{"id":5589,"date":"2012-05-08T10:15:31","date_gmt":"2012-05-08T10:15:31","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=5589"},"modified":"2012-05-08T10:29:04","modified_gmt":"2012-05-08T10:29:04","slug":"marin-sorescu-sau-spiritul-parodic","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2012\/05\/08\/marin-sorescu-sau-spiritul-parodic\/","title":{"rendered":"MARIN SORESCU SAU SPIRITUL PARODIC"},"content":{"rendered":"

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

\n

\n

MITOGRAFII LIRICE<\/strong><\/p>\n

\n

\n

Mai degrab\u0103 ignorat acum dec\u00e2t contestat, de\u015fi, c\u00e2ndva, nu cu mult\u0103 vreme \u00een urm\u0103, se bucura de o larg\u0103 popularitate (audien\u0163a \u00eentre\u0163in\u00e2nd, inevitabil, suspiciunea facilit\u0103\u0163ii), cu un bun instinct al pie\u0163ei literare (observa N. Manolescu), f\u0103c\u00e2nd o figur\u0103 aparte \u00een cadrul genera\u0163iei, \u015faizecistul Marin Sorescu s-a b\u0103tut pentru reinventarea \/ \u201edemocratizarea\u201d poeziei. Congenerii, \u00een contextul neomodernismului nostru, redescopereau cu entuziasm filoanele liricii interbelice; m\u00e2nat de impulsul \u00eennoirii (\u201eAm vrut s\u0103 m\u0103 schimb pe unul mai bun\u201d), antitradi\u0163ionalistul Sorescu, consider\u00e2nd c\u0103 poezia noastr\u0103 este \u201evolatil\u0103\u201d, \u201edeclorofilizat\u0103\u201d etc., voia s\u0103 o apuce pe alt drum<\/em>. Dincolo de versifica\u0163ia circumstan\u0163ial\u0103 (la \u00eenceputuri), oferta sa, permeabil\u0103, depoetiz\u00e2nd motive care au f\u0103cut \u015fcoal\u0103, re\u00eemprosp\u0103t\u00e2nd vocabularul poetic \u201eumil\u201d, folosind masiv oralitatea \u015fi narativitatea \u00eel define\u015fte drept poet de avangard\u0103, e drept, f\u0103r\u0103 furii demolatoare. \u00cenc\u00e2t, marca Sorescu<\/em>, regener\u00e2nd lirismul, st\u00e2rnind febra imitativ\u0103, cultiv\u00e2nd prozaismul, intertextualitatea, cotidianitatea, banalul etc., ne oblig\u0103 s\u0103 recunoa\u015ftem \u00een prolificul autor un optzecist avant la lettre<\/em>. Cu observa\u0163ia, esen\u0163ial\u0103, la \u00eendem\u00e2n\u0103, c\u0103 avem de-a face cu un caz aparte, refuzat de optzeci\u015fti! Celui \u201emai bun scriitor postmodern\u201d (cum opina Ion Buzera) \u00eei dator\u0103m un precursoriat nerecunoscut<\/em>, ceea ce ar explica (nicidecum justifica) t\u0103cerea care \u00eei \u00eenso\u0163e\u015fte posteritatea, except\u00e2nd unele manifest\u0103ri ritualice oltene\u015fti.<\/strong><\/p>\n

S\u0103 ne amintim c\u0103 junele Sorescu trezise interesul marelui C\u0103linescu, not\u00e2nd insolitul acelor texte, devenit normalitate (v. Un t\u00e2n\u0103r<\/em>, \u00een Contemporanul<\/em>, 1964). Aceast\u0103 \u201e\u015ftampil\u0103 august\u0103\u201d (cf. Alex \u015etef\u0103nescu), evident, l-a consacrat ca poet. Bizareria intra \u00een coeren\u0163a unei lumi de idealism pulverizat. Arunc\u00e2ndu-\u015fi ochiul pe \u00eencerc\u0103rile soresciene, \u201edivinul critic\u201d \u2013 cu o intui\u0163ie de zile mari \u2013 descoperea fantasticul lucrurilor umile \u015fi latura imens\u0103 a temelor comune<\/em>; s\u0103 recunoa\u015ftem, observa\u0163ii de uz ob\u015ftesc acum, prefigur\u00e2nd acea nou\u0103 formul\u0103 liric\u0103<\/em>, ie\u015find din negurile deogmatismului, submin\u00e2nd conven\u0163iile \u015fi \u00eenvior\u00e2nd lirismul autohton. Adev\u0103rat, debutul s\u0103u nu a fost str\u0103lucit. Cum primul volum (Singur printre poe\u0163i<\/em>, 1964, cu o Prefa\u0163\u0103<\/em> de Marcel Bresla\u015fu) era o colec\u0163ie de parodii \u00een registru minor, reconstituind (\u201ecaricatural\u201d, sesiza Ion Pop) stilurile unor poe\u0163i \u00een vog\u0103, persifl\u00e2nd uzan\u0163ele confortabile, securizante, veritabilul debut se va consuma un an mai t\u00e2rziu (Poeme<\/em>, 1965). Dar poetul se exprimase deja ca epigramist (Via\u0163a studen\u0163easc\u0103<\/em>, 1957) \u015fi era angajat al sec\u0163iei de critic\u0103 de la Luceaf\u0103rul<\/em> (1963-1965); mai mult, un manuscris (schi\u0163e) fusese retras de la o editur\u0103, anterior apari\u0163iei volumului de parodii, trec\u00e2nd \u00een revist\u0103 o deconcertant\u0103 parad\u0103 de stiluri. De\u015fi Singur printre poe\u0163i<\/em> r\u0103m\u00e2ne, prin titlu, o promisiune nerespectat\u0103 (cf. Mihaela Andreescu), tocmai poetul absent\u00e2nd (ca voce singular\u0103), Sorescu a fost de timpuriu aproape de el \u00eensu\u015fi, ne asigura Marian Popa, cercet\u00e2nd acribios, \u00een masiva sa Istorie<\/em>, poeziile de \u00eenceput (\u00eendeosebi, \u00een Ia\u015ful literar<\/em>). Astfel de digita\u0163ii stilistice, sub aparen\u0163a facilit\u0103\u0163ii, bucur\u00e2ndu-se de complicitatea publicului au impus, prin pana sorescian\u0103, critica parodistic\u0103<\/em>. Fiindc\u0103 parodia, negre\u015fit, r\u0103m\u00e2ne un exerci\u0163iu de critic\u0103 literar\u0103 (sur\u00e2z\u0103toare), vestejind stiluri, ticuri \u015fi conven\u0163ii. Interesat de r\u0103spunsul publicului (feed-back<\/em>), obsesiv preocupat de a (se) comunica, poetul se va adapta din mers, propun\u00e2nd ingenios volume \u201e\u00een schimbare\u201d. De unde \u015fi mul\u0163imea etichetelor aplicate: neomodernist, antitradi\u0163ionalist, postmodernist, experimentalist, deconstructivist etc. Oricum, distan\u0163\u00e2ndu-se de \u201ejocul demiurgic\u201d al congenerilor, el folose\u015fte texte anterioare (hipo-texte<\/em>) pentru a savura, \u00een ipostaz\u0103 deconstructivist\u0103 (cf. Maria-Ana Tupan, M. Ene), mimo-texte<\/em>, pe suport parodic. Spiritul parodic, fie el \u015fi respectuos, \u201ede \u00eencurajare\u201d, caracterizeaz\u0103, de fapt, \u00eentreaga literatur\u0103 sorescian\u0103. Iscodelnic, proiect\u00e2ndu-se \u00een Altul<\/em>, poetul \u00ee\u015fi devoaleaz\u0103 temperamentul nonconformist, repudiind autoritatea conven\u0163iilor literare. \u015ei impune, parodierea fiind, reamintim, o practic\u0103 intertextual\u0103, o direc\u0163ie polemic\u0103, cu o o dubl\u0103 raportare: fa\u0163\u0103 de text \/ autor, dar \u015fi fa\u0163\u0103 de \u201elume\u201d (context), inclusiv sub unghiul recep\u0163iei.<\/strong><\/p>\n

Chiar \u00een anul debutului, Eugen Simion (v. Gazeta literar\u0103<\/em>, nr. 12\/1964) f\u0103cea remarca posibilei \u201efuziuni\u201d \u00eentre atitudinea liric\u0103 original\u0103 \u015fi spiritul polemic. Acela\u015fi critic semnala mai apoi substratul tragic al imaginarului sorescian, sco\u0163\u00e2nd efecte<\/em> imprevizibile prin \u201eschimbarea unghiului de percep\u0163ie\u201d a faptelor, deturnarea sensului \u015fi r\u0103sturnarea<\/em> concluziei, \u201elumin\u00e2nd planuri ascunse\u201d. De fapt, anun\u0163ata schimbare a \u201eunghiului de vedere\u201d (v. Spectacol<\/em>) confirma, dincolo de facilitatea \u00een\u015fel\u0103toare, c\u0103 pentru Marin Sorescu poezia este \u201eo art\u0103 care doare\u201d. Fantezismul ironic, tenta\u0163ia calamburului, degradarea simbolurilor, desolemnizarea temelor mari converg jocului; iar infiltrarea sugestiilor grave, \u015focante, a nelini\u015ftilor celui care se sprijin\u0103 \u201epe taifun\u201d \u015fi scrie \u201epe cutremure\u201d (v. Crea\u0163ie<\/em>) c\u0103ut\u00e2nd sensul<\/em> (\u201eie\u015firea\u201d), spulber\u0103 v\u0103lul de iluzii, preg\u0103tind declicul. Ideea c\u0103 poetul se mi\u015fc\u0103 \u201e\u00een limitele aceleia\u015fi formule\u201d (Ion Pop, 1973), cu riscul autopasti\u015f\u0103rii, nu bloca accesul direc\u0163iei \u201emai grave\u201d, cu \u201e\u015fanse de dezvoltare\u201d, aprecia criticul clujean. Ceea ce chiar s-a \u00eent\u00e2mplat, cobor\u00e2rea \u00een cotidian nealung\u00e2nd filosofarea \u015fi vederea dincolo<\/em>. Vorbim, desigur, de o metafizic\u0103 \u00eenv\u0103luit\u0103 sub n\u0103vala prozaicului, de materia prim\u0103 \u201eumil\u0103\u201d folosit\u0103 (reg\u00e2ndind locul comun \u015fi inventariind spaime, g\u00e2nduri, triste\u0163i), de inocen\u0163a pierdut\u0103, ren\u0103sc\u00e2nd ca simplitate a posteriori<\/em> (cf. S. Marcus). \u201eCapcanele\u201d sorescianismului au pus \u00een \u00eencurc\u0103tur\u0103 comentatorii. Pe bun\u0103 dreptate s-a vorbit de o dubl\u0103 mi\u015fcare<\/em>, antren\u00e2nd \u201emecanismul silogistic\u201d \u015fi masc\u00e2nd tragismul prin bravad\u0103; adic\u0103, de o denudare la scara cotidianului \u015fi, complementar, de o investire cu poten\u0163e magice, sub inciden\u0163a fabulosului (Iulian Boldea). Poetul-\u015faman, parodistic, ins simplu, marginal, de o modestie netrucat\u0103 \u00een via\u0163a obi\u015fnuit\u0103, inventiv, \u00eentreprinz\u0103tor, mobil, iubea spectacolul subversiv, demistific\u00e2nd actul creator \u015fi submin\u00e2nd mitul marii poezii. S-a vrut un scriitor complet, anexionist, dovedind proteism stilistic, \u00eencerc\u00e2ndu-se \u00een proz\u0103, critic\u0103, dramaturgie \u015fi traduceri, cheltuind inteligen\u0163\u0103 \u015fi umor. Curios, de o mare timiditate, st\u00e2njenit \u00een \u201esocietate\u201d (nefiind om \u201ede lume\u201d), s-a bucurat de o imens\u0103 popularitate, intr\u00e2nd, nemeritat, \u00een eclips\u0103 \u00een epoca postdecembrist\u0103.<\/strong><\/p>\n

Teatrul, s-a spus, ar fi punctul forte al crea\u0163iei soresciene. Piesele, amputate nemilos de cenzur\u0103, posibil repartizate \u00een cicluri aparent independente, sunt de fapt poeme dramatice, cu deschidere parabolic\u0103, test\u00e2nd ipostaze-limit\u0103, lu\u00e2nd o turnur\u0103 carnavalesc\u0103, parodic-ludic\u0103. Altfel spus, o metafor\u0103 a existen\u0163ei umane \u00een rela\u0163ia om-lume, o confruntare cu destinul aspir\u00e2nd la o semnifica\u0163ie simbolic\u0103. Fie c\u0103 viz\u0103m trilogia Setea muntelui de sare<\/em> (Paracliserul, Matca, Iona<\/em>), fie c\u0103 avem \u00een vedere piesele istorice (R\u0103ceala, A treia \u0163eap\u0103<\/em>), \u00een\u0163esate cu aluzii politice, omul-lume<\/em> \u00ee\u015fi tr\u0103ie\u015fte \u2013 monolog\u00e2nd \u2013 captivitatea, limitele, alienarea, claustrarea, \u00eensingurarea, \u00eencerc\u00e2nd o evadare din spa\u0163iul carceral, plonj\u00e2nd \u00een metaistorie; dar pe fundament biblic. De\u015fi suntem \u00een plin absurd, formula sorescian\u0103 cochet\u00e2nd cu anti-teatrul, rezolvarea comic\u0103 se insinueaz\u0103 \u00een pofida tragismului: Irina, de pild\u0103, \u00eens\u0103rcinat\u0103, \u201er\u00e2de de potop\u201d (Matca<\/em>), prefigur\u00e2nd regenerarea<\/em>.<\/strong><\/p>\n

\u015ei cronistica lui Sorescu e deosebit\u0103. Fostul premiant al revistei Luceaf\u0103rul<\/em> (pentru critic\u0103), dezinhibat \u015fi digresiv, asociativ, parantetic \u015fi, categoric, mali\u0163ios, lanseaz\u0103 formul\u0103ri memorabile \u015fi sentin\u0163e greu de clintit. \u00cen ipostaza de \u201econ\u0163opist critic\u201d (cronicar la Ramuri<\/em>), poetul v\u0103de\u015fte \u201electuri profesioniste\u201d (recuno\u015ftea N. Manolescu), ie\u015find uneori la ramp\u0103 \u00een chip de pamfletar (vezi r\u0103fuiala cu \u201eamatorismul masiv\u201d, cel vizat fiind Eugen Barbu). Adun\u00e2ndu-\u015fi eseistica \u00een c\u00e2teva volume (printre ele, Teoria sferelor de influen\u0163\u0103<\/em>, 1969; U\u015for cu pianul pe sc\u0103ri<\/em>, 1985), Sorescu se ap\u0103r\u0103 \u015f\u0103galnic, observ\u00e2nd c\u0103 exerci\u0163iul critic este \u201eneispr\u0103vit\u201d: Ce poate face altceva critica<\/em> \u2013 se \u00eentreba el \u2013 dec\u00e2t s\u0103 presupun\u0103<\/em>? Romanul, \u00een schimb, nu i-a priit. Sunt \u00eencerc\u0103ri de fantezie divagant\u0103 (cazul ludismului exacerbat, expus \u00een Viziunea viziunii<\/em>, taxat de autor \u00eensu\u015fi drept \u201eroman \u00eentr-o doar\u0103\u201d).<\/strong><\/p>\n

Sorescu-voiajorul \u015fi-a tras \u00eens\u0103 partea leului. B\u0103t\u00e2nd lumea \u00een lung \u015fi lat, Sorescu-mondialul<\/em> (cum era ironizat de amici) a trudit la a-\u015fi oferi o \u201edimensiune planetar\u0103\u201d. Expediat sub r\u0103ut\u0103cioasa etichet\u0103 de \u201epoet ambulant\u201d, tradus masiv (\u015fi \u00een suedez\u0103, \u00eenc\u0103 din 1974!), propus pentru Nobel<\/em> (isc\u00e2nd gelozia confra\u0163ilor b\u00e2rfitori), el a fost considerat \u201ecompromis\u201d tocmai fiindc\u0103 a c\u0103l\u0103torit mult \u00een vechiul regim! Au intrat apoi \u00een joc contest\u0103ri interesate, motivate politice\u015fte (interludiul ministerial), \u0163in\u00e2nd de ceea ce Cristian Stamatoiu numea \u00eentr-un eseu \u201easupra liricii soresciene\u201d (Cariul din \u201elimba de lemn\u201d<\/em>, Ed. Tipomur<\/em>, 1995) \u201epatologia recept\u0103rii\u201d, fire\u015fte prea \u00eendatorat\u0103 \u201esubtextului zilei\u201d, \u00een plin\u0103 \u201ec\u0103piere\u201d postrevolu\u0163ionar\u0103. Ca spirit migrator, diaristul \u00eencropea \u201eciorne de via\u0163\u0103\u201d, nota\u0163ii rapide ale unui spirit ascu\u0163it, transferate \u00een jurnale \u201es\u0103rate\u201d, f\u0103r\u0103 a crede \u00een valoarea lor literar\u0103, miz\u00e2nd \u00eens\u0103 pe complicitatea publicului. Tr\u0103g\u00e2nd \u201elozul ghinionist\u201d de a fi rom\u00e2n (v. N\u0103pasta<\/em>), suport\u00e2nd prigoana \u00eentre\u0163inut\u0103 \u00een jurul celor implica\u0163i \u00een \u201emi\u015fcarea transcedental\u0103\u201d, interzis \u015fi supus embargoului (\u201eau f\u0103cut \u00een jurul meu pustiu\u201d), poetul oltean s-a redresat rapid. Avea, indiscutabil. \u201egeniul rela\u0163iilor\u201d (cf. Marian Popa), foarte grijuliu cu existen\u0163a extern\u0103<\/em>, surclasant prin anvergura talentului. Jubilativ, digresiv, vervos, Sorescu se manifesta liber, chiar dac\u0103 \u2013 m\u0103rturisea \u00eentr-un interviu \u2013 rela\u0163ia autor-cenzur\u0103 a fost \u201eo rela\u0163ie permanent\u0103\u201d. Citit, adaptabil, permeabil, imprevizibil, neceremonios, taciturnul \u015fi timidul Sorescu brusca, trec\u00e2nd grani\u0163a antipoeziei, tabieturile de percep\u0163ie. Curios, \u00eentreb\u0103tor (neav\u00e2nd timp de r\u0103spunsuri), inventiv \u015fi derutant, spiritul sorescian nu iubea fixismul \/ fixarea; iubea comunicarea, cultiva dialogul complice, prezidat tiranic de \u201evoin\u0163a efectului\u201d (poanta). Fire\u015fte, sub masca aparentei simplit\u0103\u0163i, a ironismului sprin\u0163ar, surdinizat, insolit, apt de regenerare; ca dovad\u0103, \u015fi doctoratul s\u0103u t\u00e2rziu (Insolitul ca energie creatoare<\/em>, 1992), explic\u00e2nd, astfel, sursa crea\u0163iei sale. Acest \u201ecinic al poeziei\u201d (cum l-a v\u0103zut Mircea Martin), pictor de succes (confundat chiar cu Picasso!), avea s\u0103 ne surprind\u0103, iar\u0103\u015fi, prin ciclul La lilieci <\/em>(1973-1998), tras \u00een \u015fase volume, fructific\u00e2nd experien\u0163a \u201erural\u0103\u201d a autorului. Ne \u00eent\u00e2lnim cu o lume v\u0103zut\u0103 \u201edin p\u00e2ntecele ei\u201d, preciza poetul, prezent\u00e2nd realist-naiv, ca \u00eentr-un veritabil documentar etnografic, spectacolul vie\u0163ii<\/em>. O poezie oral\u0103, epicizat\u0103, aglutinat\u0103, concret\u0103, limbut\u0103, antiliric\u0103, purt\u00e2nd ecouri biografice; o narativitate pletoric\u0103, \u201eplebeian\u0103\u201d, cu iz evocator, invit\u00e2ndu-ne \u00eentr-un univers muzeistic (expresii idiomatice, obiceiuri, porecle), \u00eenchipuind o monografie sentimental\u0103. Unii i-au repro\u015fat lingvistica \u201epestri\u0163\u0103\u201d, stilul oral-auditiv (Gh. Istrate), al\u0163ii, dimpotriv\u0103, au purces la un demers dialectologic (Marian Barbu), \u00eencerc\u00e2nd o \u201edesfoliere de sensuri\u201d a subgraiului oltenesc. Bizara serie are o istorie ciudat\u0103. Dac\u0103 e s\u0103-l credem pe Eugen Negrici, un \u201eam\u0103nunt\u201d financiar (la sugestia lui Mircea Ciobanu) l-a motivat pe Marin Sorescu \u201es\u0103 treac\u0103 \u00een versuri\u201d prozele scurte dedicate s\u0103tenilor din Bulze\u015fti. Poetul \u00eensu\u015fi oferea o explica\u0163ie. Bursier la Iowa City timp de \u015fase luni (1971-1972), a luat contact cu poezia concret\u0103 \u015fi programul autenticist<\/em>, descoperindu-l pe Edgar Lee Masters cu a sa The Spoonriver Anthology<\/em>. De unde poeticitatea oral\u0103, anecdotist\u0103, explicit\u0103, cu enumer\u0103ri fastidioase, monografiind satul-cetate, aduc\u00e2nd la suprafa\u0163\u0103 \u201elava nevalorificat\u0103\u201d a Bulze\u015ftiului. Sunt pove\u015fti \u00eenflorite, meli\u0163ate, zeflemitoare (pomeni de viu, \u201epulsul modei \u00een ad\u00e2nc\u201d), c\u00e2nd bulze\u015ftenii \u201estau la tain\u0103\u201d. Poezul, str\u0103in de jubila\u0163ia demiurgic\u0103, prive\u015fte lumea \u201e\u0163\u0103r\u0103ne\u015fte\u201d, oferindu-ne autobiografia unei colectivit\u0103\u0163i<\/em>; o lume suficient\u0103 sie\u015fi, \u00een care moartea (cu lumea ei invizibil\u0103, cimitirul) nu \u00eensp\u0103im\u00e2nt\u0103 iar via\u0163a satului oltenesc, transcris\u0103 aici, frem\u0103t\u00e2nd\u0103, colc\u0103itoare, g\u0103l\u0103gioas\u0103 (\u00een care \u0163a\u0163a Veta preluase comanda) aduce a pictur\u0103 naiv\u0103, contrapus\u0103 universului conven\u0163ionalizat, inautenticului, vie\u0163ii \u201etip\u0103rite\u201d. \u015ei poate c\u0103 Mircea Iorgulescu, survol\u00e2nd integrala sorescian\u0103, avea dreptate: ea nu e at\u00e2t expresia unei lumi, ci \u201ea unui fel de a privi lumea\u201d. Pe care Sorescu, sedus de succesul re\u0163etei, era dispus s\u0103 o exploateze interminabil, prelungind deruta criticii. Ne \u00eentoarcem, astfel, la opinia Mihaelei Andreescu care descoperea (1983) o \u201epecete genetic\u0103 a atitudinii fa\u0163\u0103 de lume\u201d, asigur\u00e2nd coezivitatea corpus-ului sorescian, de o mare diversitate, perceput secven\u0163ial, cu un lirism estompat, camuflat, prozaificat, expediat de folclorul critic sub eticheta ironismului sprin\u0163ar, golit de metafizic\u0103. Or, \u00eenc\u0103 Moartea ceasului<\/em> (1966) anun\u0163a puseele anxioase iar Desc\u00e2ntoteca<\/em> (1976) vorbea despre o domesticitate potolit\u0103. \u015ei Poezii alese de cenzur\u0103<\/em> (1991), invit\u00e2nd \u2013 mai degrab\u0103 \u2013 la o lectur\u0103 \u201epolitizat\u0103\u201d, \u015fi Traversarea<\/em> (1994) \u015fi, \u00eendeosebi, Puntea<\/em> (1997, adun\u00e2nd postumele) eviden\u0163iaz\u0103 schimbarea dramatic\u0103 de accent; \u00een pofida asigur\u0103rilor (\u201em\u0103 \u00eentorc repede\u201d), poetul \u015ftia prea bine c\u0103 intr\u0103 \u00een \u201epe\u015ftera f\u0103r\u0103 sf\u00e2r\u015fit a nop\u0163ii\u201d, adulmec\u00e2nd \u201eo planet\u0103 nou\u0103 a durerii \/ Sf\u00e2r\u00e2ind prin eter t\u0103ciune\u201d (v. Rug\u0103ciune<\/em>). El a schimbat \u201econdeiul pe un toiag\u201d \u015fi, spectator \u00eengrozit, preg\u0103tit de marea c\u0103l\u0103torie, afl\u0103 \u00een poezie puntea<\/em> spre lumea din afar\u0103, ultimele zile oferindu-i o \u201eesen\u0163\u0103 de tortur\u0103 \u015fi chin\u201d. Sunt versuri de o sinceritate nud\u0103, vorbind cu economism \u015fi religiozitate despre iminen\u0163a mor\u0163ii; totu\u015fi, cu o ultim\u0103 grimas\u0103 ironic\u0103, poetul contempl\u0103 neputincios Scara la cer<\/em> (o capodoper\u0103, acest text minuscul), a\u015ftept\u00e2nd ca sufletul (\u201ep\u00e2\u015f-p\u00e2\u015f\u201d) s\u0103 \u201eo ia \u00eenainte\u201d\u2026<\/strong><\/p>\n

*<\/strong><\/p>\n

\u00a0Om inteligent, \u00een compania c\u0103ruia plictiseala (fiind exclus\u0103) se pred\u0103 ru\u015finat\u0103, nedrept c\u00e2teodat\u0103 (lans\u00e2nd afirma\u0163ii strig\u0103toare la cer), interesant \u00eentotdeauna, iubind jocurile \u015fi libertatea spiritului, poetul fantezist \u015fi parodic, \u015fugub\u0103\u0163 la drumul mare, privind via\u0163a de sub coviltir era mereu disponibil<\/em>. Cum s-a tot spus, Marin Sorescu s-a dorit un \u201evestitor\u201d al literaturii noi, debutantul persifl\u00e2nd re\u0163etele epocii. Prob\u00e2ndu-\u015fi \u00een timp capacitatea de \u00eennoire, continua regenerare, culeg\u00e2nd versuri prozoase \u015fi atins de \u201er\u00e2ia\u201d ironismului, amenin\u0163at de dilu\u0163ie, lirismul s\u0103u \u015fi-a p\u0103strat prospe\u0163imea; la h\u00e2trul oltean, \u201ecapabil de at\u00e2ta risipire\u201d, medita\u0163ia ia o turnur\u0103 umoristic\u0103, recuper\u00e2nd \u00eens\u0103 \u201esemnifica\u0163ii pierdute\u201d. \u00cent\u00e2lnirea cu mitul (\u201enas \u00een nas\u201d) devine experien\u0163\u0103 existen\u0163ial\u0103; Marin Sorescu are, cum ar fi spus P. Pandrea, \u201ecurajul banalit\u0103\u0163ii\u201d.<\/strong><\/p>\n

Expert \u00een manevrarea citatelor (nu observa chiar Marin Sorescu c\u0103 citatele \u201e\u00ee\u0163i ridic\u0103 moralul\u201d?), purt\u00e2nd o ereditate cultural\u0103 irepresibil\u0103, poetul Sorescu scria deci \u00een replic\u0103<\/em>, se r\u0103zboia cu cli\u015feele impun\u00e2nd altele, recunoa\u015fte terorismul \u201ereflexelor literare\u201d; navig\u00e2nd, adic\u0103, dezinvolt pe toate m\u0103rile spiritului, singular \u015fi \u00eensingurat, mereu imprevizibil, uimind prin capacitatea de \u00eennoire \u015fi simplitatea derutant\u0103, sfid\u00e2nd at\u00e2tea alarme ale criticilor, \u00eengrijora\u0163i de pericolul (real, totu\u015fi) al repeti\u0163iei \u015fi facilit\u0103\u0163ii, transfer\u00e2nd gesticula\u0163ia cotidian\u0103 \u015fi materia ei verbal\u0103 (cuvintele \u201eoricui\u201d) \u00eentr-o liric\u0103 de mare faim\u0103. Iubitoare de paradox, inteligen\u0163a sorescian\u0103 se ascunde \u00een cotidian; sub aparen\u0163a jocului, d\u00e2nd cu tifla poeziei solemne \u015fi stilului emfatic, bagateliz\u00e2nd, brusc\u00e2nd tabieturile de recep\u0163ie, afi\u015f\u00e2nd o \u00een\u015fel\u0103toare transparen\u0163\u0103, st\u0103p\u00e2nind clapele \u015fi trapele scrisului, poezia sa realizeaz\u0103 o comunicare direct\u0103, \u00eentron\u00e2nd intimitatea \u015fi familiaritatea. \u00cen \u201ec\u0103ma\u015f\u0103 de litere\u201d, popularul poet observa cu retin\u0103 proasp\u0103t\u0103 lumea. Descins printre noi (\u201es\u0103 v\u0103d ce mai face\u0163i\u201d), Marin Sorescu, risipindu-\u015fi \u2013 \u00een pofida acutului sim\u0163 al conven\u0163ionalului \u2013 jocurile de virtuos, ne bucur\u0103 prin cuceritorul sentiment al libert\u0103\u0163ii creatoare. Pu\u0163ini \u00eel tr\u0103iesc la temperatura sorescian\u0103, de\u015fi, la el, spontaneitatea e cr\u00e2ncen supravegheat\u0103; pu\u0163ini l-ar putea urma pe fostul premiant al revistei Luceaf\u0103rul<\/em> (pentru critic\u0103!) \u00een galopul s\u0103u literar, anex\u00e2nd noi teorii, acuzat \u2013 fire\u015fte \u2013 de \u201etr\u0103dare\u201d, incapabil \u2013 zic unii \u2013 de a tr\u0103i sublimitatea st\u0103rii lirice, \u00eencercat vremelnic de orgoliile criticii de autor, tentat de experiment, nedomolindu-\u015fi v\u00e2lv\u0103t\u0103ile polemice. P\u0103r\u0103sind exerci\u0163iul critic, prestidigitatorul Marin Sorescu a\u00a0 apucat-o pe alte c\u0103r\u0103ri; dar, s\u0103 observ\u0103m, desf\u0103\u015fur\u0103rile spiritului sorescian apar\u0163in unei inteligen\u0163e critice. Considerat un \u201ecinic al poeziei\u201d, Marin Sorescu, el \u00eensu\u015fi paradoxal, \u00ee\u015fi regizeaz\u0103 \u00een laborator, prin calcul savant, distan\u0163area, impasibilitatea. Ludismul, spiritul parodic (p\u0103r\u00e2nd a patina la suprafa\u0163a limbajului), rezonan\u0163a caustic\u0103 mascheaz\u0103 de fapt sensul grav al formulei soresciene; echivocurile semantice, \u00eencruci\u015f\u0103rile fanteziste siluind logica, urmele de urmuzianism \u015fi caragialism \u00ee\u015fi ofer\u0103, doar dincolo de fugara, epidermica ochire, miezul matefizic. Pornit \u00een c\u0103utarea esen\u0163elor, for\u00e2nd stratul mitic (vremea mitic\u0103), poetul este un sceptic nem\u00e2ntuit, descoperind elementaritatea. La el insolitul devine normalitate (a spus-o chiar G. C\u0103linescu). Bizareria intr\u0103 \u00een coeren\u0163a unei lumi de idilism pulverizat, \u00eembibat\u0103 de originalitate, hibrid\u00e2nd cultural. Fertila confuzie, acea \u201ecea\u0163\u0103 potrivit\u0103 pentru germina\u0163ie\u201d favorizeaz\u0103 \u00eencol\u0163irea sensurilor sub coaja banalului.<\/strong><\/p>\n

S\u0103 nu ne am\u0103gim. Poetul nu e doar inventiv \u015fi cu gustul poantei, b\u0103\u015fc\u0103lios \u015fi ironic. Dac\u0103 teatralitatea e sfidat\u0103 prin anularea distan\u0163elor de c\u0103tre cel tem\u0103tor de \u201efaza abstrac\u0163iunilor\u201d, ros \u2013 desigur \u2013 de orgoliul singulariz\u0103rii, autoportretistica recurge la mistific\u0103ri (\u201esunt zburlit \u015fi privesc piezi\u015f\u201d, spunea poetul odat\u0103). Adev\u0103ratul Marin Sorescu e \u015fi sentimental \u015fi sensibil, c\u00e2\u015ftig\u00e2nd \u00een densitate \u015fi gravitate. Taciturn \u00een via\u0163\u0103, el este volubil \u015fi vervos \u00een scris. Verva sa d\u0103 \u00een clocot. Fanaticul \u00eentru literatur\u0103 scrie, iar\u0103\u015fi paradoxal, o poezie la nivelul vie\u0163ii<\/em>, mustind de concret. Bulze\u015ftiul (La lilieci<\/em>) era, de pild\u0103, un centru al lumii, supus implacabilului mecanism ritualic \u015fi legii morale ne\u00eendur\u0103toare; ceea ce citim poate fi o tentativ\u0103 monografic\u0103 investig\u00e2nd o lume veche (\u015fi imaginar\u0103), un rural \u201estricat\u201d, m\u00e2ng\u00e2iat de candorile copil\u0103riei retr\u0103ite. Cobor\u00e2m \u00een prozaism, gust\u0103m poezia faptelor de via\u0163\u0103. Dar tehnica sorescian\u0103 nu se dezminte; \u00eent\u00e2mpl\u0103rile satului, v\u0103zut ca un \u201eteatru mare\u201d trec prin hiperbolizare \u00een regimul eroicului, denun\u0163at \u00een Bob\u00eernacul<\/em> (\u201etotul se ridic\u0103 la p\u0103trat\u201d). Doar c\u0103 aceast\u0103 mitizare acumulativ\u0103<\/em> este, concomitent, minat\u0103 de inventarul (discursivitatea) cotidianului ridiculiz\u00e2nd, prin miticizare<\/em>, \u0163inuta \u0163eap\u0103n\u0103, solemnitatea glacial\u0103. \u00cen acest univers sorescian, eliber\u00e2nd valen\u0163a sudic\u0103 a spiritualit\u0103\u0163ii noastre, volubilitatea se desf\u0103\u015foar\u0103 nest\u00e2njenit\u0103. Omul sorescian<\/em>, s-a spus, este comunicativ; el particip\u0103 la via\u0163a public\u0103, dedulcit pl\u0103cerilor \u201epolitice\u015fti\u201d, informat, tr\u0103ind \u201ela drum\u201d. Dar risipind focuri de artificii, schimb\u00e2nd m\u0103\u015fti \u015fi registre stilistice (nu s-a \u00eentors \u015fi re\u00eentors Sorescu la uneltele clasice?; n-a fost el \u015fi sonetist?).<\/strong><\/p>\n

Spiritualul ironist scria \u201epe cutremure\u201d, \u00eenchin\u00e2ndu-se monumentului sim\u0163ului comun. Numai citit \u00een galop, \u00eengrop\u00e2nd direc\u0163ia grav\u0103 a liricii sale, el a putut fi judecat ca superficial, transport\u00e2nd spre cititor mesajul unor Mitici de extrac\u0163ie olteneasc\u0103; adic\u0103 o filosofie u\u015furic\u0103, lejer\u0103, pe placul galeriei. Marin Sorescu are fibr\u0103 \u0163\u0103r\u0103neasc\u0103. F\u0103c\u00e2nd afirma\u0163ia ne g\u00e2ndim la ascu\u0163imea de spirit \u015fi bucuria tr\u0103irii imediatului, la robuste\u0163e \u015fi expansivitate, la acel clocot vital \u015fi r\u00e2s bogat; dar \u015fi la nemiloasa luciditate, amalgam\u00e2nd suavul \u015fi grotescul, ancorat\u0103 \u00een cotidian \u015fi alunec\u00e2nd \u00een fantastic sub sigiliul naturale\u0163ii. Totul e viu, totul e posibil.<\/strong><\/p>\n

Mali\u0163ia ascunde \u015fi protejeaz\u0103 vulnerabilitatea fiin\u0163ei, fragilitatea \u201etrestiei g\u00e2nditoare\u201d. Scutul ironic-parodic ne ap\u0103r\u0103 de comedia obiectelor, de propria noastr\u0103 reificare; percepem \u201edulcea g\u00e2ngurire a lucrurilor\u201d, diferen\u0163a de nivel dintre ideal \u015fi real. Scindat, Sorescu nu devine un dezabuzat. Senin\u0103tatea dezinvolt\u0103 a unui anxios (\u00een fond) ia \u00een st\u0103p\u00e2nire lumea prin disimulare (\u00een form\u0103); medita\u0163ia asupra condi\u0163iei umane nu \u00eembrac\u0103 haina de gal\u0103 a solemnit\u0103\u0163ii retorice. Cerebralitatea se deghizeaz\u0103, p\u0103trundem spre miezul Fiin\u0163ei \u015fi pe c\u0103r\u0103rile absurdului. Resping\u00e2nd metafora, \u201evis\u0103logeala\u201d, poetul locuie\u015fte \u00een luciditate. \u00censcen\u00e2nd f\u0103r\u0103 a mima jocul superior al spiritului, el va spera c\u0103 \u201eprostia va dispare \/ \u00een cur\u00e2nd \/ pe calea pa\u015fnic\u0103\u201d. Flec\u0103reala, suculen\u0163a pot fi un antidot la acea posibil\u0103 vreme a Nordului unic, calculat \u015ftiin\u0163ific, la pericolul prolifer\u0103rii \u201eoamenilor mecanici\u201d.<\/strong><\/p>\n

Tr\u0103g\u00e2nd o ultim\u0103 linie la acest \u2013 posibil \u2013 profil poeticesc, vom zice c\u0103 obsesia (nu tocmai nou\u0103) a liricii soresciene ar fi \u2013 \u00een subtext \u2013 lupta cu timpul. \u00cent\u00e2lnim versuri \u201eninse din bel\u015fug\u201d, dar \u015fi amenin\u0163area c\u0103l\u0103ului ce \u201etrebuia s\u0103 omoare timpul\u201d. Or, ultimele volume ne propuneau \u00eent\u00e2lnirea cu un Marin Sorescu care \u2013 f\u0103r\u0103 a renun\u0163a la colocvialitate \u015fi \u201eironie generoas\u0103\u201d (cf. Michael Hamburger, \u00een prefa\u0163a la volumul Selected Poems<\/em>, Bloodaxe Books, 1983) \u2013 \u00ee\u015fi retu\u015feaz\u0103 autoportretul, dezechilibr\u00e2nd balan\u0163a unor prejudec\u0103\u0163i critice. S\u0103 fie poetul un \u201einamic declarat al gravit\u0103\u0163ii?\u201d Opinia lui Alan Bolf (cf. Gabriela Dragnea) se clatin\u0103, Ap\u0103 vie<\/em>, ap\u0103 moart\u0103<\/em> purt\u00e2nd, de pild\u0103, sigiliul unei v\u00e2rste; scriitorul-total, \u201eun Sisif ce-\u015fi car\u0103 bolovanul \u00een cap\u201d, dup\u0103 o \u201elung\u0103 preg\u0103tire\u201d, dup\u0103 o p\u0103m\u00e2ntean\u0103 risip\u0103 (\u201eurcare de trepte\u201d) anun\u0163\u0103 un \u201ecap de drum\u201d, retragerea \u201e\u00een minerale\u201d: \u201eLas \u00een urm\u0103 numai una \/ Ce alege: urma urmei\u201d (v. Retragerea cu tor\u0163e<\/em>). Un eros abia \u00eeng\u00e2nat (v. Vase comunicante<\/em>), un \u201eliman de boal\u0103\u201d cap\u0103t\u0103 acum for\u0163\u0103 obsesiv\u0103. Fire\u015fte, nici fixa\u0163iile tematice, nici constr\u00e2ngerile prozodice nu pot \u00eenc\u0103tu\u015fa spiritul sorescian, mereu vervos, spumos, \u015fugub\u0103\u0163, acoperind sub acest tir verbal (\u00eempins spre narativitate \u015fi ludism) miezul parabolic, proiec\u0163iile unui spirit anxios, bolnav de luciditate. Afl\u00e2nd \u00een crea\u0163ie \u201eapa vie\u201d, popularul \u015fi mucalitul poet mimeaz\u0103 sur\u00e2z\u0103tor retragerea, combin\u00e2nd \u2013 dup\u0103 o re\u0163et\u0103 personal\u0103 \u2013 fantezia cu ironia; \u00een tot ce scrie descoperim semnele unei inteligen\u0163e ascu\u0163ite. Ap\u0103 vie<\/em>, ap\u0103 moart\u0103<\/em> (1987) s-a dovedit a fi un volum de tranzi\u0163ie c\u0103tre un alt Sorescu, \u201e\u00eembog\u0103\u0163it\u201d.<\/strong><\/p>\n

*<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dac\u0103 exerci\u0163iile sale prozastice, pendul\u00e2nd \u00eentre alegorie \u015fi bufonerie, puteau fi citite (cu deosebire \u00een contextul epocii) \u015fi ca romane de moravuri, tratamentul sorescian, mar\u015f\u00e2nd pe sim\u0163ul mimetic, nu practic\u0103 ironia demolatoare. Singur printre poe\u0163i<\/em> \u00eei anun\u0163a inten\u0163iile benigne. Cititor vigil, el \u201eintr\u0103\u201d \u2013 sub aparen\u0163e juc\u0103u\u015fe \u2013 \u00een pielea autorilor viza\u0163i; \u015fi astfel recreeaz\u0103 un model parodiind un stil \u015fi lans\u00e2nd, prin puzderia de imitatori, o mod\u0103. De\u015fi, categoric, Sorescu, \u201eesperantist\u201d \u015fi \u201emithofag\u201d (cum l-a v\u0103zut Andreea Genovese) este inimitabil.<\/strong><\/p>\n

S\u0103 amintim \u015fi preocup\u0103rile sale de traduc\u0103tor \u015fi \u201eprovocator\u201d, ini\u0163iind interviuri cu mari poe\u0163i ai lumii, \u00een ipostaza de \u201egrefier al st\u0103rii de gra\u0163ie\u201d. O antologie (fire\u015fte subiectiv\u0103<\/em>), precum Tratat de inspira\u0163ie<\/em> (1985), chema la ramp\u0103 o colec\u0163ie de nume prestigioase, un \u015fir de \u201enaufragia\u0163i pe insule de speran\u0163\u0103\u201d. \u00cen fine, client statornic al cenzurii, protagonist al momentului transcendentalist (a\u015fa s-a n\u0103scut, probabil, Dispozitivul<\/em>), poetul ne-a oferit, \u00een 1991, un volum reunind textele \u201ealese\u201d (mai bine zis, respinse) de cenzur\u0103. N. Manolescu l-a suspectat de \u201e\u00een\u015fel\u0103ciune\u201d, \u00eentreb\u00e2ndu-se dac\u0103 ele, realmente, au fost refuzate sau dac\u0103 poetul, prudent, le-a dosit \u00een sertar, fiind nepublicabile. Taxate drept \u201eantipatice\u201d de c\u0103tre acela\u015fi critic, negre\u015fit incomode, poemele iau \u00een r\u0103sp\u0103r cli\u015feele, retorica ideologizat\u0103 (v. Eu, neab\u0103tutul<\/em>), develop\u00e2nd imagini ale degrad\u0103rii prin \u015ftiuta-i tehnic\u0103 subversiv-aluziv\u0103, devenind \u2013 \u00een viziunea lui Eugen Simion \u2013 veritabile contradiscursuri<\/em>. \u00cen fond, \u00een cazul textelor \u201eesopice\u201d, cultiv\u00e2nd ambiguitatea \u015fi echivocul e dificil s\u0103 explic\u0103m \u201era\u0163iunile\u201d cenzurii, fluctuant\u0103, deseori complice.<\/strong><\/p>\n

Traversarea<\/em> (1994) indic\u0103 \u015fi astfel de episoade, dar \u2013 mai cu seam\u0103 \u2013 transparentizeaz\u0103 st\u0103rile de alarm\u0103; poetul, r\u0103t\u0103cind \u00een labirint, \u00ee\u015fi contempl\u0103 r\u0103nile \u015fi anun\u0163\u0103 profetic \u201eun destin bolborosit\u201d, \u00een care absurdul existen\u0163ial ne invadeaz\u0103. Sunt aici, \u00een vecin\u0103tate arghezian\u0103, spunea E. Simion, psalmi laici<\/em>, \u00eembiba\u0163i de tragism. Ceea ce va agrava volumul postum Puntea (Ultimele)<\/em>, ivit \u00een 1997 \u015fi dedicat \u201ecelor care sufer\u0103\u201d. De\u015fi r\u0103can<\/em> \u201e\u00een ale durerii\u201d, poetul, acuzat de excesiv\u0103 flexibilitate, m\u0103cinat acum de suferin\u0163\u0103 \u2013 face \u201escufund\u0103ri \u00een durerea pur\u0103\u201d, urm\u00e2nd a trece puntea<\/em> (\u201esc\u00e2ndura \u015fubred\u0103\u201d) care leag\u0103 p\u0103m\u00e2ntul de cer. Insolit, paradoxal, inventiv \u015fi aluziv, Marin Sorescu n-a agreeat stilul \u00eenalt<\/em>. Dar sub coaja ludic\u0103, \u00een pofida oboselii \u015fi repeti\u0163iei, el se autoparodiaz\u0103, descoperindu-ne mereu, sub alte fa\u0163ete, fondul grav<\/em>.<\/strong><\/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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ADRIAN DINU RACHIERU<\/strong><\/p>\n

Sursa: http:\/\/www.rachieru.ro\/editoriale_recenzii_articole\/marin-sorescu-sau-spiritul-parodic<\/a><\/p>\n

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

MITOGRAFII LIRICE Mai degrab\u0103 ignorat acum dec\u00e2t contestat, de\u015fi, c\u00e2ndva, nu cu mult\u0103 vreme \u00een urm\u0103, se bucura de o [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,6],"tags":[],"class_list":["post-5589","post","type-post","status-publish","format-standard","hentry","category-articole","category-linkuri-externe"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/5589","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=5589"}],"version-history":[{"count":0,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/5589\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=5589"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=5589"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=5589"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}