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George Anca<\/p>\nGeorge Anca<\/p>\n
MANTRA\u00a0 EMINESCU<\/em><\/strong><\/p>\n (autoexcerpte)<\/p>\n 2011<\/p>\n Coperta1: Alexandra Citirig\u0103<\/p>\n Redactor: Elena Stan<\/p>\n Copyright: George Anca<\/p>\n ISBN<\/p>\n \u00a0<\/em><\/p>\n \u00a0<\/em><\/p>\n CUPRINS<\/em><\/p>\n <\/p>\n EMINESCU \u00ceNTRE BAUDELAIRE \u015eI TAGORE<\/p>\n <\/p>\n Mitul lui Zamolxe \u00een poezia lui Mihai Eminescu \u015fi a lui Lucian Blaga….<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Baudelaire \u015fi poe\u0163ii rom\u00e2ni<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sanskritikon<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Glose despre ahimsa<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cosmologia eminescian\u0103 \u00eentre Veda \u015fi Edda<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Albatros \u2013 Bibliotec\u0103<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 T\u00e2rgovi\u015fte-India<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Arundhati<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Orfeu digital<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Statuile lui Eminescu<\/em><\/p>\n <\/p>\n MANTRE, DODII, SONETE<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Balada Calcuttei………..<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Orientopoetica<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sonete thailandeze<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mamma Trinidad<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cenu\u015fa lui Eliade<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dup\u0103 cin\u0103<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Greeniet card<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pelasgos<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sub clopot<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Templu \u00een elicopter<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mure\u015fan Eminescu<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poeston<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Murmurantes<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Paparuda<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Z\u0103pezi hawaiiene<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 v\u00e2sc<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sonete din ocult<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dodii<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Maroc dup\u0103 tat\u0103<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rechinuri<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Postibsenieni<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 icoan\u0103 scobit\u0103<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 spune-mi de ce vorbeam<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 timpul ce<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00eencepem \u00eemp\u0103trirea<\/em><\/p>\n <\/p>\n POVESTIRI AMNEZICE<\/p>\n <\/p>\n Monahul actor<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 la gioia<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M\u0103slinii din Uffizi<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gara Kabir<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ibsenienii<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ast\u0103-sear\u0103 se joac\u0103 Noica<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Originea indian\u0103 a romilor<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe\u015ftera lui Paul<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Planul lui Dumnezeu <\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Frica de Orient<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Furnici albe<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Budha \u015fi colonelul<\/em><\/p>\n <\/p>\n INDOEMINESCOLOGY<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Public address to the president of India<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The International Academy Mihai Eminescu<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ek shanti<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Waste<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Buddha<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Indoeminescology<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pastiche<\/em><\/p>\n \u00a0<\/em><\/p>\n EMINESCOLOGICE<\/p>\n <\/p>\n <\/p>\n Mitul lui Zamolxe \u00een poezia lui Mihai Eminescu \u015fi a lui Lucian Blaga<\/em> (1966, inedit)<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Confrunt\u00e2nd cu versiunile istoricilor \u2013 r\u0103st\u0103lm\u0103ciri \u00een primul r\u00e2nd ale pasajelor l\u0103sate de Herodot -, investiga\u0163iile unui romantic \u015fi ale unui expresionist se impun ca adev\u0103rate \u00een sfera poeziei. Aceasta d\u0103 posibilitatea de a raporta opera \u00eentreag\u0103 a fiec\u0103ruia din cei doi poe\u0163i la mitul dacic, f\u0103r\u0103 deform\u0103ri. Zeii nemuritori ai lui Eminescu, s\u0103geta\u0163i \u00eentre coaste, \u015fi profetul murind al lui Lucian Blaga relativizeaz\u0103 \u00een moduri diferite, uneori opuse, existen\u0163a metafizic\u0103.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sim\u0163irile, g\u00e2ndirea \u015fi via\u0163a, autorul poemelor dacice \u015fi le-a vrut milenare, \u00eenchipuindu-le la eroii miturilor sau divulg\u00e2ndu-le \u00een scene medievale evaluate shakespearian. Dac\u0103 nu a r\u0103mas fidel vreunui Hyperion purtat prin Dacia echivalat\u0103 Greciei hoelderliniene, sau nu \u015fi-a \u00eenf\u0103ptuit proiectele de drame dinastice, dac\u0103 a preluat leit-motive \u015fi dac\u0103 a scris capodopere metafizice, Eminescu, printr-un ansamblu abstras al operei, poate fi cuprins \u015fi definit. T\u00e2n\u0103rul voievod ar fi, dup\u0103 Lucian Blaga (Spa\u0163iul mioritic<\/em>) o prezen\u0163\u0103 esen\u0163ial\u0103. Zamolxe, incert \u015fi tragic, pare s\u0103 ipostazieze, la fel, o esen\u0163\u0103.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cosmosul vibreaz\u0103 de chipul s\u0103u: soarele \u015fi furtuna, fulgerul \u00eempietrit \u00een stele, mun\u0163i cl\u0103tina\u0163i de pr\u0103v\u0103lirea st\u00e2ncilor.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unica rela\u0163ie de actualitate este Zamolxe-Decebal. Ceilal\u0163i (zei) sunt divinii str\u0103buni ai aceluia\u015fi Decebal.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zamolxe e r\u0103nit. Automat, \u201cfugarii cei divini\u201d se simt \u015fi ei r\u0103ni\u0163i \u015fi, \u201curl\u00e2nd\u201d bolta o \u201ccoboar\u0103 \u015fi-o color\u0103 cu-a lor s\u00e2nge\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Privi\u0163i epopeic, de altfel parodia\u0163i (\u00eeng\u00e2na\u0163i), Joe, Zamolxe sau Odin vin direct din miturile imperfecte filosofic, sunt lipsi\u0163i total de transcenden\u0163\u0103. \u00cens\u0103\u015fi calitatea divinit\u0103\u0163ii lor e doar ocazional\u0103 \u015fi subiectiv\u0103: divinizarea la Eminescu se face de la sine. Mari sculpturi \u00eentr-un cer vechi, zeii ace\u015ftia incit\u0103 fantezia contemplatorului pesimist.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Strigoii<\/em> (1876), \u00een atmosfer\u0103 de roman negru, recheam\u0103 \u00eentr-o Dacie cre\u015ftinat\u0103 pe Zalmoxe. El \u00eensu\u015fi, dup\u0103 religie, e un strigoi… Scopul poemului st\u0103 \u00een \u00eentoarcerea lui Zalmoxe \u00een scopul \u00eenvierii nemuritoare.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Magul c\u0103l\u0103tor \u00een stele \u00eenf\u0103ptuie\u015fte totul \u00een univers, f\u0103r\u0103 ca universul s\u0103 fie opera lui. \u00cen afara oric\u0103rei gravit\u0103\u0163i a Olimpului, Valhalei sau P\u0103m\u00e2ntului, \u201cc\u0103l\u0103torul\u201d este de o supraumanizare nedeghizat\u0103.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Titlul provizoriu, Nirvana<\/em>, al poemului Rug\u0103ciunea unui dac <\/em>(1879), prezen\u0163a unor versuri din Rig-Veda <\/em>(cf. edi\u0163ia Perpessicius) nu \u00eempiedic\u0103 identificarea lui Zamolxe cu unica for\u0163\u0103 creatoare universl\u0103, de dinaintea genezei. Zamolxe nu e un buddha \u00een \u00een\u0163elegerea lui Eminescu. De o metempshihoz\u0103 a lui poate fi vorba numai speculativ. Magii ar fi, eventual, re\u00eencarn\u0103ri ale zeului.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ca Sarmis s\u0103 poat\u0103 fi al\u0103turat \u00een vreun fel de Hamlet, un argument l-ar aduce inexisten\u0163a real\u0103 a p\u0103rin\u0163ilor \u015fi a raporturilor ereditare \u00een poemele getice ale lui Eminescu. Nebunul Sarmis cunoa\u015fte de la \u00eenceput adev\u0103rul \u015fi atunci dueleaz\u0103 cu Zalmoxe.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dansul dup\u0103 cimpoiul scitic, cu ciocniri de baltage \u015fi de palme, tonul general al ceremoniei \u015fi paliditatea zeului nu dau de \u00een\u0163eles ca Eminescu s\u0103 fi \u00eentrz\u0103rit \u00een Zamolxe un Dionysos, cum afirm\u0103 unii zalmoxologi. Spusele c\u00e2nt\u0103re\u0163ului, chiar \u00eentrerupte de r\u00e2sul ghidu\u015fului \u201ccu mutra lui de capr\u0103 \u015fi trup schilod de faun\u201d, sus\u0163in doar un d\u00e9cor de \u201ctragedie\u201d apollinic. Zamolxe, judecat din textele eminesciene, se z\u0103misle\u015fte el \u00eensu\u015fi din tragedie, din cultul \u00eenchinat lui, \u015fi nu invers. (Nu apollinism, nu dionysianism, ci zamolxism pare a fi spiritul propriu, inten\u0163ional, la Eminescu.)<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La sf\u00e2r\u015fitul unui r\u0103zboi cu \u00eenvin\u015fi sinuciga\u015fi (Memento mori<\/em>), la dezgustul misogin \u015fi ura de via\u0163\u0103 a lumii (Gemenii<\/em>), \u00een vecin\u0103tatea mor\u0163ii sau na\u015fterii perpetue (Povestea magului c\u0103l\u0103tor \u00een stele<\/em>, Demonism <\/em>etc.), Zamolxe se \u00eencarneaz\u0103 sau se spiritualizeaz\u0103 c\u00e2nd prea p\u0103g\u00e2n, c\u00e2nd compatibil cu vreo dogm\u0103 cre\u015ftin\u0103, dar mereu st\u0103p\u00e2nitor mistic (ascuns) peste naturi.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen Luceaf\u0103rul <\/em>\u015fi Fata \u00een gr\u0103dina de aur<\/em>, Dumnezeu \u015fi Adonai sunt concepu\u0163i eclectic, iar Zalmoxis transpare numai \u00een afara p\u0103catului \u015fi cerului. De el aminte\u015fte refuzul, deci neputin\u0163a, schimb\u0103rilor de soart\u0103. Blestemul zmeului este o ciudat\u0103 furie omeneasc\u0103 asem\u0103n\u0103toare cu a lui Sarmis, ori, umanizarea r\u0103stoarn\u0103 mitul dacic al zeific\u0103rii prin sc\u00e2rba de via\u0163\u0103 nedemn\u0103. \u201cIzvor de vie\u0163i \u015fi d\u0103t\u0103tor de moarte\u201d s-a pomenit \u015fi Zamolxe, dar lui Hyperion \u00eei e \u201csete\u201d de repaosul vie\u0163ii, lui Sarmis, de repaosul mor\u0163ii. Dialogul \u00eentre un muritor \u015fi protectorul nemuririi sale literaturizeaz\u0103 dramatic mitul \u015fi-l scade. Abordabil, Adonai \u00een plutire deasupra luptelor dacice ar suferi \u015fi s-ar cobor\u00ee \u00een Valhalla.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Adev\u0103ratul Zamolxe, revelat o dat\u0103, cum am v\u0103zut, \u00een crea\u0163ia tragic\u0103, se revel\u0103 inepuizabil a doua oar\u0103 \u00een armonia care troneaz\u0103 asupra haosului, \u00een sacrificiile naturale nedureroase, \u00eenchinate lui \u00een \u201ctemplul timpului\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Astfel, \u00een \u201carmonia codrului b\u0103tut de g\u00e2nduri\u201d \u015fi-n \u201cvisul codrilor de fagi\u201d se vorbe\u015fte de armonia \u015fi visul zeului verde.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Izvoarele toate turn\u00e2ndu-se \u00een mare, dar pe o cale nev\u0103zut\u0103, ilustreaz\u0103, ca \u015fi stelele, mai ad\u00e2nc mitul lui Zalmoxe, de\u015fi \u00een mod indirect: \u00een func\u0163iile acestui mit. Pentru a surprinde \u00eens\u0103 mai exact rostul apelor \u00een aluziile mitologice pe care le urm\u0103rim, trebuie p\u0103truns \u00een lumea celor ce se \u00eenchin\u0103 lui Zamolxe: zei, z\u00e2ne, magi, eroi, oameni.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dacia geologic\u0103 \u00eentrece \u00een monumentalitate oricare dintre viziunile \u00eentunecate ale poetului.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 P\u00e2n\u0103 la apoteoza vitalist\u0103 a teritoriului paradisiac dacic, voal\u00e2nd \u015fi \u0163inuturile infernale, vegeta\u0163ia, unduit\u0103 de nimfe, \u00eempline\u015fte ritul.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u0103lin, ca \u015fi nebunul Sarmis, este nemuritor, dar \u00ee\u015fi consum\u0103 existen\u0163a mitic\u0103 f\u0103r\u0103 control divin. De la Sarmis la C\u0103lin, p\u0103g\u00e2nismul \u015fi-a irosit zeit\u0103\u0163ile, \u015fi via\u0163a, din tragedie, s-a transformat \u00een basm cu mon\u015ftri sufoca\u0163i \u015fi voinici triumf\u0103tori. Ideea se exprim\u0103 \u015fi liric, \u201cE apus de Zeitate \u015fi-asfin\u0163ire de idei\u201d (Memento mori<\/em>). Miron sau mu\u015fatinii vie\u0163uiesc himeric, introspect\u00e2ndu-se etern \u015fi biruind obstacole sociale.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zamolxe s-a zidit \u00een tradi\u0163ie \u015fi, probabil, \u015fi \u00een \u00eenchipuirile getice, ca ap\u0103 vie, ca \u00eent\u0103ritor prin nemurire al vie\u0163ii tuturor supu\u015filor. \u00cen manuscrisul 2257, F. 424, Eminescu \u015fi-a \u00eensemnat dup\u0103 Herodot (cf. G. C\u0103linescu, Opera lui Mihai Eminescu<\/em>, vol. II, \u201cDescrierea operei\u201d) obiceiul tracic de a boci la na\u015fterea copiilor \u015fi de veselire cu prilejul mor\u0163ii. Herodot se mira de patima cu care ge\u0163ii nutreau sentimentul bucuriei mor\u0163ii pentru a se duce la Zamolxe. Cu at\u00e2t mai mult Eminescu avea s\u0103-\u015fi reproduc\u0103 din cl\u0103direa subcon\u015ftientului s\u0103u imaginea existen\u0163ei concepute tracic. Unele versete, nu Luceaf\u0103rul<\/em>, dar spiritualitatea lui, da, se pot imagina drept mo\u015fteniri de la un aed al Trausilor sau Ge\u0163ilor. Groaza modern\u0103 de apocalips\u0103 nu confer\u0103 genezei nicio \u00eendulcire. Lumea e un joc al haosului, iar fr\u00e2ngerea ve\u015fnicei nefiin\u0163e umple cu explozii telurice mintea dacului, a cuget\u0103torului, a dasc\u0103lului \u015fi a poetului. Scara puterilor vizibile cu fantezia, c\u00e2nd suport\u0103 zeitatea, o n\u0103ruie. Altfel, armonia esen\u0163elor ridic\u0103 muzica poetic\u0103 at\u00e2t de sus, nu invers.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Limitele nemuririi concureaz\u0103 neantul. Prejudiciile naturii, ale omului sau ale st\u0103rilor sale intr\u0103 \u00een memoria universului. C\u0103ci vechiul univers nu poate deveni receptacol al pesimismului sau al s\u00e2ngiuirilor urii de via\u0163\u0103. Emana\u0163iile genezei alc\u0103tuiesc un nou tot re\u00eencarn\u00e2nd lumea. Oricare element semnific\u0103, mai mult dec\u00e2t na\u015fterea sau stingerea, o afirmare. Afirm\u0103rile eminesciene sunt compatibile, prin vizionarism, cu mari etape de medita\u0163ie uman\u0103.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ulterior \u201codihnei celui nep\u0103truns\u201d, crea\u0163ia se \u00eenfirip\u0103 cerebral, \u00eent\u00e2i exist\u0103 pr\u0103pastia, genunea, \u00eentunericul, eterna pace, noianul \u00eentins de ap\u0103, pe urm\u0103 \u201cun punct, un Zamolxe, \u00eempreun\u00e2ndu-se cu ele. Lumea se \u00eenf\u0103ptuie\u015fte singur\u0103, din iner\u0163ie: \u201cDe atunci r\u0103sare lume, lun\u0103, soare \u015fi stihii \/…\/ izvor\u00e2nd din infinit, \/ (Sunt) atrase \u00een via\u0163\u0103 de un dor nem\u0103rginit\u201d; \u201cr\u0103sare\u201d, deci imit\u0103 soarele chiar \u00een forma stihiilor; \u201cizvor\u00e2nd\u201d adic\u0103 instituind sonor soarta noianului de ap\u0103, semn vajnic al tragediilor cosmosului \u00eenviat. Pentru oamenii ge\u0163i, pl\u00e2nsul la na\u015ftere sau \u00eenviere (crima na\u015fterii despre care vorbea \u015fi Calderon, iar dup\u0103 el Schopenhauer…) repet\u0103 destinul acela fluid, din nou din iner\u0163ie. Potriva divinit\u0103\u0163ii imediate a acestui rit este izvor\u00e2rea spontan\u0103.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dup\u0103 ce \u00een tinere\u0163e, cu \u201cSara pe deal\u201d, Eminescu \u00eenstr\u0103inase de via\u0163\u0103 a\u015fteptarea iubirii, prin jalea buciumului, na\u015fterea \u201cstelelor umezi\u201d \u015fi mai ales printr-o amintire ancestral\u0103: \u201cApele pl\u00e2ng clar izvor\u00e2nd\u201d, t\u00e2rziu, \u00een \u201cMai am un singur dor\u201d, a privit apele ca pe ni\u015fte \u201cmume\u201d. La moartea poetului, cu visul unei noi na\u015fteri, pl\u00e2nsul \u015fi c\u0103derea apelor se antropomorfizeaz\u0103:<\/p>\n Luceasc\u0103 cer senin<\/p>\n Eternelor ape,<\/p>\n Care din v\u0103i ad\u00e2nci<\/p>\n Se nal\u0163\u0103 la maluri,<\/p>\n Cu bra\u0163e de valuri<\/p>\n S-ar at\u00e2rna de st\u00e2nci –<\/p>\n \u015ei murmur\u0103-ntr-una<\/p>\n C\u00e2nd spumeg\u00e2nd recad.<\/p>\n O na\u015ftere ne\u00eentrerupt\u0103 treze\u015fte acelea\u015fi efecte ca \u015fi somnul mor\u0163ii: \u201cMereu va pl\u00e2nge apa, noi vom dormi mereu\u201d (\u201cO, mam\u0103…\u201d) – pl\u00e2nsul apei \u00eenseamn\u0103 iar\u0103\u015fi izvor\u00e2re.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Prin c\u0103dere, izvoarele fac perfect semnul posesiunii universului. Sclipirile lor, ale genezei, sunt de natur\u0103 fizic\u0103-mineral\u0103, dar prezen\u0163a orbitoare \u00een timp se asociaz\u0103 cu p\u0103trunderea \u00een condi\u0163ia uman\u0103 \u015fi \u00eentoarcerea \u00een vid. Un apriorism liric r\u0103stoarn\u0103 treptele ciclului: izvoarele se nasc pentru a pl\u00e2nge na\u015fterea omului, omul le urmeaz\u0103, iar murind, izvoarele \u00eei \u00eenchipuie sonor f\u0103ptura. Unduirea om-izvor e una din tainele pe care, ini\u0163iat\u0103, C\u0103t\u0103lina le \u00een\u0163elege:<\/p>\n \u015ei tainic genele le plec<\/p>\n C\u0103ci mi le \u00eemple pl\u00e2nsul<\/p>\n C\u00e2nd ale apei valuri trec<\/p>\n c\u0103l\u0103torind spre nemurire.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sonorizare irizat\u0103 mai presus de neant, aiurare continu\u0103 a lucrurilor din viziuni, mitul lunii \u015fi al luminii c\u0103z\u0103toare suind \u00een reflexele acvatice, memorie \u015fi reprezentare incon\u015ftient\u0103, voin\u0163\u0103 \u015fi reprezentare, iat\u0103 c\u00e2teva posibilit\u0103\u0163i ale izvorului, a\u015fa cum reies din versuri risipite peste tot: \u201cStele izvor\u0103sc pe ceruri, \/ Florile-izvor\u0103sc pe plaiuri a lor via\u0163\u0103 de misteruri\u201d; \u201cclopotul va pl\u00e2nge\u201d; \u201carfele cuget\u0103 mite\u201d; \u201ccodrii aiureaz\u0103 negri sub a stelelor povar\u0103\u201d; \u201ccerul nori g\u00e2nde\u015fte\u201d; \u201cundele viseaz\u0103 spume\u201d; \u201cizvoare pl\u00e2ng \u00een vale\u201d; \u201cceru-ncepe-a se roti \/ \u00cen locul unde piere\u201d; \u201c\u00cen vuietul de v\u00e2nturi auzit-am al lui mers\u201d; \u201cizvor e\u015fti de vie\u0163i\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen fapt, izvorul are un sens magic, prins \u201cde vraj\u0103\u201d omeneasc\u0103, sublimeaz\u0103 alchimic armonii \u015fi dezarmonii psihice, \u00een primul r\u00e2nd erotice. Se alege un basm numai cu izvoare din poezia lui Eminescu, un basm budhic sus\u0163inut subcon\u015ftient de memoria miturilor proprii dacilor, \u00eensemnate de poet. Izvor\u00e2rile paralele din \u201cPovestea teiului\u201d, iscate din spiritul muzicii, sunt avatarii unui faraon mineral: \u201cSara vine din arini\u015fti\u201d; \u201c\u00eeng\u00e2nat de glas de ape \/ Sun-un corn cu-nduio\u015fare\u201d; \u201cIar izvorul prins de vraj\u0103 \/ R\u0103s\u0103rea sun\u00e2nd din valuri\u201d. Acestea se spun ca m\u0103rturie pentru Blanca, n\u0103scut\u0103 \u201cdin nevrednic\u0103 iubire\u201d. \u00cens\u0103\u015fi Blanca se \u00eenchin\u0103 celorlalte forme de p\u0103cat al na\u015fterii \u015fi \u00ee\u015fi face destin erotic \u00een mijlocul lor.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pentru a reveni la t\u00e2lcul fundamental al izvorului, care, cum am ar\u0103tat, st\u0103 \u00een lamentarea tracic\u0103 \u00een fa\u0163a venirii la via\u0163\u0103, c\u00eet \u015fi \u00een predestinarea nemuririi, poezia \u201cintim\u0103\u201d ofer\u0103 nuan\u0163e nea\u015fteptate ale mitului imortalit\u0103\u0163ii:<\/p>\n Putut-au oare-at\u00e2ta dor<\/p>\n \u00cen noapte s\u0103 se sting\u0103<\/p>\n C\u00e2nd valurile de izvor<\/p>\n N-au \u00eencetat s\u0103 pl\u00e2ng\u0103…?<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen poezia lui Eminescu se poate consemna primatul nemuririi predestinate asupra mor\u0163ii vitale. Ceea ce a \u00eemprumutat din budhismul schopenhauerian nu schimb\u0103 rela\u0163iile poetului cu spiritul divin autohton, \u00eentruchipat \u00een Zamolxe.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Luceaf\u0103rul<\/em>, poemul mai mult al nemuririi \u015fi mai pu\u0163in al geniului rece, propune trei ipostaze principale. Hyperion se \u015ftie, este, \u015fi tenta\u0163ia vie\u0163ii \u00eel determin\u0103 c\u00e2nd s\u0103 nu mai vrea s\u0103 fie, c\u00e2nd s\u0103 r\u0103m\u00e2n\u0103 \u00een lumea sa, nemuritor. C\u0103t\u0103lina, Dochie modern\u0103 \u015fi turpid\u0103, are voin\u0163a sublim\u0103 de a se \u00eenconjura cu nemurirea (Fata \u00een gr\u0103dina de aur voia chiar s-o \u00eembrace: \u201cF\u0103-mi dar de nunt\u0103 nemurirea ta\u201d). Drumul astrului este \u00eencercuitor: \u201co urma ad\u00e2nc \u00een vis \/ De suflet s\u0103 se prind\u0103 \/…\/ Se apridea mai tare \/ \u015ei s-arunca fulger\u0103tor, \/ Se cufunda \u00een mare\u201d etc. Na\u015fterea luceaf\u0103rului din cer \u015fi din mare, din soare \u015fi din noapte se al\u0103tur\u0103 banal izvor\u00e2rilor involuntare. C\u0103t\u0103lina le pierde din vedere. A treia atitudine, cea a lui C\u0103t\u0103lin, este contrar\u0103 lui Hyperion. C\u0103t\u0103lin renun\u0163\u0103 la na\u015ftere \u015fi la nemurire:<\/p>\n Vom pierde dorul de p\u0103rin\u0163i<\/p>\n \u015ei visul de luceferi.<\/p>\n Hyperion, purt\u00e2ndu-\u015fi nemurirea, \u00ee\u015fi improviza na\u015fteri inutile, C\u0103t\u0103lin se vrea nen\u0103scut, de\u015fi muritor. Copilul de cas\u0103, \u00eens\u0103, \u00eenc\u0103rcat de via\u0163\u0103 erotic\u0103, treze\u015fte sil\u0103 fa\u0163\u0103 de marivaudage-ul lui prea apropiat fa\u0163\u0103 de dorurile cerului. Prin aceste subordon\u0103ri ale caracterelor fa\u0163\u0103 de raporturile cu nemurirea, poemul are fe\u0163e deosebite \u015fi ceea ce nu e luciferic e rizibil \u00een ordine tragic\u0103.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen poemele dacice, via\u0163a nemuritoare concureaz\u0103 geneza \u015fi stingerea universal\u0103… Sarmis, Decebal, Arald, \u201ccopilul rege al codrilor de brad\u201d, Dochia, C\u0103lin Nebubul, \u015fi cei mai mul\u0163i eroi mitici eminescieni, de altfel, exist\u0103 exemplar prin tragism nesecat. Cea mai groaznic\u0103 r\u0103scruce pentru lini\u015ftea t\u0103iat\u0103 de \u00eempreunarea lumilor este \u015fi cea mai vast reprezentabil\u0103 fantastic sau simbolic: via\u0163a \u015fi moartea, plantate \u00eentr-un acela\u015fi, s\u0103-i zicem, archaeu. \u00centre via\u0163\u0103 \u015fi moarte e \u00eent\u00e2rzierea nemuririi; dar nemurirea nu e nici via\u0163\u0103, nici moarte, ci, uneori, \u015fi una \u015fi alta, polariz\u00e2nd cosmosul dacic. Expresiile nemuririi, ca revenire la via\u0163\u0103 sau plecare spre moarte, sunt mai multe \u00een poezia lui Eminescu. Dou\u0103 fascineaz\u0103 \u00eendeosebi, anume: vorbele magice ale magului din Strigoii – …<\/em>\u201dIar duh d\u0103-i tu, Zamolxe, s\u0103m\u00e2n\u0163\u0103 de lumin\u0103\u201d – <\/em>\u015fi \u00eenceputul poemului Mure\u015fan<\/em>, publicat separat de Maiorescu – \u201cSe bate miezul nop\u0163ii \u00een clopotul de-aram\u0103\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015eansele blestemului, la Eminescu, merg de la genez\u0103 la pieire. Esen\u0163ial\u0103 e plasarea spiritual\u0103 a blestemului \u00een contextul dacic \u015fi posibilitatea de a surprinde permanen\u0163e interioare puse pe seama spiritualit\u0103\u0163ii antice.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cea mai simpl\u0103 form\u0103 este blestemul ca destin.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSemnul \u00eentors\u201d presupune \u015fansa omului de a blestema \u00een urma dispari\u0163iei sale.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Blestemul e o culme subiectiv\u0103 a vitalit\u0103\u0163ii \u00eenfr\u00e2nte.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Adev\u0103ratul blestem, \u00eens\u0103, sus\u0163ine o altfel de introspec\u0163ie. Termenii, inegali, se polarizeaz\u0103 spre un sens justi\u0163iar. Raportul ultim se stabile\u015fte \u00eentre cel ce blesteam\u0103 \u015fi cel ce va \u00eenf\u0103ptui spusele sale: el \u00eensu\u015fi sau Zamolxe. Zamolxe, cel pu\u0163in ca punct subcon\u015ftient, trebuie presupus drept arbitru al tuturor revoltelor eminesciene.<\/p>\n *<\/p>\n \u201cTe-a\u015f blestema pe tine, Zamolxe, dar\u0103 vai!<\/p>\n De tronul t\u0103u se sfarm\u0103 blestemul ce visai.\u201d<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revenind la mitul lui Eminescu \u00een interpretarea eminescian\u0103 \u015fi a lui Lucian Blaga, se impun c\u00e2teva concluzii cu privire at\u00e2t la zeul-profetul, c\u00e2t \u015fi la rela\u0163iile cu spiritul celor doi poe\u0163i. Inven\u0163ia infinit\u0103 de zei, mitul \u00een mit, la Eminescu, reveleaz\u0103 nemuritori absolu\u0163i, dispensabili prin identitatea spinozist\u0103 cu natura. La Lucian Blaga, zeii uci\u015fi prin purt\u0103torii lui profetici, zeii relativi contamin\u00e2nd \u00een absolut via\u0163a, opresc un traiect de genealogie divin\u0103. Zamolxe, v\u0103z\u0103torul chtonian, conduce \u00een destin pe Orbul din cer. Uranismului \u015fi neptunismului eminescian i se substituie o nou\u0103 evaluare a existen\u0163ei cu somn \u00een mit. Trezia lui Zamolxe, \u00een misterul p\u0103g\u00e2n al lui Lucian Blaga, e consecin\u0163a prefacerii ciobanilor \u00een priculici, a vervei sarcastice a ghebo\u015filor, a voin\u0163ei colective de a ucide. Supravie\u0163uirea profetului, spre eternizare, \u00een\u015fir\u0103 viziuni paradisiace cu lini\u015fte apocaliptic\u0103 (vetrele, miturile, lumina, somnul). Asemenea, Eminescu, fie ele \u015fi infernale, creeaz\u0103 paradisuri continue (Insula lui Euthanasius, ad\u00e2ncul m\u0103rilor, Dacia etc.).<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zeul Zamolxe eminescian se umanizeaz\u0103 prin asocierea altui zeu: Joe \u00eel umile\u015fte, Odin \u00eei ofer\u0103 exil \u00een Valhalla (Memento mori<\/em>). Magii, ca \u015fi blestemele, conciliaz\u0103 sau despart lumea \u015fi zeul, iar eroii aspir\u0103 cu folos spre condi\u0163ia zeeasc\u0103, r\u0103m\u00e2n\u00e2nd ei \u00een\u015fi\u015fi. Profetul Zamolxe nutre\u015fte sc\u00e2rba pentru irealitatea \u015fi cruzimea zeilor, ur\u0103 pentru mituri efemere \u015fi, zeificat zilnic, redevine spre aprofundarea soartei p\u0103m\u00e2nte\u015fti \u00een timp terestru. Oedipul mistic pe care \u00eel \u00eendreapt\u0103 dinspre sine pe c\u0103ile oamenilor mi\u015fc\u0103 absolutul tainic \u00eenspre matca universului intangibil.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Maxima esen\u0163\u0103 eminescian\u0103, exprimat\u0103 prin Zalmoxe, st\u0103 \u00een crea\u0163ia tragic\u0103 a celui nep\u0103truns: lumea, oamenii nemuritori, sf\u00e2\u015fia\u0163i de limitele nemuririi \u00een centrul armoniei cosmice. Via\u0163a nemuritoare (Gemenii<\/em>) concureaz\u0103 geneza \u015fi stingerea totului, prin expresia unduirii om-izvor. C\u0103lin Nebunul zv\u00e2rle boamba justi\u0163iar\u0103 spre cer, cum tracii lansau solul deasupra l\u0103ncilor. Dar posibilit\u0103\u0163ile izvorului se ridic\u0103 deasupra riturilor trace prin proiectarea \u00een absolut p\u00e2n\u0103 la antropomorfizare (Mai am un singur dor<\/em>). Apa de dinaintea genezei, apa botezului (\u201cLa solidarisation magique ou mystique \/ le bapteme, dans les significations pre-chretiennes \/ de l’homme a l’eau, lui confere de nouvelles possibilites de ‘germination’, d’une nouvelle naissance\u201d \/ Mircea Eliade, Locum refrigerii<\/em>, \u00een \u201cZalmoxis\u201d, 1, 1938), setea, toate se circumscriu nemuririi pornind de la durerea na\u015fterii, resim\u0163it\u0103 de la traci, \u015fi predestin\u00e2nd c\u0103ile neputin\u0163ei: moartea \u00een nemurire, blestemul, via\u0163a.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pentru profetul Zamolxe, \u00eensingurarea \u00een via\u0163\u0103 \u015fi \u00een moarte vorbe\u015fte, nu de un principiu cosmic, ci de unul subcon\u015ftient \u015fi ontologic. Omul strabonian, purificat de sclavia pe care i-o atribuise Strabon, ca \u015fi de voin\u0163a zeific\u0103rii, \u00eendr\u0103zne\u015fte metafizic s\u0103 identifice traiul tracic cu marele Orb \u2013 dumnezeul. Dac\u0103 Zamolxe neromantic, venit la Eminescu din mitologia p\u0103g\u00e2n\u0103, aminte\u015fte de\u00a0 balansul spiritului arghezian \u00een jurul divinit\u0103\u0163ii cre\u015ftine, profetul lui Lucian Blaga, purt\u00e2nd pe um\u0103r neputin\u0163a \u015fi st\u00e2ng\u0103cia lui Dumnezeu, \u00ee\u015fi creeaz\u0103 abstras esen\u0163a omeneasc\u0103. De aici, implica\u0163ia p\u0103g\u00e2nismului zamolxian \u00een dezbaterile ulterioare ale lui Lucian Blaga asupra dumnezeirii \u015fi lumii umanizeaz\u0103 nuan\u0163ele absolutului. Func\u0163iile izvorului \u015fi blestemului, nemurirea privesc pe marele Orb; Zamolxe le reveleaz\u0103 numai. Epilogul lui Miron Costin (plec\u00e2nd de la Geste<\/em> francez\u0103): \u201cN\u0103sc\u00e2ndu-ne murim, murind ne facem cenu\u015f\u0103\u201d, ajunge la viziuni nevanitoase prin amploarea lor.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eminescu \u015fi Blaga, prin acest leit-motiv comun, interpretat deosebit, se \u00eent\u00e2lnesc, indiferent de cauzalitatea fiec\u0103reia din cele dou\u0103 opere. Acela\u015fi mit a generat atitudini poetice \u00eenrudite spiritului, deci compararea lor gratuit\u0103 nu e for\u0163at\u0103 \u00een sfera ideilor.<\/p>\n *<\/p>\n \u00a0<\/em><\/p>\n Baudelaire \u015fi poe\u0163ii rom\u00e2ni<\/em><\/p>\n *<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu \u00een\u0163elegerea poeziei moderne, c\u00e2t acceptarea ei prelunge\u015fte indecizia, obscurizeaz\u0103 prin polemici r\u0103sun\u0103toare consensul, sacrific\u0103 op\u0163iuni. Ibr\u0103ileanu, omolog\u00e2nd, peste idiosincrazie, mesajul lui Baudelaire celui al lui Eminescu, \u00een acela\u015fi timp \u00eel implic\u0103 pe Schopenhauer, dar arunc\u0103 \u015fi o punte critic\u0103 necesar\u0103 pentru viitor.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se re\u0163ine azi cu mirare \u2013 dar f\u0103r\u0103 mirare recomand\u0103 C\u0103linescu s\u0103 credem c\u0103 \u015fi Mihai Eminescu ar fi citit Les Fleurs du Mal \u2013<\/em> publicarea, accidental\u0103 dup\u0103 cei mai mul\u0163i, a primelor traduceri din Baudelaire sub semn\u0103tura lui Vasile Pogor, \u00een num\u0103rul 3 al Convorbirilor literare <\/em>din 1870. Pentru gustul \u015fi deta\u015farea ironic\u0103 a traduc\u0103torului \u2013 ca s\u0103 nu o discut\u0103m pe cea poetic\u0103 \u2013 ilustrativ\u0103 este replica acestuia \u00een leg\u0103tur\u0103 cu \u00eenfiin\u0163area Convorbirilor<\/em>, comparabil\u0103 cu cea a lui Verlaine despre \u201cdecadisme\u201d: \u201cPoate o denumire potrivit\u0103 ar fi Convorbiri literare<\/em>, spune Iacob Negruzzi; Bravo, r\u0103spunde Pogor de departe: Convorbiri literare <\/em>nu zice nimic. Cela n’engage a rien! Admis!\u201d<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mihai Eminescu traduc\u00e2nd proz\u0103 de Edgar Poe prin intermediul lui Charles Baudelaire, iat\u0103 o situa\u0163ie care, dincolo de hazardul acesteia \u00een aceea ce-i prive\u015fte pe fiecare din cei trei, vorbe\u015fte de la sine ca o presim\u0163ire.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Idiosincrazia poetului latin \u2013 fa\u0163\u0103 de o \u0163ar\u0103 cople\u015fitoare ca natura \u00eens\u0103\u015fi, templu altfel celebrat ca stare \u015fi celebrator al unei discrete \u015fi mesianice voca\u0163ii, cu, mai presus dec\u00e2t originalitate, unicitate sintetic\u0103 de izvor ca pl\u00e2ns la na\u015ftere – \u201cApele pl\u00e2ng clar izvor\u00e2nd din f\u00e2nt\u00e2ne\u201d (Eminescu).<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 P\u0103trunderea \u00een \u201cuitarea rom\u00e2neasc\u0103\u201d \u015fi rostirea filosofic\u0103, la Constantin Noica, este prospectiv\u0103, \u201c\u00eentru\u201d c\u0103utarea unui Eminescu al filosofiei rom\u00e2ne\u015fti. Istoricii \u015fi criticii acoper\u0103 orizontul retrospectiv.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apollo, Hyperion, Orfeu vin prin opera ovidian\u0103 s\u0103-l inspire pe Eminescu, viziunea lui, \u00eenainte de a se reg\u0103si \u00een sine, trec\u00e2nd prin arcanele preovidiene ale antichit\u0103\u0163ii originare.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O lectur\u0103-coresponden\u0163\u0103, ori una-univers al r\u0103ului, -templu etc. se vor resim\u0163i de obsesia versului, vor atinge r\u0103d\u0103cinile de tropar al sonorit\u0103\u0163ilor eminesciene. Obligat la un cult ancestral, auzul se \u00eenl\u0103n\u0163uie de ecouri \u00eenconjurate de lini\u015fti ad\u00e2nci.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0103 cite\u015fti pe Eminescu f\u0103r\u0103 a te g\u00e2ndi la Eminescu nu e un semn c\u0103 te-ai g\u00e2ndit la Baudelaire, \u00eentr-o ipostaz\u0103 fluid\u0103, de coresponden\u0163\u0103 luciferic\u0103 a st\u0103rilor, a cauzelor \u015fi efectelor lirismului, poate ale versului. Ochiul cititor se solidarizeaz\u0103 cu versul, cu coloanele iambului, caden\u0163\u00e2ndu-se pentru primirea armoniilor de substan\u0163\u0103, c\u00e2ntului str\u0103b\u0103t\u0103tor abisurilor, dar \u015fi pentru primirea pierderii de sine consim\u0163ite, a c\u0103ut\u0103rii \u00een \u00eent\u00e2lnire, surs\u0103 de ecouri. Re\u00eencarnarea eului liric se abandoneaz\u0103, cititorul, modest deodat\u0103, caut\u0103 un alt cititor: dualitatea cheam\u0103 o unitate superioar\u0103 a doi cititori \u015fi doi autori ce trec unul \u00een locul altuia, care nu e nimeni, n-a fost \u015fi s-a poetizat. G\u00e2ndul la poet schimbat pe cel la poezie d\u0103 sentimentul unui p\u0103cat.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O lectur\u0103 paralel\u0103: Correspondences \/ Vene\u0163ia.<\/em> Un sonet doctrin\u0103, unul-trenos. O genez\u0103 secund\u0103, o stingere trecut\u0103. Substantivul afirma\u0163iei estetice \u2013 La Nature<\/em>, verbul sepulcral absolut: \u201cS-a stins\u201d, dar \u015fi aceste forme de \u00eenceput vor corespunde, at\u00e2t natura c\u00e2t \u015fi stingerea reunific\u00e2nd epic geneza dint\u00e2i prin amintirea muzicii str\u0103juite de templu \u015fi via\u0163\u0103:<\/p>\n La Nature est un temple ou de vivants pilliers<\/p>\n Laissent parfoit sortir de confuses paroles…<\/p>\n <\/p>\n S-a stins via\u0163a falnicei Vene\u0163ii,<\/p>\n N-auzi c\u00e2nt\u0103ri, nu vezi lumini de baluri.<\/p>\n <\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ascensiunea coresponden\u0163ei sub\u0163iaz\u0103 \u2013 cobor\u00e2nd-o \u00een infinit\u0103 triste\u0163e \u2013 coloana fiin\u0163ei duse a cet\u0103\u0163ii venete, vestit\u0103 sibilin din \u00eenecuri unde p\u0103durile nu-\u015fi mai trimit simboluri.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cenceputul prin cuvinte se \u00eencheie prin parfumuri, care c\u00e2nt\u0103 dintr-o parte, paradisiac\u0103, r\u0103spunde \u00een reduc\u0163ia bizantino-venet\u0103: \u201cMiresei dulci i-ar da suflarea vie\u0163ii\u201d; nu-s \u015fi n-au fost parc\u0103 acei \u201cvivantes pilliers\u201d, nici omul, ci Okeanos, \u015fi nici templul, surpat acum, ci preotul, care a fost templul, sau numele templului supravie\u0163uind s\u0103 anun\u0163e re\u00eentoarcerea mor\u0163ii sau z\u0103d\u0103rnicia mor\u0163ii prin via\u0163\u0103. O sugestie irumpe \u00een tonalitatea celor mai lungi ecouri din dep\u0103rt\u0103ri metafizice:<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Il est des parfums frais, comme des chairs d’enfants<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu-nvie mor\u0163ii \u2013 e-n zadar copile!<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Coreponden\u0163a eminescian\u0103 exprim\u0103 un paradis ce se comunic\u0103 numai sie\u015fi, cele ale lui Baudelaire sunt pornite din mijlocul infernului suprem. O cale apofatic\u0103, \u00een spiritul armoniilor eminesciene, r\u0103zbate spre metafizica r\u0103ului baudelairian\u0103. Excesul de puritate \u2013 c\u00e2nd e vorba de \u201ccoresponden\u0163\u0103\u201d \u00een accep\u0163ia armoniei poetice \u2013 se \u00eent\u00e2lne\u015fte cu unul de morbiditate, \u00eenc\u00e2t nu poe\u0163ii pot sta aproape, ca fire, nici universurile, c\u00e2t claritatea, definibilitatea lor.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dou\u0103 lecturi care duc \u00een alt\u0103 parte opun\u00e2nd romantismul lui Eminescu clasicismului parnasian, formal, al lui Baudelaire, predestinarea modern\u0103 a celui de-al doilea, imobilitatea astral\u0103 a celui dint\u00e2i. Venind de la Baudelaire la Eminescu, \u00eel ui\u0163i ui\u0163i pe unul sau nu-l sesizezi pe cel\u0103lalt dec\u00e2t \u00een termenii unei opozi\u0163ii reciproc definitorii, ai unei descalific\u0103ri critice: sistemele \u00eenchegate \u00een marginea uneia dintre cele dou\u0103 opere se ruineaz\u0103 cu zgomotul a c\u0103rui rezonan\u0163\u0103 trimite spre un comentariu necesar, nu neap\u0103rat unificator, nici teoretic, de nega\u0163ie a unei duble surse opuse. Crezi c\u0103-l \u015ftiai pe Eminescu, ori c\u0103 nu-l \u015ftiai, c\u0103-l puteai afla ori nu pe Baudelaire, c\u0103 \u00eendreptarea c\u0103tre unul \u015fi altul, ori \u015fi c\u0103tre unul \u015fi c\u0103tre altul pot duce \u00een neant, c\u00e2nd descoperi o cale obi\u015fnuit\u0103, de lectur\u0103, de istorie citit\u0103, f\u0103cut\u0103, s\u0103v\u00e2r\u015fit\u0103 \u2013 poate, e drept, \u015fi inventat\u0103, trasat\u0103 peste utopie. Pe incompatibilitatea b\u0103nuit\u0103 intuitiv \u015fi \u00eemp\u0103cat\u0103 critic, pe romantismul dec\u0103zut sau decantizat, pe reg\u0103sirea printr-o coresponden\u0163\u0103 ancestral\u0103 a armoniilor verbului \u00eenn\u0103scut se sprijin\u0103 perspectiva \u00eenvechirii prin \u00eennoire spre nuan\u0163a cuprins\u0103 sincer, conving\u0103tor, eternit\u0103\u0163ii.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eminescu nu mai este \u015fi cu at\u00e2t mai pu\u0163in cei ce n-au fost fiind el, cei ce-au fost dup\u0103 el,\u00a0 prin el sau cu el, sau sub el, sunt nu prin ei ci prin cei care-i a\u015ftern peste Nefiin\u0163a reajuns\u0103 la \u00eenceput. Ei poate sunt str\u0103ini, dar nu se str\u0103mo\u015fesc din str\u0103inii de ei \u00een aceia\u015fi str\u0103ini de noi, \u00een ei.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Asocierea critic\u0103 a lui Arghezi cu Eminescu \u00ee\u015fi are replica \u00een dezgustul celui dint\u00e2i pentru \u201casocia\u0163ii\u201d comerciali postumi ai poetului. Aceasta cap\u0103t\u0103 expresia discursiv\u0103 chiar \u00een studiul s\u0103u eminescian care nu-i nici od\u0103 liric\u0103 \u00een graiul coardelor, nici pateric\u0103, \u201cpoem\u0103 mistic\u0103\u201d, a\u015fa cum sugereaz\u0103 c\u0103 ar fi pretins subiectul, dac\u0103 nu s-ar fi pretat la condi\u0163ia de pretext.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Studiul dedicat lui Eminescu reprezint\u0103 pentru Arghezi ceea ce reprezint\u0103 \u201cVia\u0163a \u015fi opera lui Edgar Poe\u201d pentru Baudelaire, inclusiv ca viziune estetic\u0103 \u015fi complementar\u0103 a personalit\u0103\u0163ilor, \u00eens\u0103 dup\u0103 aproape o sut\u0103 de ani \u015fi, parc\u0103 anume, \u00eentr-o ipostaz\u0103 de retrospectiv\u0103 pioas\u0103 (\u201cpio\u015fenia noastr\u0103 dep\u0103\u015fit\u0103\u201d), menit\u0103 s\u0103 rectitoreasc\u0103 fiorul poetic pe care un poet anume, unic \u015fi mare, l-a l\u0103sat mo\u015ftenire. Dac\u0103 poetul francez, teoretiz\u00e2nd poezia, transcria f\u0103r\u0103 semnele cit\u0103rii fraze din Poe, Arghezi va parafraza versuri proprii, sensul parafrazei atribuindu-i-l lui Eminescu (\u201cFemeia lui Eminescu nu e niciodat\u0103 so\u0163ia, r\u0103m\u00e2n\u00e2nd exclusiv amant\u0103\u201d, iar cunoscutul vers: \u201clogodnic\u0103 de-a pururi, so\u0163ie niciodat\u0103\u201d etc.). Am risca specul\u00e2nd c\u0103, de transcris, la r\u00e2ndul s\u0103u Arghezi transcrie din Baudelaire idei critice. Totu\u015fi le vedem, originare \u015fi regenerate dup\u0103 lunga lor evolu\u0163ie, ap\u0103r\u00e2nd dintr-un unic \u015fi vast creuzet care este spiritul arghezian, \u00eentr-o aparent\u0103, revolut\u0103 \u00eenstr\u0103inare de sine: discursul de poetic\u0103.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Modernitatea, p\u00e2n\u0103 la clasicismul ei, las\u0103 s\u0103 r\u0103sune \u00een poetica lui Arghezi hamletianul strig\u0103t al lui Rimbaud de a fi modern. Proiectarea \u015fi reflectarea ei din lumea lui Eminescu \u00eei graveaz\u0103 originalitatea rom\u00e2neasc\u0103, inexprimabil\u0103. \u00cen m\u0103rturisirea poetic\u0103, Arghezi sugereaz\u0103, insinueaz\u0103, construie\u015fte, cu o naturale\u0163e a apropierii de obiect care are aerul deta\u015f\u0103rii, cu o volubilitate uituc\u0103 \u00een fa\u0163a imposibilului asumat. Eseul s\u0103u ar fi cazanie, dac\u0103 nu s-ar pamfletiza spre a da via\u0163\u0103 unei st\u0103ri, intermitente asemeni vulcanilor (dac\u0103 s-ar sf\u00e2r\u015fi unde \u00eencepuse), dac\u0103 s-ar dedubla \u00eentr-o profesiune de credin\u0163\u0103. O individualitate pecetluit\u0103 \u00een sine, exterioriz\u00e2ndu-se doar magnetic, c\u0103lc\u00e2ndu-\u015fi \u201cpio\u015fenia dep\u0103\u015fit\u0103\u201d, orgoliul satisf\u0103cut – se \u00eenf\u0103\u0163i\u015feaz\u0103 autentic actul \u00eemp\u0103rt\u0103\u015firii despre geneza \u015fi soarta poeziei \u00een eternitate. O spovedanie lui Eminescu nu mai avea rezonan\u0163\u0103 \u00een epoc\u0103. Eminescu \u00eensu\u015fi va fi cu at\u00e2t mai auzit cu c\u00e2t cel care vorbe\u015fte despre el i se \u00eendep\u0103rteaz\u0103, spre a se apropia de ascult\u0103torul de aici, cu mesajul, cu \u201ctraducerea\u201d lui. M\u0103rturisirea este simbolic\u0103, pio\u015fenia noastr\u0103 \u2013 dep\u0103\u015fit\u0103. Certitudinea mare este poezia, voin\u0163a \u015fi \u00eemplinirea ei total\u0103, de la inaccesibilul accident al geniului la diletantism (\u201cdragostea de a scrie e un \u00eenceput de talent\u201d, nu numai o defini\u0163ie eliadesc\u0103, dar \u015fi o con\u015ftiin\u0163\u0103 specific\u0103 a condi\u0163iei literaturii.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Caracterul de m\u0103rturisire eminescian\u0103 cheam\u0103, \u00een locul spiritului critic, spiritul poetic. Contemporanii geniului depun m\u0103rturie fals\u0103.<\/p>\n *<\/p>\n Glose despre ahimsa<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 P\u00e2n\u0103 la un florilegiu din care n-ar lipsi Inorogul \u015fi oceanul<\/em> lui Lucian Blaga \u2013 oricum ahimsa rom\u00e2neasc\u0103 poate fi prefa\u0163at\u0103 \u00een absolut cu \u201cEu nu strivesc corola de minuni a lumii\u201d – sau Lumin\u0103 lin\u0103 <\/em>de Tudor Arghezi, ne-am \u00eentoarce, atavic fie, la Eminescu, pe r\u0103spunsul verbal al unui editor: nonviolent\u0103 e Rug\u0103ciunea unui dac<\/em>. Dar ahimsa finalului din C\u0103lin<\/em> (Kali\/dasa), s\u0103rb\u0103torindu-se contrapunctic, nunt\u0103 interregn, \u00een cosmos jain? Dar prefacerea, ca-n Ramayana <\/em>lui Valmiki a durerii-soka \u00een verset-sloka – \u201c…greieri, \u015foareci,\/ Cu u\u015for m\u0103runtul mers,\/ Readuc melancolia-mi,\/ Iar\u0103 ea se face vers\u201d ? Valmiki iar (?): \u201cO pas\u0103re plute\u015fte cu aripi ostenite,\/ Pe c\u00e2nd a ei pereche nainte tot s-a dus\/ C-un p\u00e2lc \u00eentreg de p\u0103s\u0103ri, pierz\u00e2ndu-se-n apus.\u201d\/ Arunc\u0103 pe-a ei urm\u0103 priviri suferitoare,\/ Nici r\u0103u nu-i pare-acuma, nici bine nu… ea moare,\/ Vis\u00e2ndu-se-ntr-o clip\u0103 cu anii \u00eenapoi\u201d. \u201cMai e-n tot universul o stea plin\u0103 e pace,\/ Netulburat\u0103 vecinic de ur\u0103, de r\u0103zboi\u201d? \u201cDe-aceea te-ai retras tu, \u00eei zice magu-atuncea,\/ S\u0103 tr\u0103ie\u015fti \u00een asceze g\u00e2ndind la Dumnezeu,\/ B\u00e2nd apa m\u0103rii-amar\u0103 \u00een negrele spelunce -\/ Ca s\u0103 domini in tine ispita, geniul r\u0103u\u201d.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen teatru, dac\u0103 nu pe scen\u0103 \u2013 Decebal <\/em>– Zalmoxe–<\/em>Hristos \u2013 Rigveda<\/em>:<\/p>\n <\/p>\n De\u015fi du\u015fman, \u00ee\u0163i zic: Bine-ai venit!<\/p>\n Eu du\u015fmanii mei nu-i ur\u0103sc… \u00eei bat,<\/p>\n Dar\u0103 \u00eenvin\u015fi \u2013 eu \u00eei iubesc \/…\/<\/p>\n Un singur lucru e mai bun ca via\u0163a,<\/p>\n Pentru c\u0103 nu-i nimic, nimic chiar: moartea.<\/p>\n Ah, cum nu suntem pe atunci pe c\u00e2nd<\/p>\n Nici fiin\u0163\u0103 nu era, nici nefiin\u0163\u0103,<\/p>\n Nici marea aerului, nu auzul,<\/p>\n Nimic cuprinz\u0103tor, nimic cuprins,<\/p>\n Nu era moarte, nemurire nu<\/p>\n \u015ei f\u0103r\u0103 suflet r\u0103sufla \u00een sine<\/p>\n Un ce unic ce poate nici n-a fost!<\/p>\n Dar vai! un s\u00e2mbure \u00een acel caos,<\/p>\n Mi\u015fc\u00e2ndu-se rebel, a nimicit<\/p>\n Eterna pace \u015fi de-atunci durere,<\/p>\n Numai durere este-n ast\u0103 lume…<\/p>\n Unde e starea aceea unde zeii<\/p>\n Nu existau, nici oameni, nici p\u0103m\u00e2nt,<\/p>\n Pe c\u00e2nd acea fiin\u0163\u0103 ne-n\u0163eleas\u0103<\/p>\n Nu-\u015fi aruncase umbrele \u00een lume?<\/p>\n *<\/p>\n Ast\u0103-sear\u0103 se joac\u0103 Noica<\/em><\/p>\n Du\u015fyanta, Hyperion, C\u0103lin. Regia: personaje avatare. Vita, Vitanus. Leviathan-levitam.\u00a0 \u00cen m\u0103ri, \u00een vis, \u00een somn.<\/p>\n *<\/p>\n V\u0103 aduce\u0163i aminte, dac\u0103 n-ar fi dec\u00e2t o prepozi\u0163ie, s-ar putea spune c\u0103 \u00eentru este un sistem de filosofie.<\/em> Caz din c\u0103dere, cazanie. C\u00e2nd nu te vede nimeni, \u00eenc\u0103 nu se cade s\u0103 faci de nef\u0103cutul. <\/em>Goethe? Petrecere, cump\u0103t, \u00eentruchipare, mai ales \u00eempieli\u0163are \u015fi ba. Eminescu \u015ftie s\u0103 vorbeasc\u0103 filosofic \u015fi \u015ftie s\u0103 vorbeasc\u0103 rom\u00e2ne\u015fte.<\/p>\n *<\/p>\n Jum\u0103tate din indienii Pima au diabet \u015fi 95 la sut\u0103 din diabetici sunt supraponderali. O gen\u0103 le permite s\u0103 \u00eenmagazineze gr\u0103sime \u00een vreme de bel\u015fug pentru a nu fi \u00eenfometa\u0163i \u00een timp de foamete. Ai \u00eentors spatele pustiei. Porc \u015fi cu Eminescu \u015fi cu Gib. Care \u015fi Gib \u00een Donna Alba. Critic de paie luate \u00een gur\u0103 a ploaie de porc. Eu ziceam de Cioab\u0103, tu de Pima, p\u0103i nu din americani vin, poate din Roboam. G\u00e2ndi\u0163i-v\u0103 uneori \u015fi la mine. O c\u0103rticic\u0103 de religiologie. \u00ce\u015fi autografiaz\u0103 cadavrul. Nu mai plec\u0103m dintre casele astea cu ferestre-noi. S-o fi re\u00eencarnat Rabindranath \u00een careva din ei. Sau ei \u00een ei. Profesor universitar din senin. Kamala Das la Islam, Tagore deconstruit de \u015ei\u015fir ca Eminescu de Mano. Eliade a scris \u015fi Gaudeamus \u015fi Maitreyi. Voi tot kosher pe la Epstein.<\/p>\n *<\/p>\n Vorbea intens, cu pl\u0103cere vag revoltat\u0103, nepremonitoriu, de n-o fi ascuns cu \u015ftiin\u0163\u0103 ce-l a\u015ftepta. Pomul libert\u0103\u0163ii trebuie \u00eemprosp\u0103tat din c\u00e2nd \u00een c\u00e2nd cu s\u00e2ngele patrio\u0163ilor \u015fi al tiranilor. Ar trebui o inchizi\u0163ie. Timpul trece \u00eempotriva noastr\u0103. Eminescu \u00eens\u0103\u015fi<\/em>. Isus \u00eens\u0103\u015fi. Slavi latiniza\u0163i. Rar \u00eengeri. Peregrinam printre ai no\u015ftri, ale noastre. Mor\u0163i \u00een mar\u015f. Oare unde o s\u0103 ajungem? Nivelurile de apreciere se contrazic.<\/p>\n *<\/p>\n Prima oar\u0103 l-am c\u0103utat la Institutul de Logic\u0103, pentru a-i comunica solicitarea lui George Alexe de a scrie la revista \u201cCredin\u0163a\u201d, \u00een Detroit (\u00eel cunoscusem pe teolog de la cumnatul s\u0103u, arheologul Petre Diaconu, partener de \u015fah). Nu mi-a r\u0103spuns, dar mi-a dat \u00eent\u00e2lnire la restaurantul \u201cIzvorul Rece\u201d, a doua zi din luna urm\u0103toare, unde am b\u0103ut bere \u015fi am vorbit, cred, numai despre mine. Am f\u0103cut poate caz de cei doi ani, ultimii, de curs, Eminescu, apoi Creang\u0103, al lui C\u0103linescu, pe care l-am audiat, la \u00eenghesuial\u0103, de vizite la p\u0103rintele St\u0103niloae, pe care reu\u015fisem pentru prima oar\u0103, ca ziarist de radio, s\u0103-l \u201cdau\u201d pe post \u015fi s\u0103\u00a0 recenzez Filocalia \u2013 aici, el a numit emfatic pe Pere Migne, cu 120 volume -, probabil \u015fi de lucrarea mea de licen\u0163\u0103 (\u201cde stat\u201d), sigur caz de ce scriam, de poezie. Interoga\u0163iile sale, mai degrab\u0103 aspre, m\u0103 entuziasmau deja, \u00eenc\u00e2t cur\u00e2nd aproape i-am repro\u015fat, cum de nu m\u0103 pune, ca pe al\u0163ii, discipoli ai s\u0103i, s\u0103 \u00eenv\u0103\u0163 greac\u0103 \u015fi german\u0103, pentru a-mi auzi, oarecum jenat c\u0103 se \u00eent\u00e2lne\u015fte cu mine \u00een paradis (ce s\u0103 fac, am pus pe seama poeziei exceptarea, am \u015fi c\u00e2nt\u0103rit rela\u0163ia lui cu lirica, v\u0103z\u00e2nd \u00eentr-un t\u00e2rziu \u00een \u201ccampania\u201d manuscriselor \u015fi hermeneutica \u201comului deplin\u201d Eminescu un paralel cu Holderlin-Heidegger).<\/p>\n *<\/p>\n Normal, mi se p\u0103rea autorul cel mai a\u015fteptat \u2013 dup\u0103 diminuarea interdic\u0163iei din cauza lui Hegel – \u00een libr\u0103rii, la concuren\u0163\u0103, subteran\u0103, cu scriitorii dominan\u0163i ai momentului. \u00cent\u00e2lnirile au curs \u00een fiecare 2 \u015fi 16 ale lunii, ani de zile, c\u00e2nd numai el oferea mai ales cafea \u2013 \u00een ultimul timp, la Nestor. Intrasem \u00een atmosfera c\u0103r\u0163ilor noi, aveam impresia c\u0103 \u00eencepusem s\u0103 fiu martor la zidirea unor construc\u0163ii ideatice, de la rostire la \u00eentru, via Eminescu. Chiar \u015fi presocraticii sau Corydaleu \u00eemi erau familiari prin auz \u015fi citit, m\u0103car \u015fi din l\u0103muriri la curiozit\u0103\u0163i ca din \u00eent\u00e2mplare.<\/p>\n *<\/p>\n Portretul i-l v\u0103d, din profil, cu pipa stins\u0103 (?) \u00een gur\u0103, a la Eliade, c\u0103tre Athene Palace, prin fa\u0163a statuii lui Eminescu. Altfel, spre \u00eencruntarea unui pastor dintr-un ordin propriu, luminat\u0103 de logos mai degrab\u0103 rece.<\/p>\n *<\/p>\n Noica se autointilua, uneori, biograful, in spe, al lui Eliade. Am \u00eenceput-o (sau, o s-o \u00eencep?) Cine altcineva? C\u00e2nd am primit prima scrisoare de la Eliade, am dat fuga s\u0103 i-o ar\u0103t, era \u015fi v\u0103rul s\u0103u, medicul. De ce \u0163i-a r\u0103spuns, nu e\u015fti aliatul nostru (\u00eenghe\u0163asem). De ce nu, a intervenit doctorul, e t\u00e2n\u0103r, n-avea c\u00e2nd s\u0103-i fie aliat. Tot a\u015fa, c\u00e2nd ispr\u0103visem de redactat teza, \u015fi i-am rezumat-o, la Nestor, c\u0103, de fapt, este Baudelaire-Eminescu, m-a \u00eentors c\u0103 de ce-mi trebuia ocolul Baudelaire ca s\u0103 ajung la Eminescu. Probabil cum ajunsese el, m\u0103 g\u00e2ndeam.<\/p>\n *<\/p>\n Noica devenea \u00eenc\u0103 o dat\u0103 Lotul Noica, zilele c\u00e2t a stat la noi Sergiu Al-George, Pe Chhatra Marg. Fusese \u00eenchis \u00een corp cu acest lot grup de eroic\u0103 amintire spiritual\u0103, tot rug aprins, tot acatist.<\/p>\n Filosofia trecuse din cartierele bucure\u015ftene la P\u0103ltini\u015f, jnana (cunoa\u015ftere) \u015fi abhijnana (recunoa\u015ftere\/anagnorisis) mi se instalau \u00een minte \u015fi \u00een via\u0163\u0103. Filosofia recunoa\u015fterii de la Hegel \u015fi Pascal la Ricoeur \u015fi Lyotard o tr\u0103isem aproape de Noica: m\u0103car eu \u00eel recuno\u015fteam (\u00een inim\u0103), cum nu f\u0103cea societatea securoi\u015ftilor ubicui. \u015ei \u201crecunoa\u015fterea\u201d era de suplinit prin \u201cma\u015fin\u0103\u201d, prin inteligen\u0163\u0103. Numai pe Eminescu nu l-am l\u0103sat, \u00eentr-un t\u00e2rziu, pentru Kalidasa, cu a sa Abhijnana Shakuntalam<\/em>\/ Recunoa\u015fterea Sacuntalei (vezi C\u0103lin. File de poveste <\/em>de Eminescu).<\/p>\n *<\/p>\n Noica s-a vrut bucurie, \u00eentr-o ordo gaudii, cu Augustin-Rafail – \u201cbucur\u0103-te \u015fi f\u0103 ce vrei\u201d, cu un personaj al lui D. H. Lawrence – \u201cNulla dies sine laetitia\u201d. \u201cCa pe o bucurie am sim\u0163it \u015fi ultimii ani de \u00eenchisoare.\u201d Soka (durere) se face sloka (verset) la Valmiki, melancolia se face vers la Eminescu, filosofie la Noica. Bucurie (sukha) dup\u0103 durere (dukha) \u2013 Wulf is on an island, I on another (poem celt). Filosoful rom\u00e2n \u015fi-a g\u0103sit moartea alerg\u00e2nd dup\u0103 un \u015foarece, altfel, servitorul zeului elefant Ganesh, al cunoa\u015fterii. Poetul tamil Subramanian Bharati fu ucis \u00een templu de elefantul c\u0103ruia i se \u00eenchina, iar Gianni Rodari dobor\u00e2t \u00een Africa, de alt elefant. Via\u0163a e jiva, jiva e Shiva, Shiva e jiva. \u201cFie-\u0163i mil\u0103, Doamne, de cei care te-au omor\u00e2t\u201d.<\/p>\n *<\/p>\n Durga blond\u0103, eminescian\u0103, \u00een colonia bengalez\u0103 a Delhiului,<\/p>\n brun\u0103 totu\u015fi \u00een Shiva Mandir \u015fi Asur nemaiangrez, tot \u00eentunecat,<\/p>\n Kali, Kali, maha Kali, o, Durga, pumni de petale aruncate p\u00e2n\u0103 la cele bra\u0163e ale dumnezei\u0163ei, Lak\u015fmi \u015fi Gane\u015f \u00een st\u00e2nga, Saraswati cu un sitar \u015fi Kartikeya-Apollo,<\/p>\n focul din vas arz\u00e2ndu-ne palmele de trei ori \u015fi ni le ducem unii dup\u0103 al\u0163ii netezindu-ne p\u0103rul \u015fi capetele, supraritual mamele la copii<\/p>\n *<\/p>\n Am trimis prietenului care v\u0103 vorbe\u015fte o miori\u0163\u0103 pentru un cangur. N-a comentat. A l\u0103sat fabula darurilor s\u0103-\u015fi fie comunicare-cuminecare, totem la totem. \u015ei nici m\u0103car de \u00eemprumut. Nici rit de trecere. Iar noi locului ne \u0163inem, vorba lui Eminescu. \u00cen fapt, limba interioar\u0103 a lui Eminescu. Ne vedem \u00een cuvinte, cum predica Noica, pe chiar vremea dictaturii comuniste<\/p>\n *<\/p>\n C\u00e2nd o \u00eent\u00e2lnisem pe Apara, cu zece ani \u00een urm\u0103, eram tot sub amenin\u0163are, pentru publicarea Doinei <\/em>lui Eminescu \u2013 nu ie\u015feam din cas\u0103, \u00eemi cerusem la vicecancelar demisia, nu mi se aprobase, p\u00e2n\u0103 chiar am plecat, \u00een 12 aprilie, (\u00eemplineam 40 de ani) \u2013 tr\u0103isem un semestru de (auto)terorizare \u2013 tot \u00een jurnalele de atunci voi c\u0103uta (romanul Furnici albe<\/em>?) C\u00e2nd \u00eei explicam lui Radu de ce plecam de la Lodhi la Vinod, argumentasem c\u0103 e o chestiune de via\u0163\u0103 \u015fi de moarte \u2013 ca s\u0103 vezi.<\/p>\n *<\/p>\n Eu sunt \u00een Academia Eminescu \u015fi Societatea Hafiz (convenit\u0103 de Vinod cu iranienii, printre care \u015fi d-na Apara \u2013 pe mine m-a cam deranjat zelul lui oarecum diluat \u2013 dincolo de noble\u0163ea asocierii \u2013 pentru Eminescu, \u00een ce m\u0103 privea: la Moscova, femeia pe care am \u00eentrebat-o de d-na Apara dac\u0103 a venit, nimic mai mult, mi-a \u015fi oferit, cu martore, un volum de Hafiz \u015fi mi-a citit public versete). N-a\u015f publica jurnalul \u015fi numai pentru a nu expune aceste femei (cine s-ar fi a\u015fteptat la Iran, f\u0103cea Margaret alalt\u0103ieri).<\/p>\n *<\/p>\n Visi \u00eemi arat\u0103 scrisoarea confiden\u0163ial\u0103 a maurului c\u0103 s\u0103 scrie visi la iugisi s\u0103 fie \u00eenlocuit rom\u00e2nul teacher c\u0103 face damage limbii rom\u00e2ne \u015fi r\u0103m\u00e2nerea lui este incompatibil\u0103 \u015fi din cauza altor activit\u0103\u0163i \u2013 aranjeaz\u0103 s\u0103 fiu \u00eentr-o pu\u015fc\u0103rie aproape de Bucure\u015fti, ce mai. Visi, rezonabil, c\u0103 dac\u0103 am serviciu \u015fi la amba, plus Doina, a, e de-o sut\u0103 de ani, p\u0103i s\u0103-mi v\u0103d de treab\u0103. Masih, \u00eenainte: s\u0103 vedem ce zice visi. Dup\u0103: take it easy.<\/p>\n *<\/p>\n \u00a0INDOEMINESCOLOGY<\/em><\/p>\n \u00a0<\/em><\/p>\n *<\/em><\/p>\n Public Address to the President of India, H.E. Shanker Dayal Sharma, at ceremony\u00a0 of\u00a0 Receiving\u00a0 Honorary Doctorate, Bucharest University<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Your Excellency Mr. President of India, Sharmaji,<\/p>\n Your gracious meeting offered to Romanian specialists in Indian studies, mainly from Bucharest, here, it’s a high honor, a stimulation and also a consolation. For it’s a tragic issue of Stalinist-Communist dictatorship that best thinkers, Indologists included, were jailed. But riks and slokas from Vedas and Upanishads were still communicated by Morse alphabet.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We feel getting, at last, a free way to knowledge of Indian spirit and culture. Perhaps the moksha\/salvation was the most appreciated quality of Indian spirit, together with Christian, Indian and universal dharma and shanti.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mihai Eminescu, Romanian national poet, declared himself a Buddhist as an empowered Christian. During more than 15 years I had talks and letters about Mihai Eminescu, mainly in and from India, but also other continents; they make some personal and Indo-eminescological history in an epistolar novel I had honor to dedicate to your excellency, Mr. President of India, Dr. Sharma ji.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kind of field researcher, I taught Romanian, between 1977-1984, at University of Delhi, while Prof. dr. Prabhu Dayal Vidyasagar was teaching Hindi at Bucharest University.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My mother has just died before and so India became my mother \u2013 now it was no problem how good India was to me, but how good was I to her.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I am grateful to legions of people in India, from great writers and professors like Amrita Pritam, Ageya, Nagendra, R.C. Mehrotra, Gurbakhsh Singh \u2013 former vicechancellors of Delhi University \u2013 to my colleagues and students in the university.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Surely the exchange of teachers between universities is a must.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Suppose India and Romania would have their cultural centers in Delhi and in Bucharest respectively, smaller and in a way more cultural cities like Ia\u015fi, Cluj, Timi\u015foara, R\u00e2mnicu-V\u00e2lcea, for Romania, and Bhopal, Bhubaneshwar, Chandigarh, Bangalore, Trivandrum for India may be taken in consideration.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Romanian-Indian Cultural Society, started recently, in 1993, beyond university and formal scientific research on Indology, is trying to gather interested people in different topics of Indian culture. Many young and gifted persons are eager to study Indian arts, dance and music, to be on scholarship in their dreamland.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We can only slightly open a door toward an endless realm.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Finally, I will dare to evoke a very special Indo-Romanian tradition dealing with human freedom<\/em> and make a call for your judgment.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Early 1990’s Romanian new press acknowledged both India’s international support to political prisoners and their recognition to pundit Jawaharlal Nehru who provoked a visit of then UN Secretary General U Thant.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dr. S. Radhakrishnan, when vice president of India, made shorter the sentence of poet Radu Gyr.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As a representative to UN International Association of Educators for World Peace, I request now, Mr. President of India, your high intervention that Mr. Ilie Ila\u015fcu, parliamentarian, jailed in Tiraspol, for only guilt of being Romanian, to be liberated.<\/p>\n *<\/p>\n The International Academy Mihai Eminescu<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>First draft \u2013 1991 \u2013 to be completed by acknowledgments, other names of poets, thinkers, artists, translators, eminescologists, educators, desiring to be together unto poetry\/shanti.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Albania, Argentina, Australia, Austria, Belgium, Brazil, Bulgaria, Canada, Czechoslovakia, Chile, China, Denmark, Egypt, Finland, France, Germany, Greece, Hungarx, India, Iran, Irak, Israel, Italy, Japan, Mexico, Moldova, Netherlands, New Zealand, Nigeria, Philippines, Poland, Portugal, Romania, Senegal, South Africa, Spain, Sweden, Switzerland, Tanzania, Thailand, United Kingdom, USSR, USA, Yugoslavia<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS \/ HONORARY INVITED<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rafael Alberti, Robert Bly, Emil Cioran, Rosa del Conte, Yolanda Eminescu, Evgheni Evtushenko, John Fowles, Vaclav Havel, Daisaku Ikeda, Eugen Ionesco, Octavio Paz, Amrita Pritam (president since 1981), Salman Rushdie, Leopold Sedhar Senghor, Bogdan Suhodolsky, Grigore Vieru.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS AT LARGE<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Anna Aalten, B. Abanuka, Tawfik El Abdo, Prachoomsuk Achava-Amrung, Ioan Alexandru (organizer), Ion Andrei\u0163\u0103, O. M. Anujan, Lourdes Arizpe, Werner Bahner, Andrei Banta\u015f, Romano Baroni, Georges Barthouil, Al Bayati, Enric Becescu, Eva Behring, Amita Bhose, Danuta Bienkowska, Carlo Bernardini, Eveline Blamont, Ana Blandiana, Lucian Boz, Ion Caramitru, Margaret Chatterjee, Mary Ellen-Chatwin, Mihai Cimpoi, Silvia Chi\u0163imia, Henri Claessen, Georges Condominas, Lean-Louis Courriol, Robert Creeley, Petru Cre\u0163ia, Marco Cugno, Nicolae Dabija, Rodny Daniel, Nilima Das, Sisir Kumar Das, Mahendra Dave, Guenther Deicke, Francis Dessart, Stanislaw Dobrowolski, P. Vidyasagar Dayal, Metoda Dodic-Fikfak, Mihai Dr\u0103gan, Livia Dr\u0103ghici, Jules Dufur, Zoe Dumitrescu-Bu\u015fulenga, Anton Dumitriu, Monika Egde, Christian Eggebert, Didona Eminescu, Roland Erb, Jiri Felix, Galdi Laszlo, Roy Mac Gregor-Hastie, Al Giuculescu, Allain Guillermou, Herbert Golder, Klaus Heitmann, Helena Helva, Gerard Herberichs, Carmen Hendershott, Anna Hohenwart, Peter Hook, Alexandra Hortopan, Kazimiera Illakowiczowna, Philip Iseley, Judith Isroff, Ion Iuga, Vilenka Jakac-Bizjak, Rafik Vihati Joshi, Elena M. Koenigsberg, Maria Kafkova, Iuri Kojevnikov, Henrik Konarkovski, Omar Lara, Leonida Lari, Maria Teresa Leon, Catherine Lutard, Keshav Malik, Muhamed Maghoub, Fidelis Masao, Liliana M\u0103rgineanu, Pino Mariano, Constantin Mateescu, Anna Mathai, Dumitru Matkovski, Charles Mercieca, Ion Milos, Baldev Mirza, George Munteanu, Chie Nakane, Ion Negoi\u0163escu, Wanda Ostap, Ayappa Panikar, Sheila Pantry, Daniel Perdigao, Augustin Petre, Irina Petrescu, Max Demeter Peyfuss, Jane Plaister, Franco Prendi, Carlos, Queiroz, Zorica Rajkovic, Lisa Raphal, Peter Raster, Ruprecht Rohr, Marcel Ro\u015fcule\u0163, Mario Ruffini, Angelo Sabbattini, A. M. Sadek, Zeus Salazar, Patricia Sarles, Monika Segbert, Joachim Schuster, Vinod Seth, Satyavrat Shastri, Andrei Simic, Norman Simms, William Snodgrass, Mihai Stan, Dumitru St\u0103niloae, Sygmunt Stobersky, Sanda Stoleru, Sorin Stratilat, Arcadie Suceveanu, Eric Sunderland, Bathelemy Taladoire, Akile Tezkan, Eugen Todoran, Fernando Tola, Mona Toscano-Pashke, Urmila Rani Trikha, Kliment Tsacev, Mihai Ursachi, Bruno Uytersprot, Nelson Vainer, Isabela Valmarin, Dimitrie Vatamaniuc, Romulus & Mihu Vulc\u0103nescu, J.L. Vig, Brenda Walker, Xu Wende, Reinhold Werner, Rudolf Windish, Mario Zamora<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 MEMBERS IN MEMORIAM<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Anna Ahmatova, Sergiu Al-George, Gheorghe Anghel, Tudor Arghezi, George Bacovia, Ion Barbu, Lucian Blaga, Samson Bodn\u0103rescu, Alexandru Bogdan, N.N. Botez, Petre Br\u00e2nzeu, Victor Buescu, Anta Raluka Buzinschi, George C\u0103linescu, I. L. Caragiale, Iorgu Caragiale, Toma Chiricu\u0163\u0103, Pompiliu Constantinescu, Aron Cotru\u015f, Ion Creang\u0103, Dimitrie Cuclin, Mihail Dragomirescu, Mircea Eliade, Gheorghe Eminescu, Gheorghe Eminovici, Franyo Zoltan, Galgi Laszlo, Gala Galaction, Mozes Gaster, Onisifor Ghibu, Petre Grimm, Ion Gora\u015f, N.I. Herescu, G. Ibr\u0103ileanu, Nicolae Iorga, Petru Iroaie, Josef Sandor, Ivan Krascko, Mite Kremnitz, Franco Lombardi, E. Lovinescu, Titu Maiorescu, Alfred Margul-Sperber, Veronica Micle, Matei Millo, Gheorghe Nedioglu, Constantin Noica, Ramiro Ortiz, Sylvia Pankhurst, Vasile P\u00e2rvan, Perpessicius,\u00a0 Ioana Em. Petrescu, Gheorghe Pitu\u0163, Miron Pompiliu, Augustin Z. N. Pop, Cornelui M. Popescu, Aron Pumnul, Salvatore Quasimodo, Ianis Ritsos, Mihail Sadoveanu, George Bernard Shaw, Ioan Slavici, Nichita St\u0103nescu, Carmen Sylva, Carlo Tagliavini, Fani Tardini, Vasile V\u0103duva, Tudor Vianu<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n \u00a0<\/em><\/p>\n Ek shanti<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Left in Dodona I ask Mahesh what I thought in the night for the poets communicate apofatically awakening poets’ killers even I am not Eminescu reincarnating Zalmoxis in Dacia then Egypt via Espagna following Ihesu in Himalaya that I am seeking Him see Margaret this Denmark of love left to all of D’s.<\/p>\n *<\/p>\n Waste<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Almost sound in all inheritage blood and brain<\/p>\n spread at imaginary wolves visits<\/p>\n jumps on temples forests Eminescu<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 yes in Kali kalidasology with Eminescu’s Calin<\/p>\n at death centenary clowning clow<\/p>\n masochistically Kali home laughed<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Contemplative obedient epics with my fellow<\/p>\n countrymen my only wish Eminescu’s<\/p>\n to die unto their better half<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mahavira of late old gods ladies evangelizing<\/p>\n one recited from Eminescu in the end<\/p>\n changing house by country of fools I left<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rodny in academy Eminescu inviting me to be<\/p>\n professor of European anthropology<\/p>\n while writing of a personal anthropology<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yoga not permitted in this case sometimes Milarepa<\/p>\n in our discussions before Eminescu<\/p>\n eating the heart of ghost in the hills<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Influenced Hillerin calling Brenda for debt<\/p>\n at noon in Eminescu bookshop<\/p>\n like in Cambridge with hound<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 White flower from you intended for the corps<\/p>\n of the logician I’ve told was early<\/p>\n and nowhere Eminescu’s tomb either<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Alibi also soon daylight like in Brashov<\/p>\n hadn’t as bad returns as presciences<\/p>\n just take Buddha as poet Eminescu<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A zone of solitude around everybody one’s life<\/p>\n imagine indeed how lonely Eminescu was<\/p>\n saying I am a Buddhist just being too Christian<\/p>\n <\/p>\n His zone touched here heretically on beheading<\/p>\n hayavadana like ardhanariswara also<\/p>\n thinking like Mir to Veronica<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Depict paintings like in Kangra Eminescu<\/p>\n valley valleology colored eyely\u00a0 sight<\/p>\n intellectual reconcept photograph<\/p>\n *<\/p>\n The Buddha<\/em>. Letters from the buddhahood to Eminescu<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Under all circumstances you seem to be under the observation of the intelligence-people of your own Socialist Country who are doing this social service to harass you a great deal in any near future and certain people including the \u201cambassador\u201d (the mathematician one!) in the Romanian Embassy here in Delhi are trying to molest your good name in India by spreading rumors about you and your being a \u201crogue\u201d and say to people here that \u201cyou\u201d are going to be exiled from Romania and\/or are going to be punished in some way. You are simple sincere poet like Mihai Eminescu and all your life you will remain simple & sincere to Romania as you always expressed and praised Mihai Eminescu and worked sincerely for the cause of deeper understanding between India and Romania.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I also published Mihai Eminescu’s poem on page number 11 viz. The Elfland Damsel and in a footnote told how great a poet Mihai Eminescu was and how many new Romanian poets he has influenced. But this sick person, the very much sick person, your Romanian ambassador Mr. Mitu Nicu spoiled everything by raising a lot of hue and cry and luckily he also revealed the very confidential things of your government that they were about to frame cases against you and were about to \u201cexile\u201d you from Romania and that you were a \u201crogue\u201d and argued with me for five hours (from 4.45 p.m. To 9.50 p.m. On 18.9.1979) in the Romanian embassy about many things on page 9 and also criticized why this person Gheorghe Anca who is not a poet at all and is not a representative of Romanian poetry has had been published by me in their National Day issue and of the magazine and if you had written the introduction (I wrote it myself) and if the photograph and poems were supplied by Anca?<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I like to confirm our \u201cInternational Academy Mihai Eminescu for Culture. Poetry & Arts\u201d and also the Eminescologistic human love for human race. I am happy that \u201cTagore Institute of Arts\u201d (India) and \u201cHafiz Iran Society\u201d (Iran:Teheran) are all cooperating with us and in 1989 we hope to reach Bucharest at his anniversary.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I attended then the full Mexican Week celebrated in New Delhi and met poet Octavio Paz of Mexico who writes in Spanish. There also I mentioned you and hundred Romanian poets. I saw through 15 days World Trade Fair in November as also we had a British Council workshop on Poetry on November 27th<\/sup> where my two poems were taken and one was cyclostyled for discussion. Mention of International Academy Mihai Eminescu is very automatic then. It penetrates the ears of the listener: \u201c100 Romanian poets\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You mentioned about Iasi’s letter demanding a sculpture of Eminescu. (From Ia\u015fi, on the North of the country \u2013 which country? India or Romania? Did you publish a bust of Eminescu in any of I.A.M.E. Books? Did you? I didn’t create any such thing). You can send him a photocopy of any of the busts of Eminescu. I didn’t meet Mrs. Pratima Kumar. If I can put a statue of Eminescu in our front garden I send you a copy after the same \u2013 among the palm trees. I expect you very much at \u201cIndia in World Literature\u201d in Delhi University in February 1985. But a bust of Eminescu in the garden should be put now. Nana must have come back from Transilvania. Nana is always in touch with me. We have no distance between ourselves when she is a day-light child of India. You are a \u201cmidnight\u201d child of India, working late in night on its topics and tell Rushdie I am the \u201cShame\u201d.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I hope Nancy can work a ceramic bust of Eminescu \u2013 lower portion in Green, upper in Lotus flower colour.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Here alone I.A.M.E. is saddled, in a seal, on his birthday.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eminescu Science Poetic meeting with best actor reciting our academy’s chief Mr. Eminescu \u2013 poetess Ana Blandiana of \u201cWhen Trees have eyes\u201d fame \u2013 it is impressive mention of varied subjects we have tried to touch about Indo-Romanian relations in a binding step on a cement platform. Yesterday, I put my records straight, one step ahead about great Romanian sections of my papers to search for all bits of papers, envelopes, chits, notes, letters, magazine clippings, poems, translations, etc. about Romania and yourself and our dear poets from Romania who came in touch with their poetry and unknown faces and common hearts and greatest arts and equal parts in our activities under the International Academy Mihai Eminescu. This I did to write something about us and our works for common knowledge and to present some written note\/paper to the new journals which your department of Modern European Languages has started and sent me two copies -one of each journal for contributing material. I am giving some (European) translations of poems including\u00a0 Romanian poems, including my poem on Eminescu \u201cWhy Eminescu came to us…\u201d (Its Romanian translation printed I never received dear Anca, as it was published. Why didn’t you read this poem or its translation at Eminescu evening to Ana Blandiana). I added three or four lines to this poem retyping it yesterday to make it true international in scope:<\/p>\n \u201cIt was an Eminescu life given to poets at Versailles –<\/p>\n And Eminescu is no different or indifferent to Nagasaki<\/p>\n Eminescu is emancipation of at least South Africa<\/p>\n A running word for soft speaking Vietnamese<\/p>\n Or why should Eminescu come to life out of time<\/p>\n Eminescu is a necessary word and a necessary line<\/p>\n He has in his abode met all the more Tagore<\/p>\n Pushkin for a recall and has met Subramanian Bharati<\/p>\n Eminescu is now a pearl in every oyster of the mother pearl Earth<\/p>\n To be able to swim on seas at ease<\/p>\n Or why else should Eminescu come from beyond the oceans swimming towards eternity…!\u201d<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The underlined words in ticked lines are newly added and some stray words removed e.g. \u201clovely\u201d\u00a0 in following:<\/p>\n \u201cEminescu is the name of Rudraksha bead in every day rosary.\u201d<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Subject: Eminescu bust by sculptor Ion M\u00e2ndrescu & matters of Book\/journals exchange, etc. with Romanian Educational Library & and poetry exchange with individual Romanian poets in Eminescu Year.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Thank you for your dated nil on 15.4.1989 and I was at International Academy Mihai Eminescu in fact waiting for Ion M\u00e2ndrescu created bust which is however still awaited. If there is some technical difficulty you can get sent its pictures and\/or articles and essays appearing about it in papers, as clippings, for our file and general reference purpose to others who may need.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You can write to them that you can read a paper on Eminescu in\/and folklore: i.e. Eminescu used folklore themes for his poetry, and has himself become a folklore theme in Romania.<\/p>\n *<\/p>\n EMINESCU, A FOLKLORE…<\/p>\n (by Vinod Seth)<\/p>\n They call Eminescu a poet, a gem<\/p>\n I always called him a diamond<\/p>\n I called him folk-lore<\/p>\n He, whom we call Eminescu<\/p>\n Hardly separated from the air anywhere<\/p>\n A poet called him a tree, an echo<\/p>\n But he who is as clear as stones in the brook<\/p>\n Is a smoothened dazzling diamond<\/p>\n Never from mountain poetry is torn<\/p>\n Eyes from his Brancusi bird<\/p>\n Fly high to sit by his bust<\/p>\n Ion M\u00e2ndrescu, the artist of skill<\/p>\n Takes away poetry from his crust<\/p>\n And hangs on him the diamond bullets<\/p>\n To let him be the martyr in revolution<\/p>\n Poet he was, but poets don’t die<\/p>\n Eminescu was the folklore of revolutions<\/p>\n He hung poetry like muslin cloths<\/p>\n On his face a smile in store<\/p>\n Folklore made Eminescu and Eminescu made folklore<\/p>\n A Hindi, Sanskrit base as before<\/p>\n Eminescu took a round of whole this globe<\/p>\n Poetry beheads him, gives him folklore<\/p>\n Eminescu sings an epic tune to us<\/p>\n Eminescu we hear on telecom<\/p>\n Then we ask him May we come in?<\/p>\n Eminescu say Yes if you glass cut the rocks<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 P.S. You will be pleased\u00a0\u00a0 a sculpture (a woman’s head in brass in French Museum’s collection, made by Bruncush, was recently exhibited in the National Gallery of Modern Art, which was the first sculpture I saw from Bruncushi. If more than one busts of Eminescu are sent may be we can give them to some institutions.<\/p>\n *<\/p>\n LIBERTIES…<\/p>\n (By Vinod Seth)<\/p>\n Death in the year of Eminescu’s death<\/p>\n Better than Romanians speak<\/p>\n And speak they 25 years ache<\/p>\n Achile’s heal has kicked Ceausescu’s head<\/p>\n And with bullets riddled his face<\/p>\n We wouldn’t dare a return<\/p>\n While dying he doesn’t look as young<\/p>\n As much as in publicity photographs<\/p>\n which his ambassador has to give or gave<\/p>\n Liberty<\/p>\n Only you are young<\/p>\n Noe live with Romanian grace…<\/p>\n Up and up on this hill is love<\/p>\n Then on the peak is a flag<\/p>\n Brancusi has put there a slab<\/p>\n Romanians call it Eminescu’s grave<\/p>\n Up on the hill one year is past<\/p>\n Up on the hill a look down is cast<\/p>\n Flags fly 80 000 at half mast<\/p>\n Revolution is like those of the French<\/p>\n Like Shiva’s dance on Christ’s cross<\/p>\n They had a thirst for poison, had to quench<\/p>\n The people had told at last who is the boss<\/p>\n Christmas said it is Santa-Claus<\/p>\n Death said no! he has worn my dress<\/p>\n The only liberty is on peoples’ face.<\/p>\n Now will you read my poem again<\/p>\n Yes if my all friends are slain<\/p>\n And only free self of Romania is again<\/p>\n This army is friend of the poets<\/p>\n The army is Eminescu and also his poem<\/p>\n Eminescu at his death centenary awake<\/p>\n Has turned the quick most page<\/p>\n Salutes to people, to Eminescu, to army<\/p>\n Government’s area TV serial case<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Namastai. By 1995 we will be together 101. The 1 is mine. The rest is fine. A legless and a handless mad one in Eminescu post-ardhanariswara. Mateescu renamed and divorced me in his novel after India, Vulc\u0103nescu used initials (my name prohibited) and Iuga put your dedication as for himself. Part of your autobiography in letters to me I take in this novel (acknowledging it here and at the end like Salman Rushdie).<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Perhaps Umesh Mehta would publish this, for India, Stephen Gill for Canada, Sokka Gakay for Japan \u2013 even for having something from Romania, if not for challenging purpose burried inside and belonging to many agonies between ancestralities and newagers, between indology and creation, as at Christ’s death and after Eminescu’s. About credits of the book ask Pirandello.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mais, a Bucarest vous ne pourrez plus exercer vos dons litteraires et artistiques comme a l’Academie Eminescu. Que ferrez-vous?… Vous avez une grande activite en ce moment, avec les traductions, le roman \u201cfourmis blanches\u201d – qu’est que cela veut dire? et les enfants que vous faites chanter.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The words that are used in our daily routine. Relations, colors. Interrogations, persons. A fi, simple expressions. Conversation, Dictation, Vocabulary, Masculine and Feminine, Opposite words, \u201ccaloianul\u201d, counting, days, parts of the body, Danube, negation, \u201cNoi avem castel frumos, ran-tan-tiro-riro-ran\u201d, singular-plural, \u00cencurc\u0103tura play writer, neuter, poem by National poet \u201cMihai Eminescu\u201d Peste v\u00e2rfuri, vry simple outlook of the Latin language and its comparison with Romanian, Slave, Tempus acquierendi et tempus perdendi, Vergilius father, Dante, Ante homines vita et mors, bonum et malum, past present and future tense, Sunt lacrimae rerum\/sunt lacrimi \u00een lucruri\/that the things have tears in these, we have discussed this philosophically and with Eminescu writing Luceaf\u0103rul, \u201cGlossa\u201d – most of the students remembered the first line of the poem \u201cvreme trece vreme vine\u201d – how to answer the question, these are practised from the Romanian booklet edited by the \u201cGeorge Anca\u201d our teacher, story by M. Eminescu \u201cPoveste Indic\u0103\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Discussions on the topic \u201cMurinda Shivratri\u201d which was written by our \u201cSir\u201d. Announcement of the programmed broadcast at the radio on 22.2.83 at 7.30 p.m. on the short wave band. Exhibition at the class teacher’s house, including the books of Eminescu, Arghezi, Blaga, Bacovia, Barbu, Calinescu etc. Announcement in the class, especially of the book \u201cIstoria literaturii rom\u00e2ne de la origini p\u00e2n\u0103 \u00een prezent\u201d. Poem \u201cRondelul ora\u015fului din Indii\u201d. Reading and translation of the poem into Hindi. Visit to the teacher’s house to see the exhibition. There we recited the poems. Our teacher’s friend Mr. Iuga also recited the poem. The photograph of the speakers are also taken. We read from the G. C\u0103linescu book also.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Discussion on the Meghadut (Romanian version) which is written by Kalidas and its Romanian translation was done by our teacher (G. Anca). In which discussed with us on the following words: Norul \u2013 clouds. Vestitor \u2013 Messanger (one who gives the message). And he compared these words with the following lines given by M. Eminescu: Trecut-au anii ca nori lungi pe \u015fesuri \/ \u015ei niciodat\u0103 n-or s\u0103 vin\u0103 iar\u0103.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cMai am un Singur Dor\u201d. Teiul sf\u00e2nt like baniyan tree. Apele pl\u00e2ng clar izvor\u00e2nd din f\u00e2nt\u00e2ne (i.e. clear water weeps from fountains as springs). Quotation: \u201cDumnezeul geniului m-a sorbit din popor cum soarele soarbe un nour din marea de amar\u201d. In this the significance of nour and marea de amar was justified.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sergiu Al-George (Indologist): Translator of Gita into Romanian. Classical master pieces and modern Romanian archaic and universal. Mare de amar by Eminescu and Mare de-ntuneric by Lucian Blaga.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Singur\u0103tate by M. Eminescu, comparison melancolie\/vers with soka\/shloka.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Origini. Crainic \u2013 Nostalgia paradisului; Mircea Eliade \u2013 L’eternel retour. Lucian Blaga \u2013 Spa\u0163iul Mioritic, Eonul dogmatic. Spengler (German philosopher). Vasile P\u00e2rvan, Idei \u015fi forme istorice. Historical personalities and literary books: Nicolae Cartojan, Istoria literaturii rom\u00e2ne vechi; c\u0103r\u0163ile populare \u00een cultura rom\u00e2n\u0103. Polyhistors: Miron Costin, Dimitrie Cantemir (18th<\/sup> cent.), Ion Eliade R\u0103dulescu, M. Kog\u0103lniceanu, Nicolae B\u0103lcescu, B. P. Hasdeu (19th<\/sup> century), Nicolae Iorga, Ovid Densisianu, G. C\u0103linescu, Mircea Eliade (20th<\/sup> century). Famous novels of the different centuries, like R\u0103scoala and Ion by Liviu Rebreanu and Geniu pustiu by M. Eminescu.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You next ask me about any work I have been doing on Eminescu, and the answer to that, alas, is that I have not really touched on his poetry or prose for many years; not since to Introduction to \u201cLuceaf\u0103rul\u201d I did in Miorita back in 1977, an essay I am sure is in the university Library there in Bucharest.<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The Eminescu celebration seems to be building up considerably. My co-editor of Miorita Charles Carlton has prepared a special supplementary number of the magazine with Tom Perry, and we are cooperating with Brenda Walker of Forest Books (London) in publicizing her new translations of the poet’s works. Other than that, there is really no way to do more here. I am afraid as the years go by, it is more difficult to interest any among my colleagues in Romanian culture.<\/p>\n *<\/p>\n Indoeminescology <\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 His lyricism and Thought, his human being, too, can be taken as a pattern not only with literary or national determinations but also for an universal Anthropoetry, namely inner roots and chances of the self in our world of continuous challenges.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There are not from out Eminescu’s poetic universe the concepts and anthropologies of some modern Romanian creators and thinkers, like Vasile P\u00e2rvan’s anthropomorphous creative rhythm, synrhythmy, aphrodisiac mind, Lucian Blaga’s mythosophy, stylistic bottom, metaphysical transnaturalism, George C\u0103linescu’s real elements, Eugen Ionescu’s nu, Mircea Eliade’s genealogical myths, Hyerophanies, categories of the sacred, Dimitrie Cuclin’s ethics of expressive essence, \u015etefan Odobleja’s consonantic psychology, Octav Onicescu’s cosmological mechanics, Constantin Noica’s Romanian philosophical utterance, Mircea Mali\u0163a’s clio-mathematics, Mihai \u015eora’s metaphysical anthropology, Romeo Vulc\u0103nescu’s horal phenomenon.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We should be tempted within this Congress to analyze some paradigms like inverse nostalgia and reciprocal metamorphosis, the intensive voluptuousness and general transparence, the retrospective lucidity and the paranymph.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In Eminescu’s modality (correspondence), the model \u2013 different from the mode (kind) or fashion (Romanian \u201cmod\u0103\u201d) is the angel-woman (model) for the daemon in eye of a painter. The zoomorphic models are concentrating upon the analogy with the bees (maternal state model), the infusorian (model, the bugs (French \u201cmodel\u201d), the tomcats (kind of Hoffmanian humor) etc., and they totalize the vision of instinctive life, \u201ceating and reproduction, reproduction and eating\u201d. But if a human insect signifies a social metaphor for a woman enslaved by work, \u201cking eaten by moths\u201d is an inverse model (dodia) of specific Eminescian contexts involving cultural chronophagical modes (kinds) of life and modes (fashions) of thought.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Anthropomorphism<\/em> is one of Eminescu’s long poems, occasionally composed in 1875,\u00a0 published integrally (69 stanzas) posthumously only in 1952 (then, the poet returned from his philosophical studies from Berlin was 25).<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This is not a direct myth for it opposes other Romanian-Eminescian works like the poem C\u0103lin<\/em>, as well as the myth of Maiastra bird (Miradoniz<\/em>, Memento mori<\/em>, etc.): a parody of Leda’s possession by the pagan god. The fairy cosmic anthropomorphisation of the erotic flight (Zbur\u0103tor) and the mystic feminization of the love in Maistra (the Phoenix seems to be male) overtorn into improvisation (impromptu) a (porno) comic and consequently human anthropomorphosis with the allusion (dodia) of the primordial ritual sterile sexuality. The bird \u2013 a poor coquette hen or an angel \u2013 who has not a proper birth can not be tragic.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Brancusi’s reading from Milarepa and his journey to India (1938) go together, as well as his Endless Column<\/em> continues Eminescu’s Glossa.<\/em><\/p>\n *<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Translating into Latin the Buddha’s four noble truths \u2013 suffering, origin of suffering, cessation of suffering the eightfold way leading to the cessation of suffering: dolor, doloris ortus, doloris inferitus, octopartita via ad doloris sedationem, Dhamapada \u2013 Artur Schopenhauer has identified morally the bikkus and mandicant order of St. Francisc. Sometimes, the philosopher’s disciple, Mihai Eminscu, took again the way from Latin to Sanskrit, looking to change, for instance, the name of one of his romantic character called Mors (Death) into Nirwana.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Reading Baudelaire within Sanskrit context, beyond the poet as voyant in the temple of clouds, the correspondences are to be felt individually from both Indian and Latin carmen-kavya through the ancient epos, Camoens’ epic India, Eminescu’s rig-vedic romanticism, even if it is said, for instance, about Edwin Arnold’s translation of Gitagovinda <\/em>that is \u201cso unrecognizable baudlerized\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 December, our First Romanian (1977) here in India read some Roma-Romania. We have also worked a number of consounding sayings common to all Romance languages. Now available into Sanskrit, Luceaf\u0103rul<\/em> by Mihai Eminescu, with its 1665 Latin, 164 foreign and 28 autochtonous words (I.I. Russu, 1981). Let’s go closer to this matter of scientific good-sense, yet taking it as Ortega y Gasset \u201cel libro como conflicto\u201d.<\/p>\n *<\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This version was begun as a sort of transsounding syllable by syllable from Sanskrit into Romanian but increasingly it became a dhvani<\/em>, turning the dhvani (sound) into the dhvani (suggestion) in respect to the two languages. The Gitagovinda <\/em>in Romanian may be compared to the Sanskrit version of Mihai Eminescu’s