{"id":29130,"date":"2017-03-05T05:51:15","date_gmt":"2017-03-05T05:51:15","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=29130"},"modified":"2017-03-05T05:56:21","modified_gmt":"2017-03-05T05:56:21","slug":"martie-fragilitate-si-servitute","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2017\/03\/05\/martie-fragilitate-si-servitute\/","title":{"rendered":"Martie fragilitate \u0219i servitute"},"content":{"rendered":"

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

NICHITA\u00a0 ST\u0102NESCU<\/p>\n

 <\/p>\n

Ploaie \u00een luna lui Marte <\/em><\/p>\n

Ploua infernal,
\n\u015fi noi ne iubeam prin mansarde.
\nPrin cerul ferestrei, oval,
\nnorii curgeau \u00een luna lui Marte.<\/p>\n

Pere\u0163ii odaii erau
\nnelini\u015fti\u0163i, sub desene \u00een cret\u0103.
\nSufletele noastre dansau
\nnev\u0103zute-ntr-o lume concret\u0103.<\/p>\n

O s\u0103 te plou\u0103 pe aripi, spuneai,
\nplou\u0103 cu globuri pe glob \u015fi prin vreme.
\nNu-i nimic, \u00ee\u0163i spuneam, Lorelei,
\nmie-mi plou\u0103 zborul, cu pene.<\/p>\n

\u015ei m\u0103-n\u0103l\u0163am. \u015ei nu mai stiam unde-mi
\nl\u0103sasem \u00een lume odaia.
\nTu m\u0103 strigai din urm\u0103: r\u0103spunde-mi, r\u0103spunde-mi,
\ncine-s mai frumo\u015fi: oamenii?… ploaia?…<\/p>\n

Ploua infernal, ploaie de tot nebuneasc\u0103,
\n\u015fi noi ne iubeam prin mansarde.
\nN-a\u015f mai fi vrut s\u0103 se sf\u00e2r\u015feasc\u0103
\nniciodat\u0103-acea lun\u0103-a lui Marte.<\/p>\n

 <\/p>\n

 <\/p>\n

LITERARY\u00a0 TERMS<\/p>\n

ANAGNORISIS<\/em><\/strong>: (Greek for “recognition”): A term used by Aristotle in the Poetics<\/em> to describe the moment of tragic recognition in which the protagonist realizes some important fact or insight, especially a truth about himself, human nature, or his situation. Aristotle argues that the ideal moment for anagnorisis in a tragedy is the moment of peripeteia<\/a>, the reversal of fortune. Critics often claim that the moment of tragic recognition is found within a single line of text, in which the tragic hero admits to his lack of insight or asserts the new truth he recognizes. This passage is often called the “line of tragic recognition.” See further discussion under tragedy<\/a>.<\/p>\n

BRITICISM<\/strong>: An expression or word that developed in Britain after the American colonies separated politically from Britain’s rule.<\/p>\n

CHARACTONYM<\/strong>: An evocative or symbolic name given to a character that conveys his or her inner psychology or allegorical nature. For instance, Shakespeare has a prostitute named Doll Tearsheet<\/em> and a moody young man named Mercutio<\/em>. Steinbeck has the sweet-natured Candy<\/em> in Of Mice and Men<\/em>. Spenser has a lawless knight named Sansloy<\/em> (French, “without law”) and an arrogant giant named Orgoglio<\/em> (Italian, “pride”). On a more physical level, Rabelais might name a giant Gargantua<\/em>or C.S. Lewis might call his talking lion Aslan<\/em> (Turkish for “lion”). These names are all simple charactonyms. Cf. eponym<\/a>.<\/p>\n

DRACULA’S LAW<\/strong>: A helpful mnemonic phrase, “blood is good food<\/em>” useful for remembering sound shifts in the vowel o<\/em> from Middle English to Modern English. Originally, between 1200-1400, the letter <o><\/em> often indicated a long Middle English \/o:\/ but it rapidly developed into \/u<\/em>\/, as in food<\/em>, roof<\/em>, and room<\/em>, and root<\/em>. However, in the 1400s, in some words, the vowel shortened and unrounded to the sound in blood<\/em> and flood<\/em>. In still other words, the letter retained the long vowel \/o:\/ until about 1700, but the vowel was then shortened without being unrounded, giving us the sound found in good<\/em>, foot<\/em>, and book<\/em>. Thus, the standard pronunciation is as follows:<\/p>\n