{"id":28069,"date":"2016-12-07T15:30:26","date_gmt":"2016-12-07T15:30:26","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=28069"},"modified":"2016-12-09T18:21:28","modified_gmt":"2016-12-09T18:21:28","slug":"mihaela-gheorghiu-aparent-illusory%e2%80%9d-o-noua-aparitie-editoriala-semnata-de-poeta-dacina-dan","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2016\/12\/07\/mihaela-gheorghiu-aparent-illusory%e2%80%9d-o-noua-aparitie-editoriala-semnata-de-poeta-dacina-dan\/","title":{"rendered":"Mihaela Gheorghiu: ,,Aparent\/ Illusory\u201d, o nou\u0103 apari\u021bie editorial\u0103 semnat\u0103 de poeta Dacina Dan – Traducere \u00een englez\u0103, M\u0103d\u0103lina Maria D\u0103ncu\u0219"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Inefabil \u015fi diafan, ca un desen transparent, \u00eens\u0103 de o ironie subtil\u0103, volumul \u201e Aparent \u201c al poetei Dacina Dan, premiat\u0103 la Festivalul Na\u0163ional de Poezie \u201e George Co\u015fbuc \u201c, edi\u0163ia a XIII-a, se impune cu naturale\u0163ea talentului.<\/p>\n

Ambivalen\u0163a real \u2013 imaginar, ideea reflexivit\u0103\u0163ii pierdute, imaginea deschis\u0103 \u015fi totu\u015fi, \u00een\u015fel\u0103toare, a lumii, natura perisabil\u0103 a fiin\u0163ei umane care \u015fi-a pierdut accesul la tot ce \u00eenseamn\u0103 etern, guverneaz\u0103 \u00eentregul volum.<\/p>\n

De asemenea, tot ce e simbol consacrat, se transform\u0103 \u00een poezia Dacinei Dan, \u00een contrasimbol.<\/p>\n

Fiin\u0163a poetic\u0103 se ridic\u0103 \u00een fa\u0163a noastr\u0103 ca un turn de nelini\u015fte ( Sartre \u2013 \u201e Turn de lini\u015fte \u201c), \u00een sensul unei continue c\u0103ut\u0103ri prin sine \u00eens\u0103\u015fi, un turn nedefinitivat, care se construie\u015fte mereu : \u201e m-am r\u0103t\u0103cit prin mine \/ zdren\u0163uindu-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 fictiv \u201c ( Tu ), \u201e nu-mi pot sf\u0103r\u00e2ma lan\u0163urile \/ mi-am pierdut cheia \u201c (Lan\u0163urile), \u201e m\u0103 caut printre fulgi \u201c (Fulg).<\/p>\n

Dorin\u0163a de evadare din realitate se poate materializa \/ \u00eemplini, doar prin somn : \u201e cur\u00e2nd \/ m\u0103 voi pierde \u00een somn \/ dezbr\u0103cat\u0103 de g\u00e2nd \/ vreau doar s\u0103 hibernez un timp \u201c (Cur\u00e2nd). Somnul nu e aici, neap\u0103rat, o prefigurare a mor\u0163ii, ci o \u00eentoarcere la ritmul pur al materiei \u00een zona de plenitudine \u015fi de lini\u015fte.<\/p>\n

Universul conceptual e mai degrab\u0103 bacovian, d\u00e2nd senza\u0163ia unei asfixii spirituale, a c\u0103derii totale \u015fi ireversibile a miturilor. \u00cens\u0103, la nivel formal, dezideratul poetei r\u0103m\u00e2ne apropierea de mereu prezentul, Nichita.<\/p>\n

Se remarc\u0103 de-a lungul mai multor poeme sentimentul ne\u00eemplinirii, al germin\u0103rii interzise \/ \u00eentrerupte : \u201e din scoica afroditei \/ am luat o singur\u0103 \/ iluzie \/ cu care-am \u00eenflorit \u015fi-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 nicic\u00e2nd \/ gene de floare \u201c ( N-am primit ).<\/p>\n

Semin\u0163ele, care \u00een poezia lui Blaga sunt mirabile, semin\u0163e care con\u0163in \u00een laten\u0163\u0103 infinitul, se constituie \u00een poezia Dacinei Dan ca un contrasimbol, suger\u00e2nd finitul, imposibilitatea rodirii \u015fi prin aceasta interzicerea accesului la eternitate, sunt \u201e semin\u0163e neadmise rodirii \u201c.<\/p>\n

Ideea p\u0103durii, cuprins\u0103 \u00eentr-un s\u00e2mbure de ghind\u0103 ( Mihai Eminescu \u2013 S\u0103rmanul Dionis ) e inversat\u0103 \u00een versul \u201e ochii t\u0103i reduceau p\u0103durea din jur \/ la un singur punct \u201c \u00eentr-o \u00eencercare de regresiune la origini, ca \u015fi c\u00e2nd tot ceea ce a fost germinat s-ar reduce, concentr\u00e2ndu-se \u00een punctul ini\u0163ial, izvor a toate.<\/p>\n

Tema iubirii \u201e un copac \/ \u00een care-at\u00e2rn\u0103 str\u00e2mb \/ dou\u0103 inimi albastre \u201c, e din nou, doar aparent, o tem\u0103 a iubirii, deoarece principiul opus nu prinde contur, nu e o realitate, ci o umbr\u0103 lipsit\u0103 de materialitate : \u201e mi-am zdren\u0163uit g\u00e2ndul \/ \u00een m\u0103r\u0103cini\u015ful sufletului t\u0103u \/ mi-am rupt curcubeul \/ \u00een toamna privirii \/ mi-a-nghe\u0163at m\u00e2na-ntins\u0103 \/ c\u0103tre macii iubirii \/ am r\u0103gu\u015fit c\u0103ut\u00e2ndu-\u0163i duio\u015fia \u201c (Portret).<\/p>\n

\u00a0Tema iubirii, de fapt a neiubirii, se coreleaz\u0103 cu tema iernii care semnific\u0103 \u00eencremenire : \u201e \u00een mine \u00eens\u0103mi e iarn\u0103 \/ visul meu \/ \u00ee\u015fi \u00eenghea\u0163\u0103 propria-i creang\u0103 \u201c ( Fulg ), albul fiind \u00een acela\u015fi timp puritate \u015fi nerodire : \u201e ce creang\u0103 invoc\u0103m \/ iubito iubitule \/ \u00een inima iernii \/ prin viscolul \u00eenstelat de semin\u0163e \/ neadmise rodirii \u201c ( Necroz\u0103 ).<\/p>\n

Fiecare spirit e \u00een lupt\u0103 cu limita \u015fi con\u015ftientizeaz\u0103 tragic c\u0103derea, marcat\u0103 aici prin \u00eendoial\u0103 : \u201e …..poate \/ cine \u015ftie \/ nici nu exist\u0103 astfel de oameni \/ \u015fi nici infinit \u201c ( Poate ). Divinitatea parc\u0103 s-a retras \u00een cele mai \u00eenalte ceruri, p\u0103r\u0103sindu-\u015fi crea\u0163ia. Locul divinit\u0103\u0163ii e preluat de regizorul, un regizor care concepe diferite scenarii, guvern\u00e2nd la \u00eent\u00e2mplare destinul individului : \u201c regizorul ce mi-a semnat prezentul \/ a r\u0103sfoit o carte \/ \u015fi-a l\u0103sat-o deschis\u0103 \/ pe-o mas\u0103 cu pietre \/ \u015fi-acum st\u00e2ncile-mi r\u0103nesc trupul \u201c ( Regizorul ). E un destin f\u0103r\u0103 finalitate, \u00eempotriva c\u0103ruia individul nu poate lupta, c\u0103ci oricum se va pr\u0103bu\u015fi \u00een ocean : \u201c \u00een amintire \/ orizontul iar m\u0103 cheam\u0103 \/ \u015fi-mi l\u0103crimeaz\u0103 pr\u0103bu\u015firea-n geam \/ rambursa\u0163i icarul \u00eendr\u0103gostitului \u015fi poetului \/ frunza \/ m\u0103 desparte de ram \u201c ( Am visat ), \u201e fo\u015fnesc din verb \/ \u015fi \/ c\u00e2\u0163iva icari \u00eemi ies \u00eenainte \/ iar cerul are aripi \/\u015fi tope\u015fte cuvinte \u201c ( Regizorul ).<\/p>\n

\u00cen acela\u015fi timp, omul are posibilitatea dedubl\u0103rii, \u00een fiecare individ exist\u00e2nd o fiin\u0163\u0103 perfect\u0103, metafizic\u0103, nemuritoare, un arheu \u201e fulgii p\u0103\u015fesc \/ \u00een v\u00e2rful sufletului \/ \u00eentre mine \u015fi eul imaculat \u201c ( Alb ).<\/p>\n

Motivul drumului, calea de urmat pentru atingerea des\u0103v\u00e2r\u015firii spirituale \u00een cultura antic\u0103 a Chinei, e aici un drum \u201e care nu duce nic\u0103ieri \u201c, \u201e f\u0103r\u0103 s\u0103 \u015ftiu unde se sf\u00e2r\u015fe\u015fte \/ drumul \u201c (Drum), un drum \u00een cerc \u201e unde e glasul \/ cum doare pasul \/ ce se \u00eentoarce \/ ocolind \/ de unde a plecat \u201c (Tat\u0103 ).<\/p>\n

Se pot remarca dou\u0103 registre \u00een volumul \u201e Aparent \u201c, unul care pl\u00e2nge \u015fi unul care sfideaz\u0103 \/ ironizeaz\u0103, precum \u015fi dou\u0103 ipostaze, una apar\u0163in\u00e2nd trecutului \u015fi alta prezentului : \u201e pletele unduite \/ de amintirea f\u00e2nului copt \u201c \u2013 iarna \u2013\u015fi \u201e pletele mele blonde pierdeau \/ inocen\u0163a gr\u00e2ului copt \u201c \u2013 vara -. Sau : \u201e am pumnii-at\u00e2t de plini \/ de soare \u015fi de verde \/ c\u0103 \/ dac\u0103 i-a\u015f deschide-acum \/ a\u015f luneca deodat\u0103 \/ \u00eentr-o alt\u0103 poveste mai lung\u0103 \/ cu ploaie frig \u015fi cea\u0163\u0103 \u201c ( Var\u0103 ). Oare cum am putut crede c\u0103 voi purta \u00eentotdeauna-n \u201e bra\u0163e f\u00e2n si-n buzunare stele \u201c \u015fi c\u0103 voi putea mereu \u00eenlocui \u201e cuvintele cu inefabile p\u0103s\u0103ri \u201c ? se \u00eentreab\u0103 poeta.<\/p>\n

Sarcasmul guverneaz\u0103 poezia social\u0103, o poezie de revolt\u0103 : Negocieri, Ziarul, Vacan\u0163\u0103, Necroz\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201e \u00eemp\u0103r\u0163irea tortului \/ se face doar \u00een func\u0163ie de merite \/ a \u2013 nu profesional-morale \u2013 bine\u00een\u0163eles\u00a0 \/ c\u0103 doar a \u00eenceput economia de pia\u0163\u0103 \/ …. \/ mass-media fusese acreditat\u0103 vocal \/ – doar c\u00e2nt\u0103 foarte bine \u00een cor \/ …. \/ ….se \u015foptea \/ c\u0103-n balan\u0163\u0103 au tras \u015fi cuno\u015ftin\u0163ele \u00een limbi str\u0103ine \/ limba babelian\u0103 \u2013 categoric – \/ pe care o vorbesc \/ cei mai mul\u0163i de la pupitrul dirijoral \u201c ( Negocieri ), \u201e cine-ar flirta cu asemenea \/ gratii-n care r\u0103sar \/ prin reluarea semin\u0163elor publice \/ ochii lui marx cuburi de umbre \/ ou\u0103 de cuc abera\u0163ii rotunde \u201c ( Ziarul ), \u201e pe unghia de la degetul meu mic \/ nivelul de trai \/ desenase indicatoare de avertizare \u201c ( Vacan\u0163\u0103 ).<\/p>\n

Idei generoase, precum ideea de dreptate, de libertate, prin reflexii \u00een oglinzi succesive, se deformeaz\u0103, se degradeaz\u0103, \u00ee\u015fi pierd esen\u0163a \u015fi devin m\u0103\u015fti \u00eentr-o pies\u0103 macabr\u0103 : \u201e maestrul de ceremonii a anun\u0163at \/ c\u0103 n-a mai trimis invita\u0163ie \/ profesorului doctor inginer \/ a dat \u00eens\u0103 dispozi\u0163ie \/ s\u0103 i se trimit\u0103 acas\u0103 \/ o farfurie cu ajutor de \u015fomaj \/ … \/ maestrul de ceremonii \/ costumat \u00een p\u00e2ine \u015fi cu\u0163it \/ a st\u00e2rnit murmure de admira\u0163ie \/ mai ales printre prietenii lui \/ r\u0103pitorii \/ pe care i-a luat imediat \u00een bra\u0163e \u201c ( Negocieri ).<\/p>\n

Univers limitat formal, \u00eens\u0103 nelimitat conceptual, volumul prezint\u0103 o aparent\u0103 monotonie, datorit\u0103 aceluia\u015fi ton, oarecum elegiac. Aceast\u0103 monotonie e fragmentat\u0103 \u00eens\u0103 de episoade ironice care dinamizeaz\u0103 \u015fi \u201e dinamiteaz\u0103 \u201c limbajul, mai ales \u00een poezia Delta : \u201e serile de iulie \/ \u00eenotau spre mal \/ \u0163\u00e2n\u0163ari purtau pe bra\u0163e \/ … \/ 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 \u201c. Ironia \u015fi autoironia pot guverna poezii \u00eentregi : Negocieri, Stagiatur\u0103, Necroz\u0103, Ziarul, Delta, Nelini\u015fte, sau pot fi episodice : \u201erambursa\u0163i icarul \u00eendr\u0103gostitului \u015fi poetului \u201c ( Am visat ).<\/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\u0163ionalului \u00een planul realului ( sau cel pu\u0163in al posibilului ). \u00cen societ\u0103\u0163ile arhaice, r\u0103spunderea fa\u0163\u0103 de cuv\u00e2nt se \u00eencarc\u0103 de sugestii magice, demiurgice, odat\u0103 rostit, cuv\u00e2ntul nu mai poate fi luat \u00eenapoi; dob\u00e2ndind o existen\u0163\u0103 proprie, independent\u0103 de voin\u0163a subiectului rostitor, el se putea \u00eentoarce \u00eempotriva acestuia, instituind.<\/p>\n

Dacina Dan are o atitudine oscilant\u0103 \u00een ceea ce prive\u015fte cuvintele \u015fi ceea ce se poate f\u0103uri cu ele : versurile. Pe de o parte poeta construie\u015fte din cuv\u00e2nt \/ vers un refugiu \u00een fa\u0163a realului : \u201edac\u0103 plou\u0103 cu versuri \/ lumea r\u0103m\u00e2ne \u00een spatele ploii \u201c(Var\u0103), se autodefine\u015fte prin intermediul cuv\u00e2ntului : \u201e g\u00e2nd \u015fi cuv\u00e2nt \/ \u00eengem\u0103nate ad\u00e2nc \/ scutur\u00e2ndu-\u015fi de nins aripa \/ fiind eu sunt \u201c ( Alb ), dar \u00een acela\u015fi timp, utilizeaz\u0103 cuv\u00e2ntul pentru a-\u015fi \u0163ese \u201e p\u00e2nza la un r\u0103zboi arhaic \u201c, \u00een a\u015fteptarea unui Ulise : \u201e sunt doar o anacruz-a penelopei \u201c ( Sau ), care s\u0103-i sf\u0103r\u00e2me lan\u0163urile cu care e legat\u0103 simbolic de v\u00e2rful muntelui, \u00een timp ce vulturul prometeic \u00eei ciugule\u015fte versul : \u201e de ce \/ mie \/ nu mi se regenereaz\u0103 versul \/ ciugulit de vultur \u201c ( A\u015f vrea ).<\/p>\n

Pe de alt\u0103 parte, cuv\u00e2ntul \u015fi-a pierdut din puterea sa ini\u0163ial\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 : \u201e ca \u015fi c\u00e2nd \/ s-ar fi umilit cuvintele \/ \u00eentr-un copac t\u0103cut \/ f\u0103r\u0103 ramuri \u201c ( Portret ), s\u00e2ngereaz\u0103 : \u201e \u00eentorc ziua noaptea cu silabe \/ \u015fi-mi curge s\u00e2nge din cuv\u00e2nt \u201c ( Lan\u0163urile ), cuvintelor le este sete : \u201e \u00een lacrim\u0103 \/ …. \/ silabe-nsetate \u201c ( Exerci\u0163iu ), iubesc : \u201e vino cuv\u00e2ntule \/ \u015fi-mi deseneaz\u0103 m\u00e2na prelung\u0103 \u015fi mireasma de toamn\u0103 \/ vino \/ iube\u015fte-te \u201c ( Vers ), primind astfel atribute ale omenescului.<\/p>\n

\u00cen ciuda acestor atribute \u201c profane \u201c, ele mai p\u0103streaz\u0103 latura divin\u0103 : \u201e m\u0103 \u00eenchin \/ \u00een genunchii lacrimii pe cuv\u00e2nt \u201c ( Nichita, mereu ), simboliz\u00e2nd natura dual\u0103 a unui Iisus \u201e \u00een care cred \u201c : \u201e zbor alb \/ \u00een frunza de apoi \/ \u00een care cred \u201c ( Punct ).<\/p>\n

Poeta e imperativ\u0103 \u00een aceste versuri : \u201e lua\u0163i \u015fi citi\u0163i \/ 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\u015fte- \u201c.<\/p>\n

Dacina Dan \u00ee\u015fi ofer\u0103 simbolic cuvintele \u2013 adic\u0103 pe sine \u00eens\u0103\u015fi \u2013 lumii \u00eentregi.<\/p>\n

***<\/p>\n

\u00a0<\/strong><\/p>\n

Ineffable and diaphanous as a transparent drawing, but also of a subtle irony, the book \u201cIllusory\u201d written by the poet Dacina Dan (award winning at the National Poetry Festival \u201cGeorge Cosbuc\u201d, 13th edition) imposes due to the genuineness of talent.<\/p>\n

The ambivalence real\/fantasy, the idea of lost reflexivity, the overt and yet deceitful image of the world, the perishable nature of human beings who have lost access to everything eternal \u2013 all of these govern the entire book.<\/p>\n

Likewise, everything that is a consecrated symbol is transformed, in Dacina Dan’s poetry, into counter-symbol.<\/p>\n

The poetic being rises in front of us as a tower of restlessness (Sartre – \u201cTower of silence\u201d), carrying the meaning of a continuous search within one’s self, an unfinalised tower constantly built: \u201cI’m lost within my own self\/ fraying my light\/ I was so careful\/ to gather my souls\/ into a novel virginal silence\/ with an unrelenting profile\/ reverberated by the shadow of the fictional snowdrift\u201d (You), \u201cI cannot break my chains\/ I have lost the key\u201d (The chains), \u201cI seek myself amid snowflakes\u201d (Snowflake).<\/p>\n

The desire to escape reality can be materialised or fulfilled only by means of sleeping: \u201csoon\/ I will wander into sleep\/ naked of thought\/ I only want to hibernate for a while\u201d (Soon). Here, sleep is not necessarily a foreshadow of death, but rather a return to the pure rhythm of matter, to the area of plenitude and silence.<\/p>\n

The conceptual universe is rather Bacovian, giving the impression of a spiritual asphyxiation, of the total and irreversible falling of the myths. However, on a formal level the poet’s desideratum remains the closeness to the invariably present Nichita.<\/p>\n

Along many of the poems, one can notice the sentiment of being unfulfilled, of the forbidden or interrupted germination: \u201cout of aphrodite’s shell\/ I took a single\/ illusion\/ with which I bloomed and germinated\/ this water spring that I brought to the world\/ since then I’ve been punished to\/ carry\/ this barren body of a woman\/ on which\/ there won’t ever blink again\/ eyelashes of flowers\u201d (I haven’t received).<\/p>\n

The seeds, which in Blaga’s poetry are miraculous, seeds which latently contain infinity, are represented in Dacina Dan’s poetry as a counter-symbol suggesting the finite, the impossibility of fruit-bearing and thus, the forbidden access to eternity; they are \u201cseeds\/ which were denied fruit-bearing\u201d.<\/p>\n

The idea of the forest contained in an acorn seed (Mihai Eminescu – \u201cPoor Dionis\u201d) is reversed in the verse \u201cyour eyes would reduce the forest around\/ to a single point\u201d in an attempt of regression to origins, as though everything previously germinated were reduced, concentrated within the initial point, the spring of everything.<\/p>\n

The theme of love (\u201ca tree\/ in which hang crooked\/ two blue hearts\u201d) is once again only apparently a theme of love, because the opposite principle does not come into being, it is not reality but a shadow which lacks materiality: \u201cI have frayed my thought\/ in your soul’s briers\/ I have torn my rainbow\/ in the sight’s autumn\/ my hand has frozen reaching\/ toward the poppies of love\/ I became hoarse seeking your tenderness\u201d (Portrait).<\/p>\n

The theme of love, factually of un-love, correlates with the theme of winter signifying stillness: \u201cwithin me there’s winter\/ my dream\/ freezes its own branch\u201d (Snowflake), white being simultaneously both purity and lack of fruit-bearing: \u201cwhich branch are we conjuring\/ my love my lover\/ in the heart of winter\/ amidst the starry blizzard of seeds\/ which were denied fruit-bearing\u201d (Necrosis).<\/p>\n

Each spirit is fighting the limit and is tragically aware of the fall, marked here by doubt: \u201cperhaps\/ who knows this sort of people doesn’t even exist\/ nor does infinity\u201d (Perhaps). Divinity seems to have retreated within the highest skies, abandoning its creation. The divinity’s place is taken by the director, a director who conceives various scenarios, which randomly guide the individual’s destiny: \u201cthe director who has signed my present time\/ has looked over a book\/ and left it open\/ on a table with rocks\/ and cliffs wound my body now\u201d (The director). It is a destiny without finality, against whom the individual cannot fight, for he will crash into the ocean nonetheless: \u201cinto the memory\/ the horizon is calling for me again\/ and my crash into the window is weeping\/ reimburse to the lover and the poet their icarus\/ the leaf\/ separates me from the branch\u201d (I dreamed), \u201cI sough\/ from the verb\/ and\/ a few icarus\u2019 come forward\/ and the sky has wings\/ and melts the words\u201d (The director).<\/p>\n

At the same time, the human being has the possibility to duplicate, within every individual there is a perfect, metaphysical, immortal being, a vital force[1]<\/a>: \u201cthe snowflakes tread\/ the cusp of the soul\/ between me and the immaculate self\u201d (White).<\/p>\n

The motif of the road, the path to follow toward reaching spiritual completion in the ancient Chinese culture, is here a road \u201cwhich leads nowhere\u201d (In dreams it’s snowing still), \u201cwithout knowing where it will end,\/ the road\u201d (The road), a circular road \u201cwhere the voice is\/ how the step hurts\/ when returning\/ meandering around\/ back to where it had left from\u201d (Father).<\/p>\n

One can notice two registers in the book \u201cIllusory\u201d, one which cries and another which defies or mocks, as well as two aspects, one belonging to the past and the other to the present: \u201cmy blonde locks would lose\/ the innocence of ripe wheat\u201d (Internship), or \u201cmy fists are so full\/ of sun and of green\/ that\/ should I open them now\/ I would suddenly glide\/ into another tale, a longer one\/ with rain cold and fog\u201d (Summer). How could I ever believe that I would always carry \u201chay in our arms\/ and in our pockets stars\u201d (Internship) and that I would be able to always replace \u201cthe words with ineffable birds\u201d (Internship), the poet wonders.<\/p>\n

Sarcasm governs the social poetry, a poetry of rebellion (Negotiations, The newspaper, Holiday, Necrosis): \u201cthe cake share\/ is done only according to merit\/ oh \u2013 not moral-professional ones \u2013 of course\/ after all the market economy has begun [\u2026] mass media had been vocally accredited\/ – after all they sing very well as a choir – [\u2026] there were whispers\/ that the knowledge of foreign languages had also tipped the scale\/ the babelian language \u2013 categorically \u2013\/ spoken by\/ the majority of those on the conducting lectern\u201d (Negotiations), \u201cwho would flirt with such\/ prison bars in which appear\/ through the revival of public seeds\/ the eyes of marx shadow cubes\/ cuckoo eggs round fallacies\u201d (The newspaper), \u201con the fingernail of my little finger\/ the standard of living\/ had drawn warning signposts\u201d (Holiday).<\/p>\n

Generous ideas, such as the idea of justice and of freedom, are distorted and degraded through reflections in successive mirrors, they lose their essence and become masks in a sinister play: \u201cthe master of ceremonies has announced\/ that he hadn’t sent an invitation\/ to the professor the doctor the engineer\/ however he gave orders\/ to have sent to his house\/ a plate of unemployment benefits [\u2026] the master of ceremonies\/ dressed as bread and knife\/ had caused admirable murmurings\/ especially among his friends\/ the predators\/ whom he immediately took into his arms\u201d (Negotiations).<\/p>\n

Formally limited but conceptually unlimited universe, the book presents an apparent monotony due to the same tone, somehow elegiac. This monotony is, however, fragmented by ironic episodes which stimulate and \u201cblow up\u201d the language, especially in the poem Delta: \u201cthe july evenings\/ swam toward the shore\/ carrying mosquitoes in their arms [\u2026] you\/ did not\/ fry perch\/ did not<\/p>\n

scale fish\/ did not\/ wash cutlery plates\/ did not\/ cook polenta soup onion salad\/ did not\/ squeeze lemons in the water\/ did not\/ put mint in the tea\u201d. Irony and self-irony are either able to govern entire poems (Negotiations, Internship, Necrosis, The newspaper, The delta, Restlessness) or can also be episodic: \u201creimburse to the lover and the poet their icarus\u201d (I dreamed).<\/p>\n

The words are not only tools for communication, but in a dense universe in which everything is a signifier, they transcend the conventional sphere and enter the plane of the real (or at least of the possible). In archaic societies, the responsibility for the word is charged with magical, demiurgical suggestions. Once spoken, the word can no longer be taken back, acquiring its own existence independent of the speaking subject’s will; it can turn against the subject, establishing itself.<\/p>\n

Dacina Dan has an oscillating attitude in regards to words and what can be forged out of them: the verses. On the one hand, the poet constructs out of the word\/verse a refuge in front of the real: \u201cshould it rain with verses\/ the world remains behind the rain\u201d (Summer), defines herself through the medium of words: \u201cthought and word\/ profoundly twinned\/ dusting their wing of snow\/ being, I am\u201d (White), but at the same time, she uses the word to weave \u201cher verse on a loom so\/ archaic\u201d while waiting for Ulysses: \u201cI am only an anacrusis of penelope\u201d (Or). The word is thus meant to break the chains with which she is symbolically tied to the cliff as the Promethean eagle pecks out her verse: \u201cwhy is my verse not regenerating itself\/ upon being pecked out by the eagle\u201d (I wish).<\/p>\n

On the other hand, the word has lost some of its initial power (that of establishing the real), not in the sense of some unwords but rather with the meaning of a loss of the transcendent, of demystifying. The words humble themselves through silence: \u201cas if\/ the words would have humbled themselves\/ in a silent tree\/ with no branches\u201d (Portrait), they bleed: \u201cI reverse the day to night with syllables\/ and blood pours from my word\u201d (The chains), the words are thirsty: \u201cinto the tear […]<\/p>\n

thirsty syllables\u201d (Exercise), they love: \u201ccome, word\/ and draw for me\/ my long hand and the scent of autumn\/ come\/ love thyself\u201d (Verse), thus receiving humane attributes.<\/p>\n

In spite of these \u201cprofane\u201d attributes, they still retain their divine dimension: \u201cI kneel\/ with the tear’s knees on the word\u201d (Nichita, always), symbolising the dual nature of a Jesus \u201cin which I believe\u201d: \u201cwhite flight in the leaf of hereafter\/ in which I believe\u201d (Point).<\/p>\n

The poet is imperative in these verses: \u201chere, read\/ this is my flight\/ crucified \u2013 when it is wheat \u2013\/ rain \u2013 when it is young \u2013\/ anamorphosis \u2013 when white melts \u2013\u201c.<\/p>\n

Dacina Dan offers her words \u2013 meaning her own self \u2013 symbolically to the entire world.<\/p>\n

Mihaela Gheorghiu<\/strong><\/p>\n

Traducerea \u00een englez\u0103: M\u0103d\u0103lina Maria D\u0103ncu\u0219<\/strong><\/p>\n

(Prefa\u021ba volumului bilingv (rom\u00e2n\u0103-englez\u0103) de versuri \u201eAparent\/ Illusory\u201d, Editura Singur, 2016)<\/em><\/p>\n

Coperta: <\/em>Mihaela Gheorghiu<\/p>\n

\n
\n
\n

[1]<\/a>Arheu (Gr.) – term which represents the essence of all phenomena, the prototype of all things and beings, vital force, principle.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Inefabil \u015fi diafan, ca un desen transparent, \u00eens\u0103 de o ironie subtil\u0103, volumul \u201e Aparent \u201c 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-28069","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/28069","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=28069"}],"version-history":[{"count":8,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/28069\/revisions"}],"predecessor-version":[{"id":28072,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/28069\/revisions\/28072"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=28069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=28069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=28069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}