{"id":27440,"date":"2016-09-19T14:32:34","date_gmt":"2016-09-19T14:32:34","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=27440"},"modified":"2016-09-19T14:32:34","modified_gmt":"2016-09-19T14:32:34","slug":"colocviu-la-viitorul-al-doilea","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2016\/09\/19\/colocviu-la-viitorul-al-doilea\/","title":{"rendered":"Colocviu &#8211; La viitorul al doilea"},"content":{"rendered":"<p align=\"center\"><span style=\"color: #000000;\"><a href=\"http:\/\/www.marianagurza.ro\/blog\/wp-content\/uploads\/2016\/09\/centrulcalderon.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-27442\" title=\"centrulcalderon\" src=\"http:\/\/www.marianagurza.ro\/blog\/wp-content\/uploads\/2016\/09\/centrulcalderon-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" srcset=\"https:\/\/www.marianagurza.ro\/blog\/wp-content\/uploads\/2016\/09\/centrulcalderon-300x225.jpg 300w, https:\/\/www.marianagurza.ro\/blog\/wp-content\/uploads\/2016\/09\/centrulcalderon.jpg 400w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\u00a0LA\u00a0 VIITORUL\u00a0 AL\u00a0 DOILEA<\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Colocviu<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Mihai Eminescu: Glossa<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">H.G. Wells: Anticipations<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">\u00a0Rainer Maria Rilke: The Future<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Sri Chinmoi: Poems about Future<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Anul Ibsen 2006<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Alexandru Macedonschi: C\u0103tre viitorime<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">George Bacovia: Serenada muncitorului<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Apollo \u00een Oltenia de George Anca<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Nichita St\u0103nescu: Polul viitorului<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Ion Nicolescu: Alma Venus<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Artur Silvestri (despre; coresponden\u021b\u0103)<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Sri Aurobindo: The Future Poetry<\/span><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Eugene Pottier: L&#8217;Internationale<\/span><\/a><\/span><\/p>\n<p style=\"text-align: center;\"><strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Colocviile de Mar\u0163i\u00a0 <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>Mar\u021bi, septembrie 272016, orele 17.00<strong>,\u00a0<\/strong> <span style=\"color: #000000;\"><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\">Str. J.L. Calderon nr. 39, tel. 0213156670. <\/span><\/a><\/span><\/strong><\/p>\n<p style=\"text-align: center;\"><span style=\"color: #000000;\"><strong> <strong>\u201e<\/strong><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"><span style=\"color: #000000;\"> Viitorul nu trebuie s\u0103 exclud\u0103 fiin\u021ba<\/span><\/a><strong>\u201d<\/strong><\/strong><\/span><\/p>\n<p><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">Oaspete de onoare<\/a><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">: Wienfried A. Senker (Germania)<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">Premier\u0103:<\/a><\/p>\n<p><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Neculai Urs: <\/a><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">George Top\u00e2rceanu conferen\u021biind despre c\u0103r\u021bi<\/a><\/p>\n<p><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">Interven\u021bii<\/a><\/p>\n<p><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\">George Anca:<\/a><a href=\"http:\/\/www.sasnet.lu.se\/content\/kolkata-conference-vivekananda-grundtvig-rolland-gramsci-and-freire\"> Devenire \/ fiin\u021b\u0103 la Dr\u0103ghicescu \u0219i Noica<\/a><\/p>\n<p>Pu\u0219i Dinulescu: Lectur\u0103-mi\u0219care-finisare<\/p>\n<p>Mihaela Munteanu: <em>Fantomele operei<\/em><\/p>\n<p>Viorel Speteanu: <em>B\u0103t\u0103lia de pe Dealul Spirii<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><em>Teatru de poezie <\/em><\/p>\n<p>Toma George Maiorescu, Constantin Ab\u0103lu\u021b\u0103, Gheorghe D\u0103nil\u0103, Gabriela T\u0103nase, Vali Pena,<\/p>\n<p>Dorin Croitor<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><em>Lans\u0103ri de carte<\/em><\/p>\n<p>Corneliu Zeana:<em> C\u00e2nd va c\u0103dea o stea<\/em>, Betta, 2016<\/p>\n<p>Aristotel C. P\u00e2rvulescu: <em>Eseuri<\/em>, Sem\u0103n\u0103torul, 2016<\/p>\n<p>&nbsp;<\/p>\n<p>Coordonator: Dr. George Anca<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>MIHAI EMINESCU<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u00a0<\/em><\/strong><strong><em>Glossa<\/em><\/strong><\/p>\n<p>Vreme trece, vreme vine,<br \/>\nToate-s vechi si noua toate;<br \/>\nCe e rau si ce e bine<br \/>\nTu te-ntreaba si socoate;<br \/>\nNu spera si nu ai teama,<br \/>\nCe e val ca valul trece;<br \/>\nDe te-ndeamna, de te cheama,<br \/>\nTu ram\u00e2i la toate rece.<\/p>\n<p>&nbsp;<\/p>\n<p>Multe trec pe dinainte,<br \/>\nIn auz ne suna multe,<br \/>\nCine tine toate minte<br \/>\nSi ar sta sa le asculte?&#8230;<br \/>\nTu asaza-te deoparte,<br \/>\nRegasindu-te pe tine,<br \/>\nC\u00e2nd cu zgomote desarte<br \/>\nVreme trece, vreme vine.<\/p>\n<p>&nbsp;<\/p>\n<p>Nici \u00eencline a ei limba<br \/>\nRecea cumpana-a g\u00e2ndirii<br \/>\nInspre clipa ce se schimba<br \/>\nPurt\u00e2nd masca fericirii,<br \/>\nCe din moartea ei se naste<br \/>\nSi o clipa tine poate;<br \/>\nPentru cine o cunoaste<br \/>\nToate-s vechi si noua toate.<\/p>\n<p>&nbsp;<\/p>\n<p>Privitor ca la teatru<br \/>\nTu \u00een lume sa te-nchipui:<br \/>\nJoace unul si pe patru,<br \/>\nTotusi tu ghici-vei chipu-i,<br \/>\nSi de pl\u00e2nge, de se cearta,<br \/>\nTu \u00een colt petreci \u00een tine<br \/>\nSi-ntelegi din a lor arta<br \/>\nCe e rau si ce e bine.<\/p>\n<p>&nbsp;<\/p>\n<p>Viitorul si trecutul<br \/>\nSunt a filei doua fete,<br \/>\nVede-n capat \u00eenceputul<br \/>\nCine stie sa le-nvete;<br \/>\nTot ce-a fost ori o sa fie<br \/>\nIn prezent le-avem pe toate,<br \/>\nDar de-a lor zadarnicie<br \/>\nTe \u00eentreaba si socoate.<\/p>\n<p>&nbsp;<\/p>\n<p>Caci acelorasi mijloace<br \/>\nSe supun c\u00e2te exista,<br \/>\nSi de mii de ani \u00eencoace<br \/>\nLumea-i vesela si trista;<br \/>\nAlte masti, aceeasi piesa,<br \/>\nAlte guri, aceeasi gama,<br \/>\nAmagit at\u00e2t de-adese<br \/>\nNu spera si nu ai teama.<\/p>\n<p>&nbsp;<\/p>\n<p>Nu spera c\u00e2nd vezi miseii<br \/>\nLa izb\u00e2nda fac\u00e2nd punte,<br \/>\nTe-or \u00eentrece nataraii,<br \/>\nDe ai fi cu stea \u00een frunte;<br \/>\nTeama n-ai, cata-vor iarasi<br \/>\nIntre d\u00e2nsii sa se plece,<br \/>\nNu te prinde lor tovaras:<br \/>\nCe e val, ca valul trece.<\/p>\n<p>&nbsp;<\/p>\n<p>Cu un c\u00e2ntec de sirena,<br \/>\nLumea-ntinde lucii mreje;<br \/>\nCa sa schimbe-actorii-n scena,<br \/>\nTe momeste \u00een v\u00e2rteje;<br \/>\nTu pe-alaturi te strecoara,<br \/>\nNu baga nici chiar de seama,<br \/>\nDin cararea ta afara<br \/>\nDe te-ndeamna, de te cheama.<\/p>\n<p>&nbsp;<\/p>\n<p>De te-ating, sa feri \u00een laturi,<br \/>\nDe hulesc, sa taci din gura;<br \/>\nCe mai vrei cu-a tale sfaturi,<br \/>\nDaca stii a lor masura;<br \/>\nZica toti ce vor sa zica,<br \/>\nTreaca-n lume cine-o trece;<br \/>\nCa sa nu-ndragesti nimica,<br \/>\nTu ram\u00e2i la toate rece.<\/p>\n<p>&nbsp;<\/p>\n<p>Tu ram\u00e2i la toate rece,<br \/>\nDe te-ndeamna, de te cheama:<br \/>\nCe e val, ca valul trece,<br \/>\nNu spera si nu ai teama;<br \/>\nTe \u00eentreaba si socoate<br \/>\nCe e rau si ce e bine;<br \/>\nToate-s vechi si noua toate:<br \/>\nVreme trece, vreme vine.<\/p>\n<p>(1883, decembrie)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>H. G. WELLS<\/p>\n<h3><em>Anticipations <\/em>(1902)<\/h3>\n<ul>\n<li>And the ethical system of these men of the New Republic, the ethical system which will dominate the world state, will be shaped primarily to favour the procreation of what is fine and efficient and beautiful in humanity\u2014beautiful and strong bodies, clear and powerful minds, and a growing body of knowledge\u2014and to check the procreation of base and servile types, of fear-driven and cowardly souls, of all that is mean and ugly and bestial in the souls, bodies, or habits of men. To do the latter is to do the former; the two things are inseparable. And the method that nature has followed hitherto in the shaping of the world, whereby weakness was prevented from propagating weakness, and cowardice and feebleness were saved from the accomplishment of their desires, the method that has only one alternative, the method that must in some cases still be called in to the help of man, is death. In the new vision death is no inexplicable horror, no pointless terminal terror to the miseries of life, it is the end of all the pain of life, the end of the bitterness of failure, the merciful obliteration of weak and silly and pointless things.<\/li>\n<li>And how will the New Republic treat the inferior races? How will it deal with the black? how will it deal with the yellow man? how will it tackle that alleged termite in the civilized woodwork, the Jew? Certainly not as races at all. [&#8230;] And the Jew also it will treat as any other man. It is said that the Jew is incurably a parasite on the apparatus of credit. If there are parasites on the apparatus of credit, that is a reason for the legislative cleaning of the apparatus of credit, but it is no reason for the special treatment of the Jew. If the Jew has a certain incurable tendency to social parasitism, and we make social parasitism impossible, we shall abolish the Jew, and if he has not, there is no need to abolish the Jew.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>RAINER MARIA RILKE<\/p>\n<h3><em>The Future<\/em><\/h3>\n<p>The future: time\u2019s excuse<\/p>\n<p>to frighten us; too vast<\/p>\n<p>a project, too large a morsel<\/p>\n<p>for the heart\u2019s mouth.<\/p>\n<p>Future, who won\u2019t wait for you?<\/p>\n<p>Everyone is going there.<\/p>\n<p>It suffices you to deepen<\/p>\n<p>the absence that we are.<br \/>\n&#8211; Translated by A. Poulin<\/p>\n<p>&nbsp;<\/p>\n<p>ANUL IBSEN 2006 IN ROM\u00c2NIA<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">Luni, 28 noiembrie 2005, a fost lansat Anul Ibsen 2006 \u00een Rom\u00e2nia. Scena \u00eent\u00e2lnirii a fost sala \u201eIstrate Micescu\u201d a Bibliotecii Pedagogice Na\u0163ionale \u201eI.C. Petrescu\u201d din Bucure\u015fti. E.S. dl. Leif Arne Ulland, ambasadorul Norvegiei \u00een \u0163ara noastr\u0103, a schi\u0163at paleta evenimentelor centenarului mor\u0163ii lui Henrik Ibsen (1928-1906), p\u0103rintele dramei moderne, \u00een Norvegia \u015fi \u00een toat\u0103 lumea. Sentimentul special rom\u00e2nesc \u00een fa\u0163a teatrului ibsenian, \u00een care Liviu Rebreanu a v\u0103zut chiar un cult, este \u00eenc\u0103 viu.<\/p>\n<p style=\"text-align: justify;\">Ambasadorul a f\u0103cut o remarc\u0103 special\u0103 \u00een leg\u0103tur\u0103 cu Festivalul Interna\u0163ional de Teatru ibsenian, programat pentru 7-14 mai 2006 la Teatrul \u201eVasile Alecsandri\u201d din Ia\u015fi.<\/p>\n<p style=\"text-align: justify;\">Un specatacol interna\u0163ional cu <em>Per Gynt<\/em> va fi produs \u00een Egipt, \u00een fa\u0163a Sfinxului. O alt\u0103 reprezentare va fi sus\u0163inut\u0103 de Opera din Shanhai, \u00een exclusivitate cu protagoniste feminine. De altfel, sub titulatura \u201eFemeile lui Ibsen\u201d un grup de actri\u0163e de teatru \u015fi de film se vor reuni la Oslo pentru a-l s\u0103rb\u0103tori pe creatorul neuitatelor Nora, Hedda, Ellida \u015fi al altor personaje feminine.<\/p>\n<p style=\"text-align: justify;\">Dr. Sanda Tomescu-Baciu, cu doctorat dedicat lui Ibsen (<em>Per Gynt<\/em>), a recitat \u00een norvegian\u0103 \u015fi rom\u00e2n\u0103 poemul <em>Absen\u0163\u0103<\/em>.<\/p>\n<p style=\"text-align: justify;\">Prof. Ovidiu Drimba s-a referit la noutatea tehnicii dramatice a lui Ibsen, schimbarea teatrului de intrig\u0103 \u00een teatru de idei. \u00cenc\u0103 \u00een timpul vie\u0163ii lui Ibsen s-au jucat \u00een Rom\u00e2nia opt dintre piesele sale, influen\u0163a sa merg\u00e2nd de la modestele scrieri semnate Sofia N\u0103dejde, Haralamb Lecca, Ronetti Roman p\u00e2n\u0103 la Camil Petrescu.<\/p>\n<p style=\"text-align: justify;\">Ibsen, al\u0103turi de Schakespeare \u015fi Cehov, este cel mai jucat autor \u00een Rom\u00e2nia, a precizat regizoarea Sorana Coroam\u0103 Stanca, pe toate marile scene, ca \u015fi pe cele restr\u00e2nse, de obicei foarte bine. Exist\u0103 o apeten\u0163\u0103 a teatrului rom\u00e2nesc pentru nord. \u00cen spectacologia rom\u00e2n\u0103, nordicii au prioritate. Ibsen este un preferat. Pun\u00e2nd \u00een scen\u0103 <em>Ra\u0163a s\u0103lbatic\u0103<\/em>, dna Sorana Coroam\u0103 Stanca a folosit numeroase versiuni ale piesei, ajung\u00e2nd la individualizarea lingvistic\u0103 a fiec\u0103rui personaj.<\/p>\n<p style=\"text-align: justify;\">De\u015fi \u00ee\u015fi dorise \u00eenc\u0103 de student\u0103 s\u0103 interpereteze <em>Nora<\/em>, actri\u0163a Irina Petrescu a m\u0103rturisit c\u0103 urm\u00e2nd sfatul maestrului ei Ion \u015eahighian, s-a apropiat de Ibsen t\u00e2rziu, la maturitate, v\u0103z\u00e2ndu-se potrivit\u0103 \u00een rolul mamei lui Brand. Pentru dna Irina Petrescu, prototipurile de actri\u0163e \u201eIbsen\u201d sunt Leopoldina B\u0103l\u0103nu\u0163\u0103, Gina Patrichi, Valeria Seciu.<\/p>\n<p style=\"text-align: justify;\">Potrivit lui Armand Steriadi, \u00een arta plastic\u0103 rom\u00e2neasc\u0103 Irina Codreanu, Florica Cociunga \u015fi Ligia Macovei au fost inspirate de vibra\u0163ia ibsenian\u0103 a marmorei la impulsul g\u00e2ndirii. \u015ei Istrate Micescu l-a cunoscut pe Ibsen, crede Sorin Stratilat.<\/p>\n<p style=\"text-align: justify;\">A fost lansat volumul <em>Ibsenienii<\/em> de George Anca, prezentat de prof. Nestor Ignat \u015fi poetul ecuadorian Wladimir Pesantez, care a conchis: \u201e\u00eentr-un fel to\u0163i suntem ibsenieni\u201d.<\/p>\n<p style=\"text-align: justify;\">Avem nevoie de c\u0103r\u0163i despre Ibsen \u015fi este de sperat c\u0103 anul\u00a0 2006, al centanarului Ibsen, va aduce nout\u0103\u0163i remarcabile.<\/p>\n<p style=\"text-align: justify;\">Momentul teatral interpretat de actorii Irina Velcescu \u015fi Vasile Menzel s-a vrut o premier\u0103 \u00een exprimarea temei \u201eDe la nefiin\u0163\u0103 la fiin\u0163\u0103\u201d \u00een piesa \u201eC\u00e2nd din nefiin\u0163\u0103 ne veghem\u201d\/ No\u00b0 r vi d\u01ffde v\u00e5gner\/ de Henrik Ibsen \u015fi \u201eColoana nesf\u00e2r\u015f\u0103t\u0103 de Mircea Eliade (aceasta din urm\u0103 regizat\u0103, \u00een premier\u0103 mondial\u0103, cu ani \u00een urm\u0103, de Mihai Velcescu).<\/p>\n<p style=\"text-align: justify;\">Cel mai frecvent nume al lans\u0103rii Anului Ibsen \u00een Rom\u00e2nia a fost cel din ultima pies\u0103 a sa: Irene.<\/p>\n<p style=\"text-align: justify;\">\n<p>TO H.E. LEIF ARNE ULLAND, AMBASSADOR OF NORWAY IN ROMANIA<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">I am grateful to<\/p>\n<p style=\"text-align: justify;\"><em>Your Excellency<\/em>,<\/p>\n<p style=\"text-align: justify;\">for opening Ibsen Year 2006 in Romania,<\/p>\n<p style=\"text-align: justify;\">in the National Pedagogical Library<\/p>\n<p style=\"text-align: justify;\">(the house of a former Romanian minister of Foreign Affairs, Istrate Micescu),<\/p>\n<p style=\"text-align: justify;\">on 28th November 2005.<\/p>\n<p style=\"text-align: justify;\">The minister of External Affaires, H.E. Mr. Razvan Ungureanu wrote to us he wanted to be present, if not having to be in China.<\/p>\n<p style=\"text-align: justify;\">We are going to publish in our journal TRIVIUM excerpts from the speeches and I do hope Your Excellency will e-mail on my address your own, enlightening forword uttered\u00a0\u00a0yesterday. I asked also Dr. Sanda Tomescu to e-mail original Ibsen poem Absence and her translation of the same.<\/p>\n<p style=\"text-align: justify;\">Hopefully, with your given hand, from now on, the Ibsenians will grow\u00a0within living conscience of my fellowcountymen, confirming through a second centenary Romanian Ibsen cult as stated by Liviu Rebreanu in the 1928 birth centenary in Oslo.<\/p>\n<p style=\"text-align: justify;\">With high regards and Season&#8217;s Greetings,<\/p>\n<p style=\"text-align: justify;\">Yours sincerely,<\/p>\n<p style=\"text-align: justify;\">Dr. George Anca,<\/p>\n<p style=\"text-align: justify;\">Director general of National Pedagogical Library<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">Thank you very much for the well-organized and fruitful seminar yesterday on &#8220;The Ibsenbians&#8221; and the opening of the Ibsen 2006 in Bucharest. Please\u00a0find enclosed\u00a0the basis for my comments at the opening.<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">With my\u00a0best wishes\u00a0and personal regards,<\/p>\n<p>&nbsp;<\/p>\n<p>Leif A. Ulland<\/p>\n<p>&nbsp;<\/p>\n<p>Mr. Leif Arne Ulland<br \/>\nAmbassador<br \/>\nRoyal Norwegian Embassy<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>ALEXANDRU MACEDONSKI<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>C\u0103tre viitorime<\/em><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Voi, care va veti naste de-aci-intr-un veac sau doi,<br \/>\nVoind s-aveti stiinta de cine-am fost si noi,<br \/>\nLuand spre deslusire istoria, \u2014 indata<br \/>\nSimtirea noastra-ntreaga, de fala imbatata,<br \/>\nStriga-va: \u201eCa strabunii sa fim de gloriosi,<br \/>\nPe cand am fost cu totii misei sau ticalosi.\u201c<br \/>\nMai mult decat minciuna nimica nu rapune<br \/>\nE aspru adevarul, dar trebuie a-l spune:<br \/>\nDa, tara noastra toata, din cap pan\u2019 la sfarsit<br \/>\nIn zilele de astazi e starvul otravit,<br \/>\nDin care santu soare cu flacara-i suava<br \/>\nNu poate sa mai scoata nimic decat otrava.<\/p>\n<p>Si misuie asupra-i un sir de viermi gretosi<br \/>\nCe-l sug pana la oase satui dar lipiciosi,<br \/>\nBlestem care desigur isi are inceputul,<br \/>\nIsi are si prezentul, isi are si trecutul,<br \/>\nPe cand sfarsitul, \u2014 zilnic chemat si nesosit,<br \/>\nSe pierde printre veacuri, ramane neghicit.<br \/>\nDar cum? Din timpul nostru nimic nu va ramane<br \/>\nCa moaste respectate a zilelor batrane?<br \/>\nCe? Zidurile Plevnei de sine au cazut<br \/>\nSi moar ta ne-a fost tara soldati cand am avut?<br \/>\nCe? Poate sa existe mai mare barbatie<br \/>\nDecat sa-ti dai sfarsitul pe camp de batalie?<br \/>\nEi! Da. Prin vant, pe zloata, f lamanzi si dezbracati,<br \/>\nMartirii ce avuram raman necontestati<br \/>\nZburara, se luptara, murira; foarte bine:<br \/>\nE drept ca au fost ieftini cu sangele din vine,<br \/>\nE drept ca fiecare a fost un semizeu,<br \/>\nDar pentru ce, si cine, nu stiu nici ei, nici eu.<br \/>\nUrmasi, oricat de mare veti crede-a noastra fala,<br \/>\nFeriti-va de-a trece sub poarta triumfala<br \/>\nPrin care-aceasta tara de-un veac a defilat,<br \/>\nCaci daca avem astazi si rege si regat,<br \/>\nPutem de azi pe maine s-avem si-mparatie,<br \/>\nDar fara libertate si fara Romanie.<\/p>\n<p>&nbsp;<\/p>\n<p>GEORGE BACOVIA<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Serenada muncitorului<\/em><\/strong><\/p>\n<p>Eu sunt un monstru pentru voi<br \/>\nUrzind un dor de vremuri noi,<br \/>\n\u015ei-n lumea voastr\u0103-abia \u00eencap&#8230;<br \/>\nDar am s\u0103 dau cur\u00e2nd la cap.<\/p>\n<p>O, dormi ad\u00e2nc, mereu, a\u015fa,<br \/>\n\u00cen vise dulci, hidos burghez,<br \/>\nOft\u00e2nd, palate de-\u0163i lucrez,<br \/>\nEu \u015ftiu \u015fi bine-a d\u0103r\u00e2ma.<\/p>\n<p>\u00cen noaptea asta, iat\u0103, sun\u0103<br \/>\nO serenad\u0103 din topor,<br \/>\nAman\u0163ilor pierdu\u0163i sub lun\u0103,<br \/>\nPoe\u0163i cu putredul amor.<\/p>\n<p>O, dormi \u00een noaptea infinit\u0103,<br \/>\nBurghez cu aer triumfal,<br \/>\nDar preistoric animal<br \/>\n\u00cen ra\u0163iunea aurit\u0103.<\/p>\n<p>Sub luna blond\u0103 nu se pl\u00e2nge,<br \/>\nCi r\u0103zbun\u0103rile se curm\u0103,<br \/>\nMartirilor sc\u0103lda\u0163i \u00een s\u00e2nge,<br \/>\nC\u00e2nt serenada cea din urm\u0103.<\/p>\n<p>O, dormi&#8230; dar voi urca spre soare<br \/>\n\u00cen zbor sublim de-aeroplan&#8230;<br \/>\nCu vise dulci, burghez tiran:<br \/>\nE aurora-ngrozitoare&#8230;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p align=\"center\">George Anca<\/p>\n<p align=\"center\">APOLLO \u00ceN OLTENIA<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\">\u201cOmul a venit \u00een contact mai \u00eent\u00e2i cu zgomotul \u015fi apoi cu sunetul muzical\u201d (Ion Dumitrescu, vide <em>Un clasic modern Ion Dumitrescu<\/em>, Editura Academiei Rom\u00e2ne, 2006). Richard Wagner se intereseaz\u0103 \u201edac\u0103 ave\u0163i \u00een Bucure\u015fti o orchestr\u0103 care s\u0103 poat\u0103 interpreta bini\u015for o simfonie de Beethoven\u201d &#8211; t\u0103cere &#8211; \u201eei bine, domnul meu, nu sunte\u0163i \u00eenc\u0103 civiliza\u0163i\u201d. \u201eOmul se poate considera civilizat numai \u00een m\u0103sura \u00een care \u00een\u0163elege un suflet de pisic\u0103\u201d (Bernard Shaw). \u201eNu se poate muzician f\u0103r\u0103 pisic\u0103\u201d (Cecilia Ni\u0163ulescu-Lupu). Wagner \u201ecaut\u0103 efecte noi acolo unde nu se g\u0103sesc dec\u00e2t defecte \u015fi neant\u201d. (Nicolae Filimon)<\/p>\n<p style=\"text-align: justify;\">Toate citate de Ion Dumitrescu, \u00een filele sale de calendar, ca \u015fi din p\u0103rintele profesor Nae Popescu (era preferatul nostru\u201d): \u201e\u015ei s-a suit Nicodim-Sf\u00e2ntul la Tismana, pe-un buric de munte, la locul ce-i zicea &#8216;La Pi\u015f\u0103toare&#8217;, c\u0103 izvodea fir de ap\u0103 limpede ce se pr\u0103v\u0103lea \u00een pr\u0103pastie, \u015fi-a ales acolo scaun de m\u00e2n\u0103stire\u201d. Compozitorul membru al Institutului Fran\u0163ei: \u201etrebuie c\u0103 se \u00eent\u00e2mpl\u0103 ceva misterios \u00een Oltenia, acolo, \u00een ad\u00e2ncurile de unde pornesc iradia\u0163iile emo\u0163ionale care transform\u0103 c\u00e2ntecele \u00een vr\u0103ji, \u015fi c\u00e2nt\u0103re\u0163ele \u00een p\u0103s\u0103ri m\u0103iestre\u201d.<\/p>\n<p style=\"text-align: justify;\">Ilinca Dumitrescu, \u00eentr-un interviu: \u201eFratele tat\u0103lui meu a fost compozitorul Gheorghe Dumitrescu. Cei trei veri primari \u2013 muzicieni: violonistul \u015fi compozitorul \u015etefan Rodescu (stabilit la Paris de mul\u0163i ani, concert-maestru solist al uneia dintre cele mai importante orchestre franceze \u2013 \u201e\u00cele-de-France\u201d) \u015fi so\u0163ia sa, Marie-Laure, violonist\u0103 de origine francez\u0103; pianistul \u015fi compozitorul Tudor Dumitrescu, disp\u0103rut tragic la cutremurul din 1977; pianista \u015fi profesoara Oana Velcovici-R\u0103dulescu \u015fi so\u0163ul s\u0103u Corneliu R\u0103dulescu, la r\u00e2ndul s\u0103u pianist \u015fi profesor. A\u015f mai aminti \u015fi pe unchiul Alexandru \u015eerban, actor, societar al Teatrului Na\u0163ional din Cluj, frate al bunicului meu din partea mamei, Nicolae \u015eerban. Sau, \u015fi mai demult, \u00een sec. al XIX-lea, pe pictorul Dumitru Marinescu \u2013 rud\u0103 din partea bunicii mele materne \u2013, stabilit \u00een Fran\u0163a \u015fi av\u00e2nd carier\u0103 \u00een epoc\u0103. Mai sunt \u015fi al\u0163ii, familia mea are multe ramifica\u0163ii. \/&#8230;\/ \u015ei, a\u015fa cum spunea mama mea \u00een poezia \u201eLeb\u0103da\u201d: \u201eG\u00e2tul t\u0103u,\/ Ca o crava\u015f\u0103 de filde\u015f,\/ \u0162ine-l drept peste ape\u2026\/\/ Ochiul t\u0103u, \/ \u0162int\u0103 spre cer \u2026\/ Ceru-i aproape\u2026\/\/ Str\u00e2nge umbra florilor\/ Sub aripa ta,\/ \u015ei prive\u015fte mereu spre \u00eenalt,\/ Sufletul meu, \/ Leb\u0103da mea\u2026\u201d. O poezie-testament.\u201d<\/p>\n<p style=\"text-align: justify;\">\u201cGheorghe Dumitrescu (1914-1996)<strong> <\/strong>face parte dintre acei compozitori care s-au identificat cu spiritual c\u00e2ntecului popular rom\u00e2nesc \u015fi a creat \u00een acest sens un num\u0103r mare de lucr\u0103ri cantabile, simple, deosebit de accesibile<strong>. <\/strong>Lista opusurilor sale de-a dreptul impresionant\u0103, cuprinz\u00e2nd toate genurile musicale;c\u00e2ntece de mas\u0103, muzic\u0103 instrumental\u0103, muzic\u0103 de camer\u0103, lucr\u0103ri simfonice, lucr\u0103ri concertante, ample opera \u015fi oratorii, muzic\u0103 de scen\u0103, \u015fi muzic\u0103 de film. Muzica vocal\u0103 &#8211; \u015fi mai ales cea coral\u0103- constituie o dimensiune important\u0103 a crea\u0163iei sale, cea mai apropiat\u0103 de temperamental s\u0103u artistic, \u015fi con\u0163ine un num\u0103r mare de piese concepute pentru cor de voci egale, cor mixt \u015fi cor b\u0103rb\u0103tesc. Multe din crea\u0163iile sale corale au fost incluse \u00een crea\u0163iile sale vocal-simfonice \u015fi de oper\u0103: oratoriul <em>Tudor Vladimirescu, Cantata festiv\u0103, <\/em>operele <em>Ion Vod\u0103 cel cumplit, Me\u015fterul Manole, <\/em>dar \u015fi crea\u0163ii a cappella: <em>Foicica bobului, C\u00e2ntec din Oa\u015f, C\u00e2ntecele Oltului.<\/em>\u201d<\/p>\n<p style=\"text-align: justify;\">Tudor Dumitrescu a debutat \u00een calitate de pianist \u00een timpul liceului, particip\u00e2nd la concertele de tineret sus\u0163inute de <a>Ateneul Rom\u00e2n<\/a>. Au urmat recitaluri la Radioteleviziune \u015fi participarea la Festivalul Na\u0163ional al Tinerilor Muzicieni. De-a lungul carierei sale, sus\u0163ine \u00een \u0163ar\u0103 recitaluri individuale, al\u0103turi de <a>orchestre<\/a> simfonice (Bucure\u015fti, <a>Cluj-Napoca<\/a>, <a>Satu Mare<\/a>, <a>Craiova<\/a>, <a>Timi\u015foara<\/a>, <a>Ia\u015fi<\/a>, <a>Sibiu<\/a>, <a>Gala\u0163i<\/a>) sau \u00een diferite <a>ansambluri<\/a> <a>camerale<\/a>. Este prezent \u00een <a>emisiuni radiofonice<\/a> \u015fi <a>televizate<\/a>. Este remarcat pentru prima oar\u0103 \u00een afara \u0163\u0103rii la edi\u0163ia din 1973 a Festivalului Interforum, organizat la <a>Fert\u0151d<\/a>, <a>Ungaria<\/a>; piesa cu care intr\u0103 \u00een concurs este <em>Sonata<\/em> de <a>Franz Liszt<\/a>.<a href=\"#cite_note-sbarcea-205-2\">[<\/a> Peste hotare, mai sus\u0163ine recitaluri la Weimar, Geneva \u015fi \u00een <a>Polonia<\/a>, fiind acompaniat de filarmonicele din <a>Jena<\/a> \u015fi Weimar. Repertoriul s\u0103u include <a>lucr\u0103ri<\/a> de <a>Domenico Scarlatti<\/a>, <a>Johann Sebastian Bach<\/a>, <a>Joseph Haydn<\/a>, <a>Ludwig van Beethoven<\/a>, <a>Fr\u00e9d\u00e9ric Chopin<\/a>, <a>Franz Liszt<\/a>, <a>Johannes Brahms<\/a>, <a>Piotr Ilici Ceaikovski<\/a>, <a>Serghei Rahmaninov<\/a>, <a>Alecsandr Skriabin<\/a>, <a>Serghei Prokofiev<\/a>, <a>George Enescu<\/a> etc. <a>Discografia<\/a> sa cuprinde \u00eenregistr\u0103ri din concert efectuate de <a>Radiodifuziunea Rom\u00e2n\u0103<\/a>.<\/p>\n<p style=\"text-align: justify;\">T\u00e2n\u0103rul compozitor a scris piese pentru <a>pian<\/a>, <a>lieduri<\/a>, o lucrare pentru <a>violoncel<\/a> solo, un <a>sextet<\/a> pentru <a>corn francez<\/a> \u015fi <a>coarde<\/a> \u015f.a. \u00cen viziunea compozitorului <a>Doru Popovici<\/a>, muzicii lui Dumitrescu \u201e<em>nu-i lipse\u015fte cantabilitatea de ampl\u0103 respira\u0163ie, dup\u0103 cum nici combina\u0163iile <\/em><a>armonice<\/a><em> <\/em><a>cromatice<\/a><em> \u00eendr\u0103zne\u0163e nu \u00eei sunt necunoscute. Relev\u0103 o mare afinitate pentru varietatea <\/em><a>ritmic\u0103<\/a><em> \u015fi <\/em><a>timbral\u0103<\/a><em> \u015fi, totodat\u0103, un apreciabil sim\u0163 al <\/em><a>arhitecturii<\/a><em>. Muzica lui \u2013 ca \u015fi arta-i interpretativ\u0103 \u2013 se \u00eenscrie \u00een orbita unui <\/em><a>neoromantism<\/a><em> cu nostalgii <\/em><a>clasice<\/a><em>. Nu odat\u0103 recurge la <\/em><a>intona\u0163ii populare<\/a><em>, pe care reu\u015fe\u015fte s\u0103 le \u00ab<\/em><a>alchemizeze<\/a><em>\u00bb \u015fi s\u0103 le integreze expresiv \u00een nelini\u015ftitul s\u0103u discurs sonor.<\/em>\u201d<\/p>\n<p style=\"text-align: justify;\">Ultimul proiect de program al lui Dumitrescu, redactat cu c\u00e2teva zile \u00eenaintea cutremurului, viza un recital pianistic la Ateneul Rom\u00e2n, \u00een luna aprilie. El cuprindea Sonatele op. 9, nr. 4 (\u00een Mi\u00a0\u00a0 \u00a0\u00a0major) \u015fi op. 10, nr. 2 (\u00een Re major) de Ludwig van Beethoven \u015fi Sonata \u00een fa minor, op. 5, de Johannes Brahms.<\/p>\n<p style=\"text-align: justify;\"><a href=\"#cite_note-sbarcea-206-1\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ilinca Dumitrescu are o discografie semnificativ\u0103, \u00een Rom\u00e2nia \u015fi S.U.A., cu lucr\u0103ri de Scarlatti (cele 14 Sonate au fost considerate \u00een 1986 de c\u0103tre &#8220;International Record Critics Award&#8221;, reunit la New York, printre cele mai bune albume ale anului, st\u00e2nd al\u0103turi de cele ale unor Emil Gilels, Radu Lupu, Murray Perahia, Bernard Haitink, Claudio Abbado, Riccardo Muti, Mstislav Rostropovici, Placido Domingo, cf. articolului &#8220;Cele mai bune discuri ale anului&#8221; \u00een &#8220;Journal de Gen\u00e8ve&#8221;,19 iulie 1986), Mozart, Beethoven, Schumann, Liszt, Enescu. Repertoriul s\u0103u extrem de vast include lucr\u0103ri din epoci \u015fi stiluri diverse &#8211; concerte cu orchestr\u0103 (marile opusuri din crea\u0163ia clasic\u0103 \u015fi romantic\u0103), piese de recital solo (printre care programe de autor &#8211; Bach, Scarlatti, Mozart, Beethoven, Chopin, Schumann, Schubert), muzic\u0103 de camer\u0103, lied, o preocupare aparte fiind promovarea muzicii rom\u00e2ne\u015fti clasice \u015fi contemporane, dar \u015fi a crea\u0163iei universale din sec.XX.<br \/>\n<\/a>Iar familia Dumitrescu. M\u0103 g\u00e2ndisem, actually, la imnuri. De ce v\u0103zusem skalzii epici, p\u00e2n\u0103 la Wagner, printre himnodi\u015fti? Atunci \u015fi <em>Poem psaltic <\/em>(1940) de Gheorghe Dumitrescu ori <em>Symphony of Psalms <\/em>de Igor Stravinsky. Iar\u0103\u015fi Homer, protoepic, muzical, cu Phoebus Apollo (de tine c\u00e2nt\u0103 \u015fi leb\u0103da cu voce limpede b\u0103t\u00e2nd din aripi), Apollo Pythianul (c\u00e2nd \u00ee\u015fi \u00eenstruneaz\u0103 lira \u00een imnuri despre darurile zeilor \u015fi suferin\u0163ele oamenilor, Gra\u0163iile pletoase \u015fi anotimpurile vesele danseaz\u0103 cu Armonia, Hebe, Afrodita), Apollo Delianu (cel mai dulce c\u00e2nt\u0103re\u0163, orbul din st\u00e2ncosul Chios), nu f\u0103r\u0103 Pan (pantes &#8211; delect\u00e2nd toate inimile cu fluierele-i de trestie, ne\u00eentrecut nici de p\u0103s\u0103ri, \u00eentre coruri de nimfe \u015fi ecouri).<\/p>\n<p style=\"text-align: justify;\">\u00cen Vede, nada este \u015fi sunet \u015fi zgomot. Ca \u015fi logosul, shabda Brahman este dumnezeul cuv\u00e2nt. Universul se na\u015fte din sunet \u015fi dispare prin el. Agni, te chem \u2013 \u00eencepe Rigveda. Om, glorie \u00eentru Samaveda . Revars\u0103-te, o, Soma, dulce degustului lui Indra (\u00eentreaga mandala\/cartea a 9-a a <em>Rigveda<\/em>, ca \u015fi bun\u0103 parte din <em>Samaveda<\/em> sunt dedicate po\u0163iunii mistice Soma Pavamana). Faraonicul Anten glorific\u0103 soarele divin \u2013 o, singur zeu, cum altul nu mai este \u2013 \u00een consonan\u0163\u0103 cu Psalmul 104.<\/p>\n<p style=\"text-align: justify;\">Soma olteneasc\u0103 va fi transform\u00e2nd muzica \u015fi \u00een doctorate e.g.:<\/p>\n<p style=\"text-align: justify;\"><em>Ion Dumitrescu \u2013 Idealuri \u015fi afirm\u0103ri \u2013 <\/em>Lumini\u0163a-Carmen Gheorghe (\u201eSe remarc\u0103 op\u0163iunea sa pentru estetica clasic\u0103 (\u00een crea\u0163ia simfonic\u0103 predomin\u0103 forma de sonat\u0103, suit\u0103, lied), care se \u00eembin\u0103 cu predilec\u0163ia pentru genuri populare specifice folclorului rom\u00e2nesc (doina, balada, c\u00e2ntecul \u015fi jocul popular)\u201d;<\/p>\n<p style=\"text-align: justify;\"><em>Dramaturgia \u015fi retorica muzicii \u00een liturghie, \u00een c\u00e2ntul vocal cultic cre\u015ftin \u2013 <\/em>Theodore Coresi (\u201e&#8230;lucrarea focalizeaz\u0103 valori ale muzicii de cult \u00een limba greac\u0103, latin\u0103, german\u0103 \u2013 ca expresii ale celor trei mari confesiuni \u2013 la care se adaug\u0103 limba francez\u0103, rus\u0103, bulgar\u0103 \u015fi mai ales rom\u00e2n\u0103. Toate lucr\u0103rile analizate sunt urm\u0103rite din punctele de vedere ale evolu\u0163iei retoricii \u015fi dramaturgiei, sco\u0163\u00e2nd \u00een eviden\u0163\u0103 tr\u0103s\u0103turi stilistice inedite, utile unor interpret\u0103ri adecvate din perspective ecumenice.\u201d);<\/p>\n<p style=\"text-align: justify;\"><em>Mariologia \u00een muzica rom\u00e2neasc\u0103 de tradi\u0163ie bizantin\u0103, sec. XIX-XX\u00a0 &#8211; <\/em>Eugen-Dan Dr\u0103goi (\u201elucrarea de fa\u0163\u0103, prin structura ei \u015fi modul \u00een care \u00eembin\u0103 abord\u0103ri diferite (teologie dogmatic\u0103, traductologie, istorie a cultului, muzicologie, bizantinologie etc.) reu\u015fe\u015fte s\u0103 impun\u0103 o nou\u0103 privire asupra unui vast domeniu de cercetare cum este mariologia muzical\u0103 rom\u00e2neasc\u0103 de tradi\u0163ie bizantin\u0103, dintr-o perspectiv\u0103 transdisciplinar\u0103 \u015fi integratoare.\u201d);<\/p>\n<p style=\"text-align: justify;\"><em>Armonica de gur\u0103 \u2013 aceast\u0103 necunoscut\u0103 \u2013<\/em><strong> <\/strong>Cornel Ionescu;<\/p>\n<p style=\"text-align: justify;\"><em>Cultura muzical\u0103 rom\u00e2neasc\u0103 de tradi\u0163ie rom\u00e2neasc\u0103 bizantin\u0103 din zona Neam\u0163 \u2013 secolele XVIII \u2013 XX\u00a0 &#8211; <\/em>Pavel Lungu (\u201e \u00cen partea a II-a intitulat\u0103 \u201eReprezentan\u0163ii culturii muzicale de tradi\u0163ie bizantin\u0103 din M\u00e2n\u0103stirea Neam\u0163 de la \u00eenceputul secolului al XVIII-lea p\u00e2n\u0103 la 1819\u201d sunt prezenta\u0163i: Anastasie Vaias, Iosif Moldoveanul Schismonahul, Zosimo Monahul, Theodor Popovici, Visarion Ieromonahul, Dorothei Iordachin Ieromonahul, Agapie R\u00e2scanu Schismonahul. Apoi se refer\u0103 la contribu\u0163iile altor personalit\u0103\u0163i monahale de la m\u00e2n\u0103stirile din zona Neam\u0163 \u2013 Bistri\u0163a \u2013 Ceahl\u0103u, pentru a \u00eencheia cu seminariile monahale \u015fi \u015fcolile biserice\u015fti de la M\u00e2n\u0103stirea Neam\u0163.\u201d);<\/p>\n<p style=\"text-align: justify;\"><em>Muzica un reper al interpret\u0103rii actorice\u015fti \u2013 <\/em>Mitic\u0103 Lupu (\u201eteatrul ca muzic\u0103, filmul muzical, spectacolul muzical de televiziune, teatrul muzical. Lucrarea se \u00eencheie cu problemele aplicative ale form\u0103rii interpret\u0103rii actorice\u015fti prin muzic\u0103: vocea \u015fi tehnica vocal\u0103, urechea, dramaturgia muzical\u0103 \u015fi preg\u0103tirea spectacolului.);<\/p>\n<p style=\"text-align: justify;\"><em>Colindul tradi\u0163ional din M\u0103rginimea Sibiului \u2013<\/em> Paul Valentin Miereanu;<\/p>\n<p style=\"text-align: justify;\"><em>Vocea uman\u0103 \u00een complexul instrumentelor muzicale \u2013 <\/em>Radu Mihu\u0163;<\/p>\n<p style=\"text-align: justify;\"><em>Muzica \u00een paginile scriitorilor rom\u00e2ni interbelici \u2013 Lucian Blaga, Eugen Ionescu, Mircea Eliade \u015fi Emil Cioran \u2013 <\/em>Lumini\u0163a-Heliana Munteanu (\u201eGeniul reprezentativ al lui Lucian Blaga \u015fi triada Mircea Eliade, Eugen Ionescu \u015fi Emil Cioran se constituie \u00eentr-un savant contrapunct al unicit\u0103\u0163ii at\u00e2t de complexe a unei biografii culturale. La cap\u0103tul unui parcurs pe c\u00e2t de complicat, pe at\u00e2t de incitant s-a deschis o \u201ecale estetic\u0103\u201d a perceperii fenomenului muzical, \u00eenscris \u00een practica artei, \u015fi structurarea experien\u0163ei comune a domeniului artistic. Filozofia lor are ca raz\u0103 de ac\u0163iune deplin\u0103 arta, abstractizarea artistic\u0103 \u015fi metafora muzical\u0103 \u00een ordinea sensibilit\u0103\u0163ii metafizice. Imagina\u0163ia artistic\u0103 \u015fi creativitatea religioas\u0103 ce vorbesc despre <em>sens<\/em>, ar putea s\u0103 apropie diversitatea \u015fi unicitatea limbajului de idei \u015fi indic\u0103 o angajare \u2013 specific\u0103 temperamentului fiec\u0103ruia dintre ei \u2013 febril\u0103 \u00een opera\u0163ii intelectuale al c\u0103ror scop final este recunoa\u015fterea \u015fi restituirea esen\u0163ei muzici, o pledoarie pentru diversitate \u015fi creativitate.\u201d)<\/p>\n<p style=\"text-align: justify;\">Rcunoa\u015fte-voi tare \u015fi mare, Ahuramzda (Zarathustra). Adaosul imnografic incon\u015ftient de pe aici va fi d\u00e2nd \u015fah m\u0103re\u0163ului tabu ori bumerang ori totem: \u201eComuni\u015ftii transformaser\u0103 <em>Bibliile <\/em>\u00een h\u00e2rtie igienic\u0103, Democra\u0163ia \u00eeneac\u0103 literatura \u00een l\u0103turile pornografiei\u201d (Ion Dumitrescu, 1993)<\/p>\n<p style=\"text-align: justify;\">\n<p>&nbsp;<\/p>\n<p>NICHITA\u00a0 ST\u0102NESCU<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Polul viitorului<\/em><\/strong><\/p>\n<p><strong><em>\u00a0<\/em><\/strong><\/p>\n<p>Miine, chiar miine,<br \/>\nnu mai departe decit miine<br \/>\ncind zorii<br \/>\nridicindu-se pe orizont vor vesti:<br \/>\nIata,<br \/>\naceasta e ziua de miine!<br \/>\nNoi ii vom spune, &#8211;<br \/>\no, te cunoastem<br \/>\nca pe o amintire din copilarie.<br \/>\nTu ai fost in mijlocul nostru<br \/>\nmereu,<br \/>\niti stim statura si chiar<br \/>\ntoate obiceiurile tale.<br \/>\nCumva,<br \/>\nil cunoastem chiar si pe cel<br \/>\ncare urmeaza sa vina dupa tine, \u2014<br \/>\nil cunoastem<br \/>\nca pe o amintire petrecuta in adolescenta<br \/>\nFii bine venit aci,<br \/>\ntotul e pregatit sa te intimpine,<br \/>\ncasa pe care voiai s-o ridici<br \/>\ne gata inaltata;<br \/>\nnu-ti mai ramine decit<br \/>\nsa-ti alegi<br \/>\nunde, in care incapere ti-ar placea<br \/>\nsa locuiesti.<br \/>\nMiine, chiar miine,<br \/>\nnu mai departe decit miine<\/p>\n<p>vei spune si tu alaturi de noi<br \/>\nsau de fiii nostri,<br \/>\nsau de fiii fiilor nostri, &#8211;<br \/>\nca rosul acesta<br \/>\nal existentelor noastre<br \/>\ne rosul vertical,<br \/>\nrosu, rosu vertical,<br \/>\ncascada, panta de deal<br \/>\nsaltind din oul secundei<br \/>\novalul de ou,<br \/>\nsi infatisat noua<br \/>\nca un ecou<br \/>\npe care sfera-l intinde<br \/>\noricind si oriunde<br \/>\nnastere, zestre<br \/>\na lui<br \/>\nA FI schimbindu-se in<br \/>\nESTE.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><em>ION NICOLESCU <\/em><\/p>\n<p><em><strong>Alma Venus<\/strong><\/em><\/p>\n<p><em>noi cavaleri ai doinei noi liberi cetateni<\/em><br \/>\n<em>din dragoste ne nastem din soare si polen<\/em><br \/>\n<em>aluat al nemuririi pastori si militari<\/em><br \/>\n<em>cu podul palmei viata ne-o mangai si ne-o ari<\/em><br \/>\n<em>noi freamatul de codri noi lanciile lui<\/em><br \/>\n<em>noi nu suntem o tara onor a nimanui<\/em><\/p>\n<p><em>vom fi stramosii vostri urmasi ne tineti minte<\/em><br \/>\n<em>o clipa-n care-o mana de oameni si cuvinte<\/em><br \/>\n<em>au pus un pic de suflet un pic de tricolor<\/em><br \/>\n<em>ca sa-ti ramana toate in vis la locul lor<\/em><br \/>\n<em>ca sa-ti ramana hora oratia-n pridvor<\/em><br \/>\n<em>am pus si trup si suflet la inaltarea lor<\/em><\/p>\n<p><em>noi fiii tai nu ardem pe rug cuvinte mari<\/em><br \/>\n<em>noi te rugam cu piatra batrana de hotar<\/em><br \/>\n<em>noi te rugam cu brazda de sange de sub plug<\/em><br \/>\n<em>noi fiii tai nu ardem cuvinte mari pe rug<\/em><br \/>\n<em>noi fiii tai nu suntem a mare sau a mic<\/em><br \/>\n<em>noi te rugam cu viata si nu cerem nimic<\/em><\/p>\n<p><em>tot ce doreste tara asa se implineasca<\/em><br \/>\n<em>moldova si ardealul si tara romaneasca<\/em><br \/>\n<em>sa aiba vecinic pace si dragoste sa nasca<\/em><br \/>\n<em>moldova si ardealul si tara romaneasca<\/em><br \/>\n<em>moldova si ardealul si tara romaneasca<\/em><br \/>\n<em>copii frumosi si liberi si vivat sa traiasca<\/em><br \/>\n<em>Traiasca Romania Traiasca Tricolorul<\/em><br \/>\n<em>Traiasca \u2013 Alma Venus \u2013 Maria Sa Poporul<\/em><\/p>\n<p>&nbsp;<\/p>\n<p align=\"center\">ARTUR SILVESTRI, DE DOU\u0102 ORI OCULT(AT)<\/p>\n<p style=\"text-align: justify;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ocultul literar, are, sub comunismul t\u00e2rziu, un \u201ccuptor alchimistic\u201d \u00een scriitura lui Artur Silvestri, republicat, \u00een multe c\u0103r\u0163i, dup\u0103 1989, la Carpathia Press, cu minime addenda, dublat \u015fi de proza imobiliarului, un jurnalism literar arborat \u00een avangarda tranzi\u0163iei prelungite. Cl\u0103ditul parc\u0103 nu se putea s\u0103 nu se prelungeasc\u0103 \u00een publica\u0163ii virtuale, reconciliind, odat\u0103 \u00een plus, vechea \u201czicere de coduri\u201d cu \u201ceseismul\u201d noii scriituri specializate, amintindu-i scriitorului \u015fi afaceristului\/bussinesman (\u201ceu nu c\u00e2\u015ftig din c\u0103r\u0163i ci din afacere\u201d) de Vl\u0103dica Antonie Pl\u0103m\u0103deal\u0103, \u201csocotit de biseric\u0103 prea literat \u015fi de litera\u0163i prea bisericesc\u201d.<\/p>\n<p style=\"text-align: justify;\">De o parte, arhetipul c\u0103lug\u0103rilor sci\u0163i, originismul, rena\u015fterea isihast\u0103, br\u00e2ncovenismul literar, reconquista profetic\u0103 etc., de alt\u0103 parte, retrocedarea secolului, Rom\u00e2nia \u00een anul 2010, exerci\u0163ii de exorcism social, \u0163ara consultan\u0163ilor cu pistolul la br\u00e2u, \u015fase blocuri de 40 de etaje \u00een Her\u0103str\u0103u, \u00een locul Muzeului Satului etc. R\u0103m\u00e2nem, poate, \u00eentre cele dou\u0103 istorii \u2013 a ocupantului, a autohtonului -, flutur\u00e2ndu-ne \u201c\u00eenf\u0103\u0163i\u015fasrea Caesarului ocult, a protectorului tainic din vremea de dincolo de istorie\u201d, dar ne \u015fi retroced\u0103m, dintre \u201cincendiatorii semidoc\u0163i\u201d, retroculturii, \u201ctradi\u0163ie a blestemului antropologic\u201d, sau \u201crom\u00e2nitate de Ahasver\u201d. Ne va fi unind \u201cpatologia ne\u00eencrederii\u201d. \u201cSuntem \u00een <strong>spa\u0163iul fenomenului horal<\/strong>\u201d, \u00een Cucuteni, cu Mircea Vulc\u0103nescu \u015fi Romulus Vulc\u0103nescu (acesta r\u0103spunz\u00e2nd, la \u00eendemnul lui Gusti, spa\u0163iului mioritic al lui Blaga cu fenomenul horal). \u015ei cu Petrus Diaconus, \u201cpersonalitate enigmatic\u0103\u201d, \u015fi cu Petre Diaconu, de la P\u0103cui-Vicina.<\/p>\n<p style=\"text-align: justify;\">\u00cen fapt, adev\u0103rata literatur\u0103 a lui Artur Silvestri este cea din ocultul imobiliar (altoit pe anteriorul esoterism medievist-matein): \u201cToate otrepele ce trebuiau s\u0103-\u015fi afle locul \u00een &#8216;Curtea miracolelor&#8217; dau tonul azi \u015fi instituie o cenzur\u0103 f\u0103r\u0103 precedent prin efectele r\u0103sturn\u0103rii aproape complete de propor\u0163ii naturale. Uciga\u015fi, demolatori \u015fi paricizi, v\u00e2nz\u0103tori de iluzii \u015fi n\u0103scocitori de teme false, t\u0103inuitori \u015fi uneltitori m\u0103run\u0163i, de un l\u0103ut\u0103rism \u015focant prin chiar lipsa de talent \u00een c\u00e2ntatul dup\u0103 ureche, toat\u0103 aceast\u0103 <em>pegr\u0103 de \u015fcoal\u0103 nou\u0103<\/em> constituie o viermuial\u0103 de saturnalie contemporan\u0103 \u015fi de lupanar, unde pare c\u0103 lipsesc numai vr\u0103jitoarele c\u0103l\u0103rind pe m\u0103tur\u0103 spre a avea pictura de extrac\u0163ie infernal\u0103\u201d (<em>Prostologhikon. Vremea clownilor: cum se fabric\u0103 suprarealitatea de ziar<\/em>, 2008, p.4). \u201cPu\u0163ini \u00een\u0163eleg, \u00eens\u0103, c\u0103 pre\u0163ul secret al p\u00e2rjolului de la noi nu este o tem\u0103 ce prive\u015fte banii ci \u00eens\u0103\u015fi via\u0163a noastr\u0103 istoric\u0103, sacrificat\u0103 cu cinism de m\u00e2inile apuc\u0103toare ale c\u0103ror unghii vor trebui t\u0103iate \u00eentr-o zi, al\u0103turi de m\u00e2na toat\u0103 care a apucat\u201d (ibidem, p. 83).<\/p>\n<p style=\"text-align: justify;\">\u015ei totu\u015fi, \u00een volumul <em>Loc \u015fi persoan\u0103. Eseuri despre geografia tainic\u0103<\/em>, \u201cUtopia etnografic\u0103\u201d (1988) succede afinitar eseului \u201cDuhul locurilor\u201d (1990), \u00eenapoi, de la Marin Preda la Br\u00e2ncoveanu, via casa, \u201cRe\u015fedin\u0163a de la B\u0103neasa a Mare\u015falului Ion Antonescu s-a \u00een\u0103l\u0163at \u00een 1936 prin os\u00e2rdia arhitectului G.M. Cantacuzino \u015fi datorit\u0103 g\u00e2ndului p\u0103trunz\u0103tor al acestui intelectual a c\u0103rui redescoperire integral\u0103 r\u0103m\u00e2ne de \u00eemplinit. Privit\u0103 mai de departe, casa m\u0103rturise\u015fte urme ce o situeaz\u0103 \u00een prelungirea stilului br\u00e2ncovenesc, reprodus simbolic dup\u0103 sute de ani: pridvorul, ca un foi\u015for de cul\u0103 olteneasc\u0103, masivitatea auster\u0103 \u015fi totu\u015fi somptuoas\u0103, simetriile ce amintesc o <strong>voin\u0163\u0103 valah\u0103 de clasicitate<\/strong> ca \u015fi ornamenta\u0163iile \u00een stucaturi aurite ce dau chenarului unei ferestre dinspre r\u0103s\u0103rit o singularitate ne\u00eent\u00e2mpl\u0103toare \u2013 acestea apar\u0163in mai pu\u0163in lumii moderne \u015fi mai mult \u00eenceputului de secol XVIII \u00eenc\u0103 rom\u00e2nesc. Un bazin de form\u0103 dreptunghiular\u0103, cu ape moarte \u015fi invadate de nuferi \u015fi de p\u0103puri\u015f, aminte\u015fte de parcul de la Mogo\u015foaia \u015fi, \u00een totul, plute\u015fte \u2013 peste ape, ierburi \u015fi pietre \u2013 un duh al vremurilor br\u00e2ncovene\u015fti ce \u00eeng\u0103duie asemuiri mai profunde dec\u00e2t simpla examinare arhitectural\u0103\u201d. (<em>Loc \u015fi persoan\u0103<\/em>, p.18-19).<\/p>\n<p style=\"text-align: justify;\">Specularea patetic\u0103 a dimensiunii br\u00e2ncovene\u015fti a modelului rom\u00e2nesc &#8211; \u201c<strong>De fapt, am\u00e2ndoi sunt martirii unei Biserici ce nu s-a \u00eentemeiat\u201d &#8211; <\/strong>fusese precedat\u0103, \u00een alt registru, ocultat tot \u201c\u00een dou\u0103 limbi\u201d, de utopie: \u201c\u00cen definitiv, civiliza\u0163ia este \u00een Deliorman o desf\u0103\u015furare de coduri \u015fi este de la sine \u00een\u0163eles c\u0103 omul vie\u0163uie\u015fte \u00eentr-o lume de semne care adeseori spun repede \u015fi pe c\u0103i nediscursive mai mult dec\u00e2t ajung s\u0103 priceap\u0103 neini\u0163ia\u0163ii. Acestea nu-s doar parimiile de preste an \u015fi nu au cu necesitate con\u0163inut cre\u015ftin, sunt o amestecare de structuri ritualice \u00eentre care nu pu\u0163ine sunt arhaice \u015fi p\u0103g\u00e2ne \u015fi, de aceea, cu osebire vechi. Colindul, plugu\u015forul, &#8216;Steaua mascat\u0103&#8217;, &#8216;clopotele&#8217;, \u00eens\u0103 \u015fi &#8216;Iord\u0103nitul&#8217; de pe 7 ianuarie, &#8216;Gurbanul&#8217; de pe 1 februarie, acestea pun s\u0103 vie\u0163uiasc\u0103 invoca\u0163ii \u015fi retr\u0103iri de drame cu substruc\u0163ie metafizic\u0103 de v\u00e2rste din cele mai diferite \u015fi \u00eenf\u0103ptuiesc, \u00een fond, o sintez\u0103 a componentelor succesive \u00een etnogenez\u0103. Paparudele \u015fi Caloianul stau al\u0103turi aci de L\u0103sata- secului de c\u00e2\u015flegi, c\u00e2nd se strig\u0103 fetele peste sat, \u015fi cu S\u00e2nzienele din ziua de Dr\u0103gaic\u0103, cu L\u0103z\u0103ri\u0163a \u015fi cu C\u0103lu\u015ful jucat de Rusalii, ca form\u0103 de teatru mitic acesta.\u201d (ibid. p.31).<\/p>\n<p style=\"text-align: justify;\">Acest autor nu are nevoie de Tabula Smaragdina, fie \u015fi \u00een traducerea lui Newton, pentru a-\u015fi ermetiza propria recep\u0163ie cosmic\u0103, rom\u00e2neasc\u0103, \u00een dantel\u0103rie de concepte-arcane \u201cacuzabile\u201d de fic\u0163ionism protocronist, iar, la urma urmei &#8211; \u201cG\u00e2nduri de noapte; &#8216;case&#8217;; tabuuri; copaci; \u015fi un joc de domino (pagini r\u0103zle\u0163e dintr-un jurnal intermitent\u201d : \u201c Exist\u0103 deci o realitate de gesturi, ritualuri \u015fi dispozitive peste care poate trece orice fel de vreme c\u0103ci tot degeaba va fi; acestea nu se includ \u00een memoria individual\u0103 ci stau depuse mult mai ad\u00e2nc, acolo unde nu exist\u0103 timp\u201d (ibid. p. 39)\/&#8230;\/\u201dDe fapt, <em>\u015ftergerea casei de pe P\u0103m\u00e2nt<\/em> m-a preocupat \u00een aceste s\u0103pt\u0103m\u00e2ni, mai ales atunci c\u00e2nd, apropiindu-se \u00eencheierea &#8216;cl\u0103ditului&#8217; \u015fi casa nou\u0103 devenind o realitate, nu mai exista sc\u0103pare. Exist\u0103 o enigm\u0103 a acestor momente, despre care oamenii se feresc s\u0103 vorbeasc\u0103 de parc\u0103 ar fi totuna cu moartea. Ei nu pronun\u0163\u0103 &#8216;numele clipei aceleia&#8217; ci o desemneaz\u0103 prin perifraz\u0103 (&#8216;c\u00e2nd o fi s\u0103 fie&#8217;) ori prin cuvinte cu aspect simbolic \u00eens\u0103 f\u0103r\u0103 un con\u0163inut l\u0103muritor (&#8216;la moment&#8217;, &#8216;la mutare&#8217;, &#8216;c\u00e2nd n-o mai fi nevoie&#8217;). \u00cen\u0163elese mai bine, acestea arat\u0103 un final, un &#8216;sf\u00e2r\u015fit de timp&#8217;. \u00cens\u0103 \u00eentr-un fel este \u015fi un &#8216;sf\u00e2r\u015fit al timpului colectiv&#8217; ori, mai bine spus, al &#8216;timpului ce prive\u015fte un trib\u201d<\/p>\n<p style=\"text-align: justify;\">Artur Silvestri \u00ee\u015fi autooculteaz\u0103 timpul \u00een form\u0103 de via\u0163\u0103 \u015fi spa\u0163iul \u00een form\u0103 de cas\u0103.<\/p>\n<p style=\"text-align: justify;\"><strong>\u00a0<\/strong><\/p>\n<p style=\"text-align: justify;\"><strong>Scrisori primite pe e-mail de la Artur Silvestri<\/strong><\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">20 Ianuarie 2008 , Cuviosul Eftimie cel Mare, Sfintii Mucenici Vas si Eusebiu<\/p>\n<p style=\"text-align: justify;\">Draga Domnule George Anca,<br \/>\nAm vazut , cu placere, ca ati trimis mai multe texte catre revistele on-line editate de ARP (pentru detalii, puteti vedea indrumari catre cele 100 de pagini web, reviste periodice si &#8221; documentare&#8221;, create la initiativa mea in anul trecut ).Aceasta dorinta de a colabora ma bucura si imi da sentimentul ca , alaturi de cele cateva sute de autori din toata lumea cu care suntem in contacte stranse , vom face si cu Domnia Voastra aceeasi infratire in bine, atat de necesara azi.<br \/>\nFotografia Domniei Voastre as lua-o de aici:<br \/>\n<a href=\"http:\/\/images.google.com\/imgres?imgurl=http:\/\/www.arenotech.org\/2006\/timisoara\/anca.jpg&amp;imgrefurl=http:\/\/www.arenotech.org\/2006\/technologie_de_la_reconnaissance_georges_anca.htm&amp;h=218&amp;w=400&amp;sz=6&amp;hl=en&amp;start=1&amp;sig2=ENgwAZqhYmAR_NQQ71X4oA&amp;um=1&amp;tbnid=Y6__UBypwLhB7M:&amp;tbnh=68&amp;tbnw=124&amp;ei=EWyTR7CHOYvk-ALozeWxDg&amp;prev=\/images%3Fq%3Dgeorge%2Banca%26svnum%3D10%26um%3D1%26hl%3Den%26sa%3DN\">http:\/\/images.google.com\/imgres?imgurl=http:\/\/www.arenotech.org\/2006\/timisoara\/anca.jpg&amp;imgrefurl=http:\/\/www.arenotech.org\/2006\/technologie_de_la_reconnaissance_georges_anca.htm&amp;h=218&amp;w=400&amp;sz=6&amp;hl=en&amp;start=1&amp;sig2=ENgwAZqhYmAR_NQQ71X4oA&amp;um=1&amp;tbnid=Y6__UBypwLhB7M:&amp;tbnh=68&amp;tbnw=124&amp;ei=EWyTR7CHOYvk-ALozeWxDg&amp;prev=\/images%3Fq%3Dgeorge%2Banca%26svnum%3D10%26um%3D1%26hl%3Den%26sa%3DN <\/a><br \/>\ndaca nu trimiteti alta;dar tot la acea pagina web mai este o propunere a Bibliotecii , in frantuzeste, care ar putea incapea in revista ETOILE DU DANUBE , la pagina web <a href=\"http:\/\/www.etoile-du-danube.com\/\">www.etoile-du-danube.com<\/a> aflata in definitivare , fiind gata de a fi oficializata pe la sfarsitul lunii.<br \/>\nUn punct de vedere la aceste teme mi-ar fi de folos.<br \/>\nCu doriri de bine,<br \/>\nDr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">Wednesday, March 26, 2008 12:05 AM<\/p>\n<p style=\"text-align: justify;\">Draga Domnule George Anca,<br \/>\nAveti aici ceva care va intereseaza , din pacate, in mod direct . <a href=\"http:\/\/www.monitor-imobiliar.com\/\">www.monitor-imobiliar.com<\/a>. Alaltaieri am aflat despre situatie si nu stiu ce solutie ar putea exista in imediat. Poate ne intalnim , daca aveti bunavointa, dupa 15 Aprilie curent, cand vom fi in Romania .<br \/>\nCu drag si doriri de bine,<\/p>\n<p style=\"text-align: justify;\">Dr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">Tuesday, May 6, 2008 2:16 AM<\/p>\n<p style=\"text-align: justify;\">Draga Domnule George Anca,<br \/>\nAvand o raceala care imi afecteaza vocea si ma tine in casa , nu am sa pot participa la reuniunea de Marti ; sper ca va fi o dezbatere interesanta , asa cum o arata programul trimis (aparut si in MONITORUL CULTURAL <a href=\"http:\/\/www.monitor-cultural.com\/\">www.monitor-cultural.com<\/a> ).<br \/>\nSper ca , intr-un interval oarecare , sa va pot intalni.<br \/>\nCu doriri de bine,<\/p>\n<p style=\"text-align: justify;\">Dr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">31 Mai 2008 , Sf.Mucenici Ernie, Eusebie si Haralambie<\/p>\n<p style=\"text-align: justify;\">Draga si iubite Domnule George Anca,<br \/>\nImi cer iertare pentru amanarea raspunsurilor la scrisori primite in saptamanile trecute dar lucrez din greu la terminarea catorva carti proprii si a trei &#8220;volume colective&#8221;pe care le-am promis ca vor aparea si as vrea sa ma tin de cuvant . Aceasta munca va mai tine o vreme si, prin urmare , nu am intotdeauna capacitatea de a reactiona prompt . Bineinteles ca imi fac culpa pentru\u00a0 astfel\u00a0 de intarzieri dar practic nu am solutie si nadajduiesc ca oamenii care scriu si lucreaza cu staruinta sa ma inteleaga .<br \/>\nNu imi amintesc daca exista teme ramase suspendate intre cele care va implica sau daca anumite texte trimise catre redactie sunt intarziate nepermis de mult ;daca sunt asemenea cazuri, as ruga sa imi comunicati . Asteptam , cu aceeasi solidaritate , orice creatii sau consemnari credeti ca ar utile pentru aparitie\u00a0 sau , asacum s-a mai intamplat, scurte informatii despre ce faceti, ce scrieti sau ce proiecte aveti . Esentialul in aceste vremuri este, cred, sa nu stam pe loc si cu mainile in san .<br \/>\nCat despre toate celelalte ce se intampla in jurul nostru,intre care unele , de fapt destule, ne ating sau ne supara , numai Dumnezeu stie ce e mai bine ;dar nadajduim in asezarea tuturora la randuiala si la vechile -si sanatoasele -principii de ingaduinta si bunavoire.<br \/>\nV-as ruga sa-mi scrieti cand aveti ceva care credeti ca trebuie impartasit si nu uitati ca sunt alaturi de toti cei ce incearca sa lase o urma in timp , indiferent daca ei au intelegere sau atentie fata de ceea ce fac altii .<br \/>\nMultumesc , de asemenea, si pentru cele ce ati avut gentiletea sa scrieti despre o carte recenta a mea ,o consemnare subtila de unde am constatat cu multumire ca exista argumente in a continua ceea ce am inceput , macar in tematica expusa in acel volum.<br \/>\nCu doriri de bine,<\/p>\n<p style=\"text-align: justify;\">Dr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">21 Septembrie 2008 , Sf.Apostol Codrat , Sf.Prooroc Iona, Odovania Praznicului Inaltarii Sfintei Cruci<\/p>\n<p style=\"text-align: justify;\">Draga\u00a0 Domnule George Anca ,<br \/>\nRevenind joi in Romania dupa o absenta lunga , m-am gandit ca ar fi de folos sa facem o intalnire cat mai curand in ideea de a vedea ce se poate intreprinde in viitor , tinand, poate, un contact mai strans decat cel ce a fost pana acum.<br \/>\nDaca sunteti in Bucuresti , v-as ruga sa imi dati un semn ; daca veti putea, v-as invita sa luam pranzul impreuna intr-una din zilele ce urmeaza .<br \/>\nCu drag si doriri de bine,<\/p>\n<p style=\"text-align: justify;\">Dr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">8 Octombrie 2008 , Cuvioasa Pelaghia, Sf. Taisia<br \/>\nDraga Domnule George Anca,<br \/>\nEram convins ca inca mai sunteti plecat in tara ( asa cum retinusem la intalnirea , foarte placuta, avuta nu demult ) cand am citit -si am publicat de indata &#8211; ca doriti sa demisionati .<br \/>\nDupa cateva zile am mai citit si cateva scrisori de sustinere (nu stiu daca destinate publicarii ) , de altfel previzibile intr-un context cum este cel de fata .<br \/>\nDesi am o stare de sanatate rea -si lucrez foarte putin acum-\u00a0 cateva pareri v-as impartasi .<br \/>\nFiind , totusi, explicabila din motive diverse (unele poate doar banuite ) decizia mi s-a parut intrucatva impulsiva dar sunt dator sa va sustin in tot ceea ce veti intreprinde . Astfel incat e util sa stiti(dar cred ca stiti ) ca nu fac parte dintre cei care uita cine sunteti numai fiindca nu veti mai avea , candva, un numar de telefon unde sa raspunda o secretara .<br \/>\nMi-ar fi de folos sa aflu ca aveti zile mai senine decat cele de pana acum.Nu ezitati sa imi vorbiti despre ele .<br \/>\nCu drag ,<\/p>\n<p style=\"text-align: justify;\">Dr.Artur Silvestri<\/p>\n<p style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">\n<div style=\"text-align: justify;\">\n<p><em>19 Octombrie 2008 , Sf. Prooroc Ioil , Sf. Mucenici Uar , Felix Preotul si Eusebiu diaconul<\/em><\/p>\n<p>Draga Domnule George Anca,<br \/>\nImi cer iertare ca nu raspund prompt . Starea mea de sanatate este rea de mai multe saptamani si ma impiedica aproape cu totul de la lucru .Cum despre cele ce mi se intampla nu vorbesc decat atunci cand nu se mai poate altfel , nu am sa staruiesc in aceasta tema .<br \/>\nImi pare bine ca ati reusit sa iesiti in chip pozitiv\u00a0 din conjunctura potrivnica de deunazi desi banuiam ca nu se va intampla altfel si,deci, ca veti cunoaste un deznodamant rezonabil . Cele ce mi-ati scris constituie bune premize ce se pot transforma cu timpul in realizari sigure si stabile . Poate , cand am sa ma inzdravenesc , sa reluam dialogul practic de unde l-am lasat . Am sa rog pe redactorii nostri sa se ingrijeasca de scrisele trimise cu un timp in urma si pe care am observat ca , din neglijenta (si fiindca nimeni nu e perfect decat numai Dumnezeu ) , nu le-am trimis catre publicare;nu sunt multe dar sunt, si imi dau un sentiment neplacut, de parca as fi imbatranit atat de mult incat nu mai stiu ce trebuie sa fac.<\/p>\n<p>Cu drag si doriri de bine,<\/p>\n<p>Dr.Artur Silvestri<\/p>\n<\/div>\n<p style=\"text-align: justify;\">\n<p>&nbsp;<\/p>\n<p>SRI AUROBINDO<\/p>\n<p>&nbsp;<\/p>\n<p align=\"center\">The Future Poetry<\/p>\n<p align=\"center\">I.\u00a0 <em>The Mantra <\/em><\/p>\n<p style=\"text-align: justify;\">IT IS not often that we see published in India literary criticism which is of the first order, at once discerning and suggestive, criticism which forces us both to see and think. A book which recently I have read and more than once reperused with a yet unexhausted pleasure and fruitfulness, Mr. James Cousins\u2019 New Ways in English Literature, is eminently of this kind. It raises thought which goes beyond the strict limits of the author\u2019s subject and suggests the whole question of the future of poetry in the age which is coming upon us, the higher functions open to it \u2014as yet very imperfectly fulfilled,\u2014and the part which English literature on the one side and the Indian mind and temperament on the other are likely to take in determining the new trend. The author is himself a poet, awriter of considerable force in the Irish movement which has given contemporary English literature its two greatest poets, and the book on every page attracts and satisfies by its living force of style, its almost perfect measure, its delicacy of touch, its fineness and depth of observation and insight, its just sympathy and appreciation.<\/p>\n<p style=\"text-align: justify;\">For the purpose for which these essays have been, not indeed written, but put together, the criticism, fine and helpful as it is, suffers from one great fault,\u2014there is too little of it. Mr. Cousins is satisfied with giving us the essential, just what is necessary for a trained mind to seize intimately the spirit and manner and poetic quality of the writers whose work he brings before us. This is done sometimes in such a masterly manner that even one touch more might well have been a touch in excess. The essay on Emerson is a masterpiece in this kind; it gives perfectly in a few pages all that should be said about Emerson\u2019s poetry and nothing that need not be said. But some of the essays, admirable in themselves, are too slight for our need. The book is not indeed intended to be exhaustive in its range.Mr. Cousins wisely takes for the most part,\u2014there is one notable exception, \u2014writers with whom he is in close poetical sympathy or for whom he has a strong appreciation; certain names which have come over to our ears with some flourish of the trumpets of renown, Thompson, Masefield, Hardy, do not occur at all or only in a passing allusion. But still the book deals among contemporary poets with Tagore, A. E. and Yeats, among recent poets with Stephen Phillips, Meredith, Carpenter, great names all of them, not to speak of lesser writers. This little book with its 135 short pages is almost too small a pedestal for the figures it has to support, not, be it understood, for the purposes of the English reader interested in poetry, but for ours in India who have on this subject a great ignorance and, most of us, a very poorly trained critical intelligence. We need something a little more ample to enchain our attention and fix in us a permanent interest; a fingerpost by the way is not enough for the Indian reader, you will have to carry him some miles on the road if you would have him follow it.<\/p>\n<p style=\"text-align: justify;\">But Mr. Cousins has done a great service to the Indian mind by giving it at all a chance to follow this direction with such a guide to point out the way. The English language and literature is practically the only window the Indian mind, with the narrow and meagre and yet burdensome education given to it, possesses into the world of European thought and culture; but at least as possessed at present, it is a painfully small and insufficient opening. English poetry for all but a few of us stops short with Tennyson and Browning, when it does not stop with Byron and Shelley. A few have heard of some of the recent, fewer of some of the contemporary poets; their readers are hardly enough to make a number. In this matter of culture this huge peninsula, once one of the greatest centres of civilisation, has been for long the most provincial of provinces; it has been a patch of tilled fields round a lawyer\u2019s office and a Government cutcherry, a cross between a little district town and the most rural of villages, at its largest a dried-up bank far away from the great stream of the world\u2019s living thought and action, visited with no great force by occasional and belated waves, but for the rest a bare field for sluggish activities, the falsest possible education, a knowledge always twenty-five or fifty years behind the time. The awakening brought by the opening years of the twentieth century has chiefly taken the form of a revival of cultural patriotism, highly necessary for a nation which has a distinctive contribution to make to the human spirit in its future development, some new and great thing which it must evolve out of amagnificent past for the opening splendours of the future; but in order that this may evolve rapidly and surely, it needs a wide and sound information, a richer stuff to work upon, a more vital touch with the life and master tendencies of the world around it. Such books as this will be of invaluable help in creating what is now deficient.<\/p>\n<p style=\"text-align: justify;\">The helpfulness of this suggestivework comes more home to me personally because I have shared to the full the state of mere blank which is the ordinary condition of the Indian mind with regard to its subject. Such touch as in the intellectual remoteness of India I have been able to keep up with the times, had been with contemporary continental rather than contemporary English literature. With the latter all vital connection came to a dead stop with my departure from England a quarter of a century ago; it had for its last events the discovery of Meredith as a poet, in his Modern Love, and the perusal of Christ in Hades,\u2014some years before its publication,\u2014the latter an unforgettable date. I had long heard, standing aloof in giant ignorance, the great name of Yeats, but with no more than a fragmentary and mostly indirect acquaintance with some of his work; A. E. only lives for me in Mr. Cousins\u2019 pages; other poets of the day are still represented in my mind by scattered citations. In the things of culture such a state of ignorance is certainly an unholy state of sin; but in this immoral and imperfect world even sin has sometimes its rewards, and I get that now in the joy and light of a new world opening to me all in one view while I stand, Cortez-like, on the peak of the large impression created for me by Mr. Cousins\u2019 book. For the light we get from a vital and illuminative criticism from within by another mind can sometimes almost take the place of a direct knowledge.<\/p>\n<p style=\"text-align: justify;\">There disengages itself from these essays not so much a special point of view as a distinctive critical and literary temperament, which may be perhaps not so much the whole mind of the critic as the response to his subject in a mind naturally in sympathy with it.Mr. Cousins is a little nervous about this in his preface; he is apprehensive of being labelled as an idealist. The cut and dried distinction between idealism and realism in literature has always seemed to me to be a little arbitrary and unreal, and whatever its value in drama and fiction, it has no legitimate place in poetry. What we find here is a self-identification with what is best and most characteristic of a new spirit in the age, a new developing aesthetic temper and outlook,\u2014or should we rather say, inlook? Its mark is a greater (not exclusive) tendency to the spiritual rather than the merely earthly, to the inward and subjective than the outward and objective, to the life within and behind than to the life in front, and in its purest, which seems to be its Irish form, a preference of the lyrical to the dramatic and of the inwardly suggestive to the concrete method of poetical presentation. Every distinctive temperament has naturally the defect of an insufficient sympathy, often a pronounced and intolerant antipathy towards all that departs from its own motives. Moreover contemporary criticism is beset with many dangers; there is the charm of new thought and feeling and expression of tendency which blinds us to the defects and misplaces or misproportions to our view the real merits of the expression itself; there are powerful cross-currents of immediate attraction and repulsion which carry us from the true track; especially, there is the inevitablewant of perspectivewhich prevents us from getting a right vision of things too near us in time. And if in addition one is oneself part of a creative movement with powerful tendencies and a pronounced ideal, it becomes difficult to get away from the standpoint it creates to a larger critical outlook. From these reefs and shallows Mr. Cousins\u2019 sense of measure and justice of appreciation largely, generally indeed, preserve him, though not, I think, quite invariably. But still it is not a passionless, quite disinterested criticism which we get or want from this book, but a much more helpful thing, an interpretation of work which embodies the creative tendencies of the time by one who has himself lived in them and helped both to direct and to form. Mr. Cousins\u2019 positive criticism is almost always fine, just and inspired by a warm glow of sympathy and understanding tempered by discernment, restraint and measure; whatever the future critic, using his scales and balance, may have to take away from it, will be, one would imagine, only by way of a slight alteration of stress here and there. His depreciations, though generally sound enough, are not, I think, invariably as just as his appreciations. Thus his essay on the work of J. M. Synge, \u201cThe Realist on the Stage\u201d, is, in sharp distinction from the rest of the book, an almost entirely negative and destructive criticism, strong and interesting, but written from the point of view of the ideals and aims of the Irish literarymovement against a principle of work which seemed entirely to depart from them; yet we are allowed to get some glimpse of a positive side of dramatic power which the critic does not show us, but leaves us rather to guess at.Mr. Cousins seems to me to take the dramatist\u2019s theory of his own art more seriously than it should be taken; for the creator can seldom be accepted\u2014there may of course be exceptions, rare instances of clairvoyant self-sight\u2014as a sound exponent of his own creative impulse. He is in his central inspiration the instrument of a light and power not his own, and his account of it is usually vitiated, out of focus, an attempt to explain the workings of this impersonal power by motives which were the contribution of his own personal effort, but which are often quite subordinate or even accidental side-lights of the lower brain-mind, not the central moving force.<\/p>\n<p style=\"text-align: justify;\">Mr. Cousins has pointed out clearly enough that art can never be a copy of life. But it is also true, I think, that that is not the secret object of most realism, whatever it may say about itself; realism is in fact a sort of nether idealism, or, perhaps more correctly, sometimes an inverse, sometimes a perverse romanticism which tries to get a revelation of creative truth by an effective force of presentation, by an intensity, often an exaggeration at the opposite side of the complex phenomenon of life. All art starts from the sensuous and sensible, or takes it as a continual point of reference or, at the lowest, uses it as a symbol and a fount of images; even when it soars into invisible worlds, it is from the earth that it soars; but equally all art worth the name must go beyond the visible, must reveal, must show us something that is hidden, and in its total effect not reproduce but create. We may say that the artist creates an ideal world of his own, not necessarily in the sense of ideal perfection, but a world that exists in the idea, the imagination and vision of the creator. More truly, he throws into significant form a truth he has seen, which may be truth of hell or truth of heaven or an immediate truth behind things terrestrial or any other, but is never merely the external truth of earth. By that ideative truth and the power, the perfection and the beauty of his presentation and utterance of it his work must be judged.<\/p>\n<p style=\"text-align: justify;\">Some occasional utterances in this book seem to spring from very pronounced idiosyncrasies of its distinctive literary temperament or standpoint and cannot always be accepted without reservation. I do not myself share its rather disparaging attitude towards the dramatic form and motive or its comparative coldness towards the architectural faculty and impulse in poetry. When Mr. Cousins tells us that \u201cits poetry and not its drama, will prove to be the thing of life\u201d in Shakespeare\u2019s work, I feel that the distinction is not sound all through, that there is a truth behind it, but it is overstated. Or when still more vivaciously he dismisses Shakespeare the dramatist to \u201ca dusty and reverent immortality in the libraries\u201d or speaks of the \u201cmonstrous net of his life\u2019s work\u201d which but for certain buoys of line and speech \u201cmight sink in the ocean of forgetfulness,\u201d I cannot help feeling that this can only be at most the mood of the hour born of the effort to get rid of the burden of its past and move more freely towards its future, and not the definitive verdict of the poetic and aesthetic mind on what has been so long the object of its sincere admiration and a powerful presence and influence. Perhaps I am wrong, I may be too much influenced by my own settled idiosyncrasies of an aesthetic temperament and being impregnated with an early cult for the work of the great builders in Sanskrit and Greek, Italian and English poetry. At any rate, this is true that whatever relation we may keep with the great masters of the past, our present business is to go beyond and not to repeat them, and it must always be the lyrical motive and spirit which find a new secret and begin a new creation; for the lyrical is the primary poetical motive and spirit and the dramatic and epic must wait for it to open for them their new heaven and new earth.<\/p>\n<p style=\"text-align: justify;\">I have referred to these points which are only side issues or occasional touches in Mr. Cousins\u2019 book, because they are germane to the question which it most strongly raises, the future of English poetry and of the world\u2019s poetry. It is still uncertain how that future will deal with the old quarrel between idealism and realism, for the two tendencies these names roughly represent are still present in the tendencies of recent work. More generally, poetry always sways between two opposite trends, towards predominance of subjective vision and towards an emphasis on objective presentation, and it can rise too beyond these to a spiritual plane where the distinction is exceeded, the divergence reconciled. Again, it is not likely that the poetic imagination will ever give up the narrative and dramatic form of its creative impulse; a new spirit in poetry, even though primarily lyrical, is moved always to seize upon and do what it can with them,\u2014as we see in the impulsion which has driven Maeterlinck, Yeats, Rabindranath to take hold of the dramatic form for self-expression as well as the lyrical in spite of their dominant subjectivity. We may perhaps think that this was not the proper form for their spirit, that they cannot get there a full or a flawless success; but who shall lay down rules for creative genius or say what it shall or shall not attempt? It follows its own course and makes its own shaping experiments. And it is interesting to speculate whether the new spirit in poetry will take and use with modifications the old dramatic and narrative forms, as did Rabindranath in his earlier dramatic attempts, or quite transform them to its own ends, as he has attempted in his later work. But after all these are subordinate issues.<\/p>\n<p style=\"text-align: justify;\">It will be more fruitful to take the main substance of the matter for which the body of Mr. Cousins\u2019 criticism gives a good material. Taking the impression it creates for a startingpoint and the trend of English poetry for our main text, but casting our view farther back into the past, we may try to sound what the future has to give us through the medium of the poetic mind and its power for creation and interpretation. The issues of recent activity are still doubtful and it would be rash tomake any confident prediction; but there is one possibility which this book strongly suggests and which it is at least interesting and may be fruitful to search and consider. That possibility is the discovery of a closer approximation to what we might call the mantra in poetry, that rhythmic speech which, as the Veda puts it, rises at once from the heart of the seer and from the distant home of the Truth,\u2014the discovery of the word, the divine movement, the form of thought proper to the reality which, as Mr. Cousins excellently says, \u201clies in the apprehension of a something stable behind the instability of word and deed, something that is a reflection of the fundamental passion of humanity for something beyond itself, something that is a dim shadowing of the divine urge which is prompting all creation to unfold itself and to rise out of its limitations towards its Godlike possibilities.\u201d Poetry in the past has done that in moments of supreme elevation; in the future there seems to be some chance of its making it a more conscious aim and steadfast endeavour.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>EUGENE POTTIER<\/p>\n<p>&nbsp;<\/p>\n<p>L&#8217;Internationale<\/p>\n<p>I<\/p>\n<p>Debout les damn\u00e9s de la terre!<br \/>\nDebout les for\u00e7ats de la faim!<br \/>\nLa raison tonne en son crat\u00e8re,<br \/>\nC&#8217;est l&#8217;\u00e9ruption de la fin.<br \/>\nDu pass\u00e9,\u00a0faisons table rase,<br \/>\nFoule esclave debout! debout!<br \/>\nLe monde va changer de base:<br \/>\nNous ne sommes rien,\u00a0soyons tout!<\/p>\n<p>Refrain<\/p>\n<p>C&#8217;est la lutte finale,<br \/>\nGroupons-nous,\u00a0et demain<br \/>\nL&#8217;Internationale,<br \/>\nSera le genre humain.<br \/>\nC&#8217;est la lutte finale,<br \/>\nGroupons-nous,\u00a0et demain<br \/>\nL&#8217;Internationale,<br \/>\nSera le genre humain.<\/p>\n<p>II<\/p>\n<p>Les rois nous saoulaient de fum\u00e9e,<br \/>\nPaix entre nous,\u00a0guerre aux tyrans!<br \/>\nAppliquons la gr\u00e8ve aux arm\u00e9es,<br \/>\nCrosse en l&#8217;air et rompons les rangs!<br \/>\nS&#8217;ils s&#8217;obstinent ces cannibales,<br \/>\nA faire de nous des h\u00e9ros,<br \/>\nIls sauront bient\u00f4t que nos balles<br \/>\nSont pour nos propres g\u00e9n\u00e9raux!<\/p>\n<p>(Au refrain)<\/p>\n<p>III<\/p>\n<p>Il n&#8217;est pas de sauveurs supr\u00eames,<br \/>\nNi dieu,\u00a0ni C\u00e9sar,\u00a0ni tribun,<br \/>\nProducteurs,\u00a0sauvons-nous nous-m\u00eames!<br \/>\nD\u00e9cr\u00e9tons le salut commun!<br \/>\nPour que le voleur rende gorge,<br \/>\nPour tirer l&#8217;esprit du cachot,<br \/>\nSoufflons nous-m\u00eames notre forge,<br \/>\nBattons le fer quand il est chaud!<br \/>\n(Au refrain)<\/p>\n<p>IV<\/p>\n<p>L&#8217;Etat comprime et la loi triche,<br \/>\nL&#8217;imp\u00f4t saigne le malheureux;<br \/>\nNul devoir ne s&#8217;impose au riche,<br \/>\nLe droit du pauvre est un mot creux:<br \/>\nC&#8217;est assez languir en tutelle,<br \/>\nL&#8217;Egalit\u00e9 veut d&#8217;autres lois:<br \/>\n&#8221; Pas de droits sans devoirs,\u00a0dit-elle,<br \/>\nEgaux,\u00a0pas de devoirs sans droits! &#8221;<br \/>\n(Au refrain)<\/p>\n<p>V<\/p>\n<p>Hideux dans leur apoth\u00e9ose,<br \/>\nLes rois de la mine et du rail<br \/>\nOnt-ils jamais fait autre chose<br \/>\nQue d\u00e9valiser le travail?<br \/>\nDans les coffres-forts de la bande,<br \/>\nCe qu&#8217;il a cr\u00e9\u00e9 s&#8217;est fondu,<br \/>\nEn d\u00e9cr\u00e9tant qu&#8217;on le lui rende,<br \/>\nLe peuple ne veut que son d\u00fb<br \/>\n(Au refrain)<\/p>\n<p>VI<\/p>\n<p>Ouvriers,\u00a0paysans,\u00a0nous sommes<br \/>\nLe grand parti des travailleurs;<br \/>\nLa terre n&#8217;appartient qu&#8217;aux hommes,<br \/>\nL&#8217;oisif ira loger ailleurs.<br \/>\nCombien de nos chairs se repaissent!<br \/>\nMais si les corbeaux,\u00a0les vautours,<br \/>\nUn de ces matins disparaissent,<br \/>\nLe soleil brillera toujours!<br \/>\n(Au refrain)<\/p>\n<p>Eug\u00e8ne Pottier<\/p>\n<p>(Ajout&#8230;un si\u00e8cle plus tard) par: Jean-Claude Sestier<\/p>\n<p>VII<\/p>\n<p>La monarchie r\u00e9publicaine<br \/>\nInstaur\u00e9e par des ren\u00e9gats<br \/>\nProfite \u00e0 ces \u00e9nergum\u00e8nes<br \/>\nEt nous payons les d\u00e9g\u00e2ts.<br \/>\nQue les courtisans se d\u00e9chirent,<br \/>\nPar suicide et meurtre au s\u00e9rail,<br \/>\nPointons les en ligne de mire<br \/>\nEt donnons leur du vrai travail!<br \/>\n(Au refrain)<\/p>\n<p>VIII<\/p>\n<p>Quoi de plus cruel que de croire<br \/>\nToute une vie en des truands<br \/>\nQui ne recherchent que des poires<br \/>\nAfin de les saigner \u00e0 blanc!<br \/>\nLaisserons-nous tous ces vampires<br \/>\nFinir leur vie sans ch\u00e2timent?<br \/>\nCes bouffons ne nous font pas rire,<br \/>\nLe sang se lave par le sang!<br \/>\n(Au refrain)<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a0LA\u00a0 VIITORUL\u00a0 AL\u00a0 DOILEA Colocviu Mihai Eminescu: Glossa H.G. Wells: Anticipations \u00a0Rainer Maria Rilke: The Future Sri Chinmoi: Poems about [&#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-27440","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/27440","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=27440"}],"version-history":[{"count":3,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/27440\/revisions"}],"predecessor-version":[{"id":27444,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/27440\/revisions\/27444"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=27440"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=27440"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=27440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}