{"id":24234,"date":"2015-06-15T18:13:50","date_gmt":"2015-06-15T18:13:50","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=24234"},"modified":"2015-06-15T18:30:15","modified_gmt":"2015-06-15T18:30:15","slug":"mihaela-popa-gheorghiu-poeta-dacina-dan-gand-si-cuvant%e2%80%9d","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2015\/06\/15\/mihaela-popa-gheorghiu-poeta-dacina-dan-gand-si-cuvant%e2%80%9d\/","title":{"rendered":"Mihaela Popa (Gheorghiu): Poeta Dacina Dan, ,,g\u00e2nd \u0219i cuv\u00e2nt\u201d"},"content":{"rendered":"

\"\"<\/a>Inefabil \u0219i diafan, ca un desen transparent, \u00eens\u0103 cu o ironie subtil\u0103, volumul ,,Frunze \u00een oglind\u0103\u201d al poetei Dacina Dan, premiat\u0103 la Festivalul Na\u021bional de Poezie ,,George Co\u0219buc\u201d , edi\u021bia a XIII-a, se impune cu naturae\u021bea talentului.<\/p>\n

Oglinda, simbolul consacrat al reflexivit\u0103\u021bii \u0219i autoreflexivit\u0103\u021bii, nu ofer\u0103 lumea, ci o imagine deschis\u0103 a acesteia (T. Todorov \u2013 Introducere \u00een literatura fantastic<\/em>), promite infinitul (Borges), iar noi ,,nu vedem \u00een oglind\u0103, ci prin oglind\u0103 spre lucruri care parc\u0103 n-au fost create p\u00e2n\u0103 acum\u201d (N. Balot\u0103).<\/p>\n

\u00cen poezia Dacianei Dan \u00eens\u0103, tot ce e simbol consacrat se transform\u0103 \u00een contrasimbol.<\/p>\n

Astfel oglinda devine, prin ,,reflexia\u201d frunzelor, o suprafa\u021b\u0103 mat\u0103, finit\u0103, frunzele suger\u00e2nd natura perisabil\u0103 a fiin\u021bei umane care \u0219i-a pierdut accesul la tot ce \u00eenseamn\u0103 etern: ,,e vremea ploilor de Frunze \/ ochii mei spal\u0103 copacii\u201c (7 septembrie<\/em>), ,,o cea\u021b\u0103 cenu\u0219ie \/ \u00eemi s\u00e2ngereaz\u0103 frunza\u201d (Cea\u021ba<\/em>).<\/p>\n

Oglinda, de\u0219i numit\u0103 explicit doar \u00een titlu, ca idee a reflexivit\u0103\u021bii pierdute, a accesului interzis la infinit, se prefigureaz\u0103 \u00een \u00eentregul volum, exist\u00e2nd termeni care substituie oglinda, av\u00e2nd \u00eens\u0103 acela\u0219i sens: ochi \u2026,,anotimpul se lipe\u0219te de c\u0103lc\u00e2i \/ vulnerabil \u00een genele ierbii \/ peste ochiuri de timp \/ sublimat \u00een ecou\u201d (Rug<\/em>), ,,ochii t\u0103i \/ mi-au ar\u0103tat de\u0219ertul\u201d (Ochii t\u0103i<\/em>), ,,iubire t\u00e2rzie a ochilor ploii\u201d (Exerci\u021biu<\/em>), lacrim\u0103: ,,sunt \u00eens\u0103\u0219i lacrima \/ lacrima unui vers niciodat\u0103 g\u0103sit\u201d (Nichita,<\/em> mereu<\/em>), ,,\u00een lacrim\u0103 cercuri \/ silabe-nsetate \u0219i p\u0103s\u0103ri \/ priviri pentru nord\u201d (Exerci\u021biu<\/em>).<\/p>\n

\"\"<\/a>Motivul (\u00een contrasens) al oglinzii se coreleaz\u0103 cu simbolul cercului: ,,cercuri concetrice \/ m\u0103 r\u0103nesc cu regrete\u201d (7 septembrie<\/em>), simbol al claustr\u0103rii, al \u00eenchiderii, al con\u0219tiin\u021bei \u00een criz\u0103.<\/p>\n

Fiin\u021ba poetic\u0103 se ridic\u0103 \u00een fa\u021ba noastr\u0103 ca un turn de nelini\u0219te (Sartre – ,,Turn de lini\u0219te<\/em>\u201d), \u00een sensul unei continue c\u0103ut\u0103ri prin sine \u00eensu\u0219i, un turn nedefinitivat, care se construie\u0219te mereu: ,,m-am r\u0103t\u0103cit prin mine \/ zdren\u021buindu-mi lumina \/ eram at\u00e2t de atent\u0103 \/ s\u0103-mi str\u00e2ng sufletele \/ \u00eentr-o t\u0103cere nou\u0103 virginal\u0103 \/ cu un profil inexorabil \/ reverberat de umbra troianului fictive\u201d (Tu<\/em>), ,, nu-mi pot sf\u0103r\u00e2ma lan\u021burile \/ mi-am pierdut cheia\u201c (Lan\u021burile<\/em>), ,,m\u0103 caut printre fulgi\u201d (Fulg<\/em>).<\/p>\n

Dorin\u021ba de evadare din realitate se poate materializa\/\u00eemplini, doar prin somn: ,,cur\u00e2nd \/ m\u0103 voi pierde \u00een somn \/ dezbr\u0103cat\u0103 de g\u00e2nd \/ vreau doar s\u0103 hibernez un timp\u201d (Cur\u00e2nd<\/em>). Somnul nu e aici, neaparat, o prefigurare a mor\u021bii, ci o \u00eentoarcere la ritmul pur al materiei \u00een zona de plenitudine \u0219i de lini\u0219te.<\/p>\n

Universul conceptual e mai degrab\u0103 bacovian, d\u00e2nd senza\u021bia unei asfixii spirituale, a c\u0103derii totale \u0219i ireversibile a miturilor. \u00cens\u0103, la nivelul formal, dezideratul poetei r\u0103m\u00e2ne apropierea de mereu prezentul, Nichita.<\/p>\n

Se remarc\u0103 de-a lungul mai multor poeme sentimental ne\u00eemplinirii, al germin\u0103rii interzise\/\u00eentrerupte: ,,din scoica Afroditei \/ am luat o singur\u0103 \/ iluzie \/ cu care-am \u00eenflorit \u0219i-am germinat \/ izvorul ce l-am adus \u00een lume \/ de-atunci \/ pedepsit\u0103-s s\u0103 \/ port \/ acest trup secetos de femeie \/ pe care \/ nu vor mai clipi nic\u00e2nd \/ gene de floare\u201d (N-am primit<\/em>).<\/p>\n

Semin\u021bele, care \u00een poezia lui Blaga sunt mirabile, semin\u021be care con\u021bin \u00een laten\u021b\u0103 infinitul, se constitue \u00een poezia Dacinei Dan ca un contrasimbol, suger\u00e2nd finitul, imposibilitatea rodirii \u0219i prin aceasta interzicerea accesului la eternitate, sunt ,,semin\u021be neadmise rodirii.\u201d<\/p>\n

Ideea p\u0103durii, cuprins\u0103 \u00eentr-un s\u00e2mbure de ghind\u0103 (Mihai Eminescu \u2013 S\u0103rmanul Dionis<\/em>) e inversat\u0103 \u00een versul ,,ochii t\u0103i reduceau p\u0103durea din jur la un singur punct\u201d \u00eentr-o \u00eencercare de regresiune la origini, ca \u0219i c\u00e2nd tot ceea ce a fost germinat s-ar reduce, concentr\u00e2ndu-se \u00een punctul ini\u021bial, izvor a toate.<\/p>\n

Tema iubirii ,,un copac \/ \u00een care-at\u00e2rn\u0103 str\u00e2mb \/ dou\u0103 inimi albastre\u201d, e din nou, dar apparent, o tem\u0103 a iubirii, deoarece principiul opus nu prinde contur, nu e o realitate, ci o umbr\u0103 lipsit\u0103 de materialitate: ,,mi-am zdern\u021buit g\u00e2ndul \/ \u00een m\u0103r\u0103cini\u0219ul sufletului t\u0103u \/ mi-am rupt curcubeul \/ \u00een toamna privirii \/ mi-a-nghe\u021bat m\u00e2na-ntins\u0103 \/ c\u0103tre macii iubirii \/ am r\u0103gu\u0219it \/ c\u0103ut\u00e2ndu-\u021bi duio\u0219ia\u201d (Portret<\/em>).<\/p>\n

Tema iubirii, de fapt a neiubirii, se coreleaz\u0103 cu tema iernii care semnific\u0103 \u00eencremenire: ,,\u00een mine \u00eens\u0103mi e iarn\u0103 \/ visul meu \u00ee\u0219i \u00eengha\u021b\u0103 propria-i creang\u0103\u201d (Fulg<\/em>), albul fiind \u00een acela\u0219i timp puritate \u0219i nerodire: ,,ce creang\u0103 invoc\u0103m \/ iubito iubitule \/ \u00een inima iernii, prin viscolul \u00eenstelat de semin\u021be neadmise rodirii\u201d (Necroz\u0103<\/em>).<\/p>\n

Fiecare spirit e \u00een lupt\u0103 cu limita \u0219i con\u0219tientizeaz\u0103 tragic c\u0103derea, marcat\u0103 aici prin \u00eendoial\u0103: ,,\u2026poate \/ cine \u0219tie \/ nici nu exist\u0103 astfel de oameni \/ \u0219i nici infinit\u201d (Poate<\/em>). Divinitatea parc\u0103 s-a retras \u00een cele mai \u00eenalte ceruri, p\u0103r\u0103sindu-\u0219i crea\u021bia. Locul divinit\u0103\u021bii e preluat de regizorul, un regizor care concepe diferite scenario, guvern\u00e2nd la \u00eent\u00e2mplare destinul individului: ,,regizorul ce mi-a semnat prezentul \/ a r\u0103sfoit o carte \/ \u0219i-a l\u0103sat-o deschis\u0103 \/ pe-o mas\u0103 cu pietre \/ \u0219i-acum st\u00e2ncele-mi r\u0103nesc trupul\u201c (Boal\u0103<\/em>). E un destin f\u0103r\u0103 finalitate, \u00eempotriva c\u0103ruia individual nu poate lupta, c\u0103ci oricum se va pr\u0103bu\u0219i \u00een ocean: ,,\u00een amintire \/ orizontul iar m\u0103 cheam\u0103 \/ \u0219i-mi l\u0103crimeaz\u0103 pr\u0103bu\u0219irea-n geam \/ ramburasa\u021bi icarul \u00eendr\u0103gostitului \u0219i poetului \/ frunza \/ m\u0103 desparte de ram\u201c (Am visat<\/em>), ,,fo\u0219nesc din verb \/ \u0219i c\u00e2\u021biva icari \u00eemi ies \u00eenainte \/ iar cerul are aripi \/ \u0219i tope\u0219te cuvinte\u201d (Boal\u0103).<\/p>\n

\u00cen acela\u0219i timp omul are posibilitatea dedubl\u0103rii, \u00een fiecare individ exist\u00e2nd o fiin\u021b\u0103 perfect\u0103, metafizic\u0103, nemuritoare, un arheu ,,fulgii p\u0103\u0219esc \/ \u00een v\u00e2rful sufletului \/ \u00eentre mine \u0219i eul imaculat\u201d (Alb<\/em>).<\/p>\n

Motivul drumului, calea de urmat pentru atingerea des\u0103v\u00e2r\u0219irii spirituale \u00een cultura antic\u0103 a Chinei, e aici un drum ,,care nu duce nic\u0103ieri\u201d, ,,f\u0103r\u0103 s\u0103 \u0219tiu unde se sf\u00e2r\u0219e\u0219te \/ drumul\u201d (Drum<\/em>), un drum \u00een cerc ,,unde e glasul \/ cum doare pasul \/ ce se \u00eentoarce ocolind \/ de unde a plecat\u201d (7 septembrie<\/em>).<\/p>\n

Se pot remarca dou\u0103 registre \u00een volumul ,,Frunze \u00een oglind\u0103\u201c unul care pl\u00e2nge \u0219i unul care sfideaz\u0103\/ironizeaz\u0103, precum \u0219i dou\u0103 ipostaze, una apar\u021bin\u00e2nd trecutului \u0219i alta prezentului: ,,pletele unduite \/ \u00een amintirea f\u00e2nului copt\u201c \u2013 iarna – \u0219i ,,pletele mele blonde pierdeau \/ incen\u021ba gr\u00e2ului copt\u201d \u2013 vara. Sau ,,am pumnii-at\u00e2t de plini \/ de soare \u0219i de verde \/ c\u0103 \/ dac\u0103 i-a\u0219 deschide-acum \/ a\u0219 luneca deodat\u0103 \/ \u00eentr-o alt\u0103 poveste mai lung\u0103 \/ cu ploaie frig \u0219i cea\u021b\u0103\u201d (Var\u0103<\/em>). Oare cum am putut crede c\u0103 voi purta \u00eentotdeauna-n ,,bra\u021be f\u00e2n \u0219i-n buzunare stele\u201d \u0219i c\u0103 voi putea mereu \u00eenlocui ,,cuvintele cu inefabile p\u0103s\u0103ri\u201d, se \u00eentreab\u0103 poeta?<\/p>\n

Sarcasmul guverneaz\u0103 poezia social, o poezie de revolt\u0103, o poezie ,,haiduceasc\u0103\u201d : (Negocieri, Ziarul,<\/em> Vacan\u021b\u0103, Necroz\u0103<\/em>).<\/p>\n

,,\u2026\u00eemp\u0103r\u021birea tortului \/ se face doar \u00een func\u021bie de merite \/ a \u2013 nu professional-morale \u2013 bine\u00een\u021beles \/ c\u0103 doar a \u00eenceput economia de pia\u021b\u0103 \/ \u2026\/ mass-media fusese acreditat\u0103 vocal \/ – doar c\u00e2nt\u0103 foarte bine \u00een cor \/ \u2026\/ se \u0219optea \/ c\u0103-n balan\u021b\u0103 au tras \u0219i cuno\u0219tin\u021bele \u00een limbi str\u0103ine \/ limba babelian\u0103 \u2013 categoric – \/ pe care o vorbesc \/ cei mai mul\u021bi de la pupitrul dirijor\u201d (Negocieri<\/em>), ,,cine-ar flirta cu asemenea \/ gratii-n care r\u0103sar \/ prin reluarea semin\u021belor publice \/ ochii lui marx cuburi de umbre \/ ou\u0103 de cuc abera\u021bii rotunde\u201c (Ziarul<\/em>), ,,\u2026pe unghia de la degetul meu mic \/ nivelul de trai \/ desenase indicatoare de avertizare\u201d (Vacan\u021b\u0103<\/em>).<\/p>\n

Idei generoase precum idea de dreptate, de libertate, prin reflexii \u00een oglinzi, \u00een con\u0219tiin\u021be succesive, se deformeaz\u0103, se degradeaz\u0103, \u00ee\u0219i pierd esen\u021ba \u0219i devin ni\u0219te m\u0103\u0219ti dintr-o pies\u0103 macabr\u0103: ,,maestrul de ceremonii a nun\u021bat \/ c\u0103 n-a mai trimis invita\u021bie \/ profesorului doctor inginer \/ a dat \u00eens\u0103 dispozi\u021bie \/ s\u0103 I se trimit\u0103 acas\u0103 \/ o farfurie cu ajutor de \u0219omaj \/\u2026\/ maestrul de ceremonii \/ costumat \u00een p\u00e2ine \u0219i cu\u021bit \/ a st\u00e2rnit murmure de admira\u021bie \/ mai ales printre prietenii lui \/ r\u0103pitorii \/ pe care i-a luat imediat \u00een bra\u021be\u201d (Negocieri<\/em>).<\/p>\n

Univers limitat formal, \u00eens\u0103 nelimitat conceptual, volumul prezint\u0103 o aparent\u0103 monotonie, datorit\u0103 aceluia\u0219i ton oarecum elegiac. Aceast\u0103 monotonie e fragmentat\u0103 \u00eens\u0103 de episoade ironice care dinamizeaz\u0103 \u0219i ,,dinamiteaz\u0103\u201d limbajul, mai ales \u00een poezia ^: ,,serile de iulie \/ \u00eenotau spre mal \/ t\u00e2n\u021barii purtau pe bra\u021be \/ …\/tu…\/…nu \/ sp\u0103lai tac\u00e2muri vase \/ nu \/ f\u0103ceai m\u0103m\u0103lig\u0103 ciorb\u0103 salat\u0103 de ceap\u0103 \/ nu \/ storceai l\u0103m\u00e2i \u00een ap\u0103 \/ nu \/ puneai ment\u0103 \u00een ceai\u201d. Ironia \u0219i autoironia pot guverna poezii \u00eentregi: Negocieri,<\/em> Stagiatur\u0103, Necroz\u0103, Ziarul<\/em>, ^, Nelini\u0219te<\/em>, sau pot fi episodice, ,,ramburasa\u021bi icarul \u00eendr\u0103gostitului \u0219i poetului (Am visat)<\/em>.<\/p>\n

Cuvintele nu sunt doar instrumente ale comunic\u0103rii, ci \u00eentr-un univers dens \u00een care totul semnific\u0103, ele trec din sfera conven\u021bionalului \u00een planul realului (sau cel pu\u021bin al posibilului). \u00cen societ\u0103\u021bile arhaice, r\u0103spunderea fa\u021b\u0103 de cuv\u00e2nt se \u00eencarc\u0103 de sugestii magice, demiurgice, odat\u0103 rostit, cuv\u00e2ntul nu mai putea fi luat \u00eenapoi; dob\u00e2ndind o existen\u021b\u0103 proprie, independent\u0103 de voin\u021ba subiectului rostitor, el se putea \u00eentoarce \u00eempotriva acestuia, instituind.<\/p>\n

Daciana Dan are o atitudine oscilant\u0103 \u00een ceea ce prive\u0219te cuvintele \u0219i ceea ce se poate f\u0103uri cu ele: versurile. pe de o parte poeta construie\u0219te din cuv\u00e2nt\/vers un refugiu \u00een fa\u021ba realului: ,,dac\u0103 plou\u0103 cu versuri \/ lumea r\u00e2m\u00e2ne \u00een spatele ploii (Var\u0103<\/em>) \u201c, se autodefine\u0219te prin intermediul cuv\u00e2ntului, g\u00e2nd <\/em>,,g\u00e2nd \u0219i cuv\u00e2nt \/ \u00eengem\u0103nate ad\u00e2nc \/ scutur\u00e2ndu-\u0219i de nins aripa \/ fiind eu sunt\u201d (Alb<\/em>), dar \u00een acela\u0219i timp, utilizeaz\u0103 cuv\u00e2ntul pentru a-\u0219i \u021bese ,,p\u00e2nz\u0103 la un r\u0103zboi arhaic\u201d, \u00een a\u0219teptarea unui Ulise: ,,sunt doar o anacruz-a penelopei\u201c (Sau<\/em>), care s\u0103-I sf\u0103r\u00e2me lan\u021burile cu care e legat\u0103 simbolic de v\u00e2rful muntelui, \u00een timp ce vulturul prometeic \u00eei ciugule\u0219te versul: ,,de ce \/ mie \/ nu mi se regenereaz\u0103 versul \/ ciugulit de vultur\u201d (A\u0219 vrea<\/em>).<\/p>\n

Pe de alt\u0103 parte, cuv\u00e2ntul \u0219i-a pierdut din puterea sa ini\u021bial\u0103, aceea de a institui realul, \u00eens\u0103 nu \u00een sensul unor necuvinte, ci \u00een sensul unei pierderi a transcendentalului, a unei demitiz\u0103ri. Cuvintele se umilesc prin t\u0103cere ,,ca \u0219i c\u00e2nd \/ s-ar fi umilit cuvintele \/ \u00eentr-un copac t\u0103cut \/ f\u0103r\u0103 ramuri\u201d (Portret<\/em>), s\u00e2ngereaz\u0103: ,,\u00eentorc ziua noaptea cu silabe \/ \u0219i-mi curge s\u00e2nge din cuv\u00e2nt\u201d (Lan\u021burile<\/em>), cuvintelor le este sete: ,,\u00een lacrim\u0103 \/ \u2026\/ silabe-nsetate\u201d (Exerci\u021biu<\/em>), iubesc ,,vino cuv\u00e2ntule \/ \u0219i-mi deseneaz\u0103 m\u00e2na prelung\u0103 \u0219i mireasma de toamn\u0103 \/ iube\u0219te\u201d (Vers), primind astfel atribute ale omenescului.<\/p>\n

\u00cen ciuda acestor atribute ,,profane\u201d, ele mai p\u0103streaz\u0103 latura divin\u0103: ,,m\u0103 \u00eenchin \/ \u00een genunchii lacrimii pe cuv\u00e2nt\u201d (Nichita mereu<\/em>), simboliz\u00e2nd natura dual\u0103 a unui Iisus ,,\u00een care cred zbor alb \/ \u00een frunza de apoi \/ \u00een care cred\u201d (Punct<\/em>).<\/p>\n

Poeta e imperativ\u0103 \u00een aceste versuri ,,lua\u021bi \u0219i citi\u021bi \/ acesta-i zborul meu \/ r\u0103stignit \u2013 c\u00e2nd e gr\u00e2u – \/ ploaie \u2013 c\u00e2nd e t\u00e2n\u0103r – \/ anamorfoz\u0103 \u2013 c\u00e2nd albul se tope\u0219te\u201d.<\/p>\n

Dacina Dan \u00ee\u0219i ofer\u0103 simbolic cuvintele \u2013 adic\u0103 pe sine \u00eens\u0103\u0219i \u2013 lumii \u00eentregi.<\/p>\n

 <\/p>\n

Mihaela Popa (Gheorghiu)<\/strong><\/p>\n

Postfa\u021ba volumului de versuri\u00a0 ,,Frunze \u00een oglind\u0103\u201d de Dacina Dan , Ed. Marineasa, Timi\u0219oara, 2002<\/p>\n

Coperta: Mihaela Popa (Gheorghiu)<\/p>\n

\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Inefabil \u0219i diafan, ca un desen transparent, \u00eens\u0103 cu o ironie subtil\u0103, volumul ,,Frunze \u00een oglind\u0103\u201d al poetei Dacina Dan, [&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-24234","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/24234","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=24234"}],"version-history":[{"count":3,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/24234\/revisions"}],"predecessor-version":[{"id":24239,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/24234\/revisions\/24239"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=24234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=24234"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=24234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}