inevitabil, contenciosului revizuirilor.<\/p>\n

P.S. Chiar suspectat, nu f\u0103r\u0103 temei, de \u201egusturi piezi\u015fe\u201d (cf. Sorin Lavric), \u00eentr-un recent interviu din Rom\u00e2nia literar\u0103<\/em> (nr. 19\/2014) Virgil Nemoianu afirma neted: \u201enu cred absolut nimic din cele aflate \u00een dosarele Securit\u0103\u0163ii\u201d. Cel care a lucrat \u201ecot la cot\u201d cu Doina\u015f ne asigur\u0103 c\u0103 ar fi vorba de o \u201einven\u0163ie mincinoas\u0103\u201d, l\u0103ud\u00eend for\u0163a tehnic\u0103<\/em>, ambi\u0163ia, filosofia limbii etc., Doina\u015f fiind \u201ecel mai bun poet rom\u00e2n din a doua jum\u0103tate a secolului XX\u201d. Ceea ce nu \u00eenseamn\u0103 c\u0103 dl. Nemoianu r\u0103stoarn\u0103 lespedea peste cazul Doina\u015f<\/em>, \u00eenchiz\u00eend discu\u0163ia.<\/p>\n

 <\/p>\n

Adrian Dinu RACHIERU<\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Din stirpea liricilor intelectuali\u015fti, cu o poezie \u201econstruit\u0103\u201d \u015fi t\u0103lm\u0103ciri exemplare, venind dup\u0103 aridul interludiu proletcultist, \u015etefan Augustin Doina\u015f (1922-2002) [&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-21210","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/21210","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=21210"}],"version-history":[{"count":4,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/21210\/revisions"}],"predecessor-version":[{"id":21213,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/21210\/revisions\/21213"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=21210"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=21210"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=21210"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}