{"id":30824,"date":"2017-07-01T13:58:28","date_gmt":"2017-07-01T13:58:28","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=30824"},"modified":"2017-07-01T13:58:28","modified_gmt":"2017-07-01T13:58:28","slug":"george-anca-mantra-eminescu-3-indoeminescology","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2017\/07\/01\/george-anca-mantra-eminescu-3-indoeminescology\/","title":{"rendered":"George Anca: Mantra Eminescu (3) – Indoeminescology"},"content":{"rendered":"

\"\"<\/a>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

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

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

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

Anthropomorphism 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

This is not a direct myth for it opposes other Romanian-Eminescian works like the poem C\u0103lin, as well as the myth of Maiastra bird (Miradoniz, Memento mori, 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

Brancusi’s reading from Milarepa and his journey to India (1938) go together, as well as his Endless Column continues Eminescu’s Glossa.<\/p>\n

*<\/p>\n

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

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 that is \u201cso unrecognizable baudlerized\u201d.<\/p>\n

*<\/p>\n

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 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

This version was begun as a sort of transsounding syllable by syllable from Sanskrit into Romanian but increasingly it became a dhvani, turning the dhvani (sound) into the dhvani (suggestion) in respect to the two languages. The Gitagovinda in Romanian may be compared to the Sanskrit version of Mihai Eminescu’s Luceaf\u0103rul (Hyperion) signed by U. R. Trikha in \u201cLatinitas\u201d this year (\u201cHyperion\u201d appeared exactly a hundred years before, in 1883). It is hoped that these translations will open new avenues for comparative discussions on Jayadeva and Eminescu.<\/p>\n

*<\/p>\n

The Sanskrit correspondence with the Romanian culture and poetry culminates with Mihai Eminescu, a reader of Vedas and Upanishads in original. In Romania, it is taught at school that \u201cThe First Epistle\u201d or \u201cThe Dacian prayer\u201d (Nirvana) are connected with Rig-Veda. Of course the analogy is fundamental but the correspondence lies both in the common or community cosmogonic mind and particularly in the universal intuition of real life, of sat (\u201cvillage\u201d in Romanian, \u201ctruth\u201d in Sanskrit).<\/p>\n

*<\/p>\n

The union of kavyapurusha with sahityavidya in vaidarbhi riti could be for a modern poetical mind the correspondence of heaven with earth. Diabolical or paradisaic, the poetic correspondences \u2013 rasa-dhvaniah \u2013 reveal, through the prayoga of the poet, a selfpoetry as rasavada and sarasvatyasattvam, an alchemy of grief and of verb. In Kalidasa’s comparison of poetry to Ardhanariswara, the goddess Parvati is vak or sabda and god Paramesvara is artha, their union is Ardha narishvara signifying, as V. Raghavan reminds it, the greatest ideal of poetry variously emphasized as sahitya sammitatva etc. Or, the love between Hyperion and C\u0103t\u0103lina in Eminescu’s \u201cLuceaf\u0103rul\u201d evokes beyond the myths a neoteric Ardhanarishwara. One can see Lucypherus as a biblical Ravana, but Eminescu’s Hyperion is closer to Jayadeva’s Krishna and one can read \u201cLuceaf\u0103rul\u201d as the \u201cGitagovinda\u201d of Romanians.<\/p>\n

\n

*<\/p>\n

\n

Pastiche<\/strong><\/p>\n

\n

The intended review to the dissertation of Ms. Zircha Vaswani became mostly a pastiche. Because we have to deal with a very free, kind of mystical construction of comparisons, in which Mihai Eminescu’s poems and Indian scriptures are brought side-by-side into a fascinating personal adventure of the author. The abhored by now Eminescu cult in his motherland\u00a0 turns into an Indian cult, with a chance to be recovered, in competition, for own culture.<\/p>\n

A sacrificial work, a puja full of piety and effervescence addresses everybody on the way, like in a new beginning of the religious aesthetic spirit. Courageous or euphoric, like in a trance, the author restarts as if the universe like in solitary temple procession, hearing her native prayers in verses by Eminescu.<\/p>\n

Ioan Alexandru, Amita Bhose and myself were colleagues of doctorate under guidance of professor Zoe Dumitrescu-Bu\u015fulenga. Ioan translated odes of Pindar in his dissertation itself, Amita published separately her book of translations from Eminescu into Bengali, myself didn’t translate a line (perhaps also because Baudelaire, my topic, is the most translated foreign poet into Romanian). Ms. Zricha Vaswani translates Eminescuss \u201cIndian\u201d poems as her own soul and hope.<\/p>\n

I don’n know her personally. There are universities with the name of Dr. B.R. Ambedkar in Agra, Hyderabad, Lucknow, Muzaffarpur, Delhi. The architect of Indian Constitution (while handling it to me also, the late president of India Shankar Dyal Sharma said: The Constitution of the World!) had the\u00a0 message. \u201cEducate, organize, agitate\u201d.<\/p>\n

\n

*<\/p>\n

\n

EMINESCOLOGICE (George Anca)<\/strong><\/p>\n

\n

Publica\u0163ii<\/p>\n

C\u0103r\u0163i<\/p>\n

1970<\/p>\n

Eres \/ Heresy, Editura Eminescu, Bucure\u015fti<\/p>\n

1975<\/p>\n

Baudelaire \u015fi poe\u0163ii rom\u00e2ni. Coresponden\u0163e ale spiritului poetic.Resume, Universitatea Bucure\u015fti; teza de doctorat \u00een volum, 2001, Academia Interna\u0163ional\u0103 Eminescu (AIME\/IAME)<\/p>\n

\n

1979<\/p>\n

Mihai Eminescu’s First Epistle (Romanian, English, Sanskrit, Hindi, Malayalam, Pujabi, Tamil), Delhi<\/p>\n

1981<\/p>\n

Ek shanti, The Milky Way, 1981, Delhi<\/p>\n

1983<\/p>\n

Mihai Eminescu’s Luceaf\u0103rul\/Divyagrah (Sanskrit version), editor, IAME, Delhi<\/p>\n

Romanian Classics in Sanskrit, editor, IAME, Delhi<\/p>\n

\n

1994<\/p>\n

Indoeminescology & Other Anthropological Papers, Central Educational Library, Bucharest<\/p>\n

The Buddha. Letters from the Buddhahood to Eminescu, C. E. Library, Bucharest<\/p>\n

1995<\/p>\n

Haos, temni\u0163\u0103 \u015fi exil la Eminescu, Cotru\u015f, Gyr \u015fi Stamatu. Spre o hermeneutic\u0103 a versului \u00eentemni\u0163at \u015fi exilat, Ed. Majadahonda, 1995<\/p>\n

Literary Anthropology, Ed. Bibliotheca, T\u00e2rgovi\u015fte, 1995<\/p>\n

Doina. Cu varia\u0163iuni, AIME, 15.01. 1995<\/p>\n

2009<\/p>\n

Sfin\u0163i \u00een Nirvana, Ed. Antim Ivireanu, 2009, Rm. V\u00e2lcea<\/p>\n

Film<\/p>\n

1974<\/p>\n

Statuile lui Eminescu \/ The Eminescu’s Staues, Tv Bucure\u015fti<\/p>\n

\n

Studii \u015fi Articole<\/p>\n

1980<\/p>\n

\u201cBiblioteca Mihai Eminescu \u00een Delhi\u201d, in Luceaf\u0103rul, 15 august 1980, Bucure\u015fti<\/p>\n

\u201cSanskrit and Romanian Poetics\u201d, in Studies on Indo-Asian Art and Culture, vol. VI, International Academy for Indian Culture, Octobre 1980, New Delhi<\/p>\n

\n

1981<\/p>\n

\u201cSanskrit Romance Ontopoetics\u201d, in Modern Art and Poetry, New Delhi<\/p>\n

\n

1985<\/p>\n

\u201cAcademia Interna\u0163ional\u0103 Eminescu \u00een India\u201d, \u00een Vatra, 1\/1985, T\u00e2rgu-Mure\u015f<\/p>\n

1987<\/p>\n

\u201cPoe\u0163i indieni traduc\u0103tori ai lui Eminescu\u201d, \u00een \u201cAteneu\u201d, Bac\u0103u, 1\/1987<\/p>\n

1988<\/p>\n

\u201cPapers on indoeminescology\u201d \u00een \u201cL’enseignement et la pedagogie en Roumanie, vol. 7, Bucure\u015fti, 1988<\/p>\n

1990<\/p>\n

\u201cSan Francesco, Eminescu e revoluzioni\u201d, Tv Montecarlo, ian. 1990<\/p>\n

\u201cEminescu \u015fi poezia sanscrit\u0103 de dragoste\u201d, Radiodifuziunea Rom\u00e2n\u0103<\/p>\n

\u201cEminescu \u015fi Br\u0103ila\u201d, \u00een Lui Eminescu, Br\u0103ila<\/p>\n

\u201c\u00centre\u00a0 indoeminescologie \u015fi culturologie\u201d, \u00een Emigrantul, 2\/1990<\/p>\n

\u201c\u00centre \u015ftiin\u0163a culturii \u015fi indoeminescologie\u201d, \u00een \u201cEmigrantul\u201d, 3\/1990<\/p>\n

1991<\/p>\n

\u201cCu ghidu\u015ful Vidu\u015faka \u015fi C\u0103lin Nebunul \u00een c\u0103utarea comediei sanscrite\u201d \/ With the playful Vidushaka and C\u0103lin the Fool in search of the Sanskrit comedy, \u00een Lucr\u0103rile \u201cColocviului de eminescologie\u201d, 14-15 ianuarie 1989, Bucure\u015fti, 1991<\/p>\n

\u201cEminescu \u2013 New York \u2013 Br\u0103ila\u201d \u00een Lui Eminescu, Br\u0103ila, ianuarie 1991<\/p>\n

\u201cSentimentul Eminescu\u201d, \u00een Libertatea, 15 ianuarie 1991, Bucure\u015fti<\/p>\n

2000<\/p>\n

\u201cAnul Eminescu\u201d, \u00een \u201cPovestea vorbei\u201d, 2-3\/2000, Rm. V\u00e2lcea<\/p>\n

2004<\/p>\n

\u201cDe la Kalidasa la Eminescu\u201d, \u00een \u201cPoveste vorbei\u201d, Rm. V\u00e2lcea, 1-2\/2004<\/p>\n

2009<\/p>\n

\u201cNe na\u015ftem cu Eminescu\u201d, \u00een \u201cForum V\u201d, 1-2\/2009<\/p>\n

\u201cEminescologie cu N. Georgescu\u201d, \u00een \u201cForum V\u201d, 1-2\/2009<\/p>\n

\n

\n

Prezent\u0103ri \/ Papers<\/p>\n

\n

1966<\/p>\n

\u00a0Mitul lui Zalmoxis \u00een poezia lui Mihai Eminescu \u015fi a lui Lucian Blaga \/ The myth of Zalmoxis in Mihai Eminescu’s and Lucian Blaga’s poetry, tez\u0103 de licen\u0163\u0103 \/ MA thesis;<\/p>\n

\n

1978<\/p>\n

\u201cAnthropomorphism in Mihai Eminescu’s Creation. Around an Anthro-Poetry\u201d;<\/p>\n

\u201cEminescu’s First Epistle and Translation of Cultures\u201d, comunic\u0103ri la \/ papers at Xth International Congress of Anthropological and Ethnological Sciences, New Delhi;<\/p>\n

\n

1980<\/p>\n

\u00a0\u201cEminescu \u015fi India\u201d, conferin\u0163\u0103, ian. 1980, R\u00e2mnicu-V\u00e2lcea;<\/p>\n

\n

1981<\/p>\n

\u201cMihai Eminescu and Sanskrit-Latin Rasa-Dhvaniah\u201d, comunicare la \/paper at 5th International Conference of Sanskrit, Varanasi;<\/p>\n

1982<\/p>\n

\u201cMihai Eminescu in Sanskrit\u201d, IAME, March 1982, Delhi<\/p>\n

\n

1983, \u201cJayadeva and Eminescu\u201d, lecture, Comparative Indian Literature Association, 3.05, 1983, Delhi University;<\/p>\n

\n

1985<\/p>\n

\u201cEminescu, \u015ftiin\u0163\u0103, poezie\u201d, Institutul Politehnic Bucure\u015fti, ian. 1985<\/p>\n

\u201cMari g\u00e2nditori rom\u00e2ni \/Great Romanian Thinkers in India: Eminescu, Br\u00e2ncu\u015fi, Mircea Eliade\u201d, R\u00e2mnicu V\u00e2lcea;<\/p>\n

\n

1986<\/p>\n

\u201cVecinicia cea amar\u0103 \/ A m\u0103rii. Teoantropoezie eminescian\u0103 \/ Eminescian Theoanthropoetry\u201d, Institutul Politehnic, Bucure\u015fti;<\/p>\n

\u201cAcademia Interna\u0163ional\u0103 \u00een India\u201d, Biblioteca Academiei Rom\u00e2ne;<\/p>\n

1987<\/p>\n

\u201cPoe\u0163i indieni traduc\u0103tori ai lui Eminescu\u201d, Institutul Politehnic Bucure\u015fti;<\/p>\n

\n

1988<\/p>\n

\u201cLuceaf\u0103rul lui Eminescu \u015fi Mahbharata\u201d, Biblioteca Central\u0103 Pedagogic\u0103, Bucure\u015fti;<\/p>\n

\n

1989<\/p>\n

\u201cOrfism na\u0163ional la Eminescu\u201d<\/p>\n

\u201cCoresponden\u0163e eminesciene \u00eentre poetica indo-european\u0103 \u015fi postmodernism\u201d<\/p>\n

\u201cEminescologie \u015fi pedagogie\u201d<\/p>\n

\u201cEduca\u0163ia lecturii \/Reading Education \u015fi eminescologia\u201d<\/p>\n

\u201cR\u00e2sul lui Eminescu \/ Eminescu’s Laugh\u201d<\/p>\n

\u201cEminescu \u015fi \u015fcoala\u201d<\/p>\n

\u201cC\u0103pitanul \u015fi \u00cengerul \u2013 alegoria mor\u0163ii la Baudelaire \u015fi Eminescu\u201d<\/p>\n

\u201cPoezia lui Eminescu, coresponden\u0163\u0103 a crea\u0163iei cu limbajul natural\u201d<\/p>\n

\u201cConstruc\u0163iile imaginarului eminescian\u201d<\/p>\n

\u201cEminescu \u2013 biografie \u015fi universalitate\u201d<\/p>\n

\u201cSculptorul orb \u00een vizualitatea poemului eminescian\u201d<\/p>\n

\u201cIubire \u015fi ur\u0103 la Eminescu\u201d<\/p>\n

\u201cEminescu \u00een con\u015ftiin\u0163a lumii\u201d<\/p>\n

\u201cScrisoarea \u00cent\u00e2i \u00een versiuni indiene\u201d<\/p>\n

\u201cEminescu \u00een pedagogia na\u0163ional\u0103, continuitate \u015fi viitor\u201d<\/p>\n

\u201cDe la Dun\u0103re la Gange\u201d<\/p>\n

\u201cMira \u00eentre glosolalie \u015fi destin\u201d<\/p>\n

\u201cIndoeminescologie\u201d etc.<\/p>\n

(at universities, research institutions, schools from Bucharest, Gala\u0163i, R\u00e2mnicu-V\u00e2lcea, Predeal, Baia de Cri\u015f, Teremia Mare, national\/local symposia in Bucure\u015fti, Cluj, Boto\u015fani, Br\u0103ila, 12th ICAES Zagreb, Romanian Academy, national Art Museum etc.)<\/p>\n

1990<\/p>\n

\u201cIndian Myths to Eminescu and Camoens\u201d, IUAES Inter-Congress, Lisbon, 5-12 September<\/p>\n

\u00a01991<\/p>\n

\u201cCrea\u0163ia eminescian\u0103 \u00een spiritualitatea universal\u0103\u201d, conferin\u0163\u0103, Biblioteca Jude\u0163ean\u0103, 14.01.1991, T\u00eergu-Mure\u015f<\/p>\n

\u201cRug\u0103ciunea lui Eminescu \u2013 Rug\u0103ciunea lui Br\u00e2ncu\u015fi\u201d, iul. ’91, CCD Buz\u0103u<\/p>\n

1992<\/p>\n

\u201cEminescu \u00een scrierile lui Onisifor Ghibu\u201d, Chi\u015fin\u0103u, Moldova, martie 1992<\/p>\n

\u201cEminescu \u015fi Buddha\u201d, conferin\u0163\u0103, T\u00eergu-Jiu, 15 iunie 1992<\/p>\n

\u201cEminescu sanscrit\u201d, nov. 1992, B.C.U., Ia\u015fi<\/p>\n

1993<\/p>\n

\u201cPrivind \u00een oglind\u0103 nu ne vedem pe noi, ci pe Eminescu \/ Looking into the mirror we don’t see ourselves but Eminescu\u201d, Zilele Eminescu, Chi\u015fin\u0103u, 15-17 iunie 1993<\/p>\n

1994<\/p>\n

\u201cLa Roumanie de Mihai Eminescu\u201d, CITI, Bucure\u015fti, 1 ianuarie 1994<\/p>\n

\u201cDoina\u00a0 lui Eminescu \u00een versiuni str\u0103ine\u201d, Rm. V\u00e2lcea, 12 ianuarie<\/p>\n

\u201cPrivire bibliografic\u0103 asupra coresponden\u0163elor rom\u00e2no-sanscrite\u201d, la Colocviul na\u0163ional \u201cBibliografia rom\u00e2n\u0103 azi\u201d, iunie 1994, Constan\u0163a<\/p>\n

1995<\/p>\n

\u201cEminescu, Basarabia \u015fi Bucovina\u201d, 14.1. ’95, Dalles, Bucure\u015fti<\/p>\n

1996<\/p>\n

\u201cEminescu la Paris\u201d, Bibl. \u201cAntim Ivireanu\u201d, 14.01.1996, Rm. V\u00e2lcea<\/p>\n

2001<\/p>\n

\u201cSaintliness in Kabir and Eminescu\u201d, at \u201cSant Kabir Sixth Centenary International Conference\u201d, 6.01.2002, Couva, Trinidad-Tobago<\/p>\n

2009<\/p>\n

\u201cAU(M): Au cine-i zeul c\u0103rui plec\u0103m a noastre inimi\u201d, 14.01.2009, Rm. V\u00e2lcea<\/p>\n

\u00a0———————-<\/p>\n

George ANCA<\/strong><\/p>\n

17 iunie 2017<\/strong><\/p>\n

Bucure\u015fti<\/strong><\/p>\n

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

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