{"id":7877,"date":"2012-10-10T09:18:25","date_gmt":"2012-10-10T09:18:25","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=7877"},"modified":"2012-10-10T09:18:25","modified_gmt":"2012-10-10T09:18:25","slug":"ion-creanga-%e2%80%93-un-etern-paradox","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2012\/10\/10\/ion-creanga-%e2%80%93-un-etern-paradox\/","title":{"rendered":"Ion Creang\u0103 \u2013 un etern paradox?"},"content":{"rendered":"

\"\"Intrigat de varietatea recept\u0103rii, \u00een timp, a operei lui Ion Creang\u0103, Adrian Dinu Rachieru<\/strong> <\/em>a elaborat un eseu atipic, spumos \u015fi plin de savoare (Ion Creang\u0103, spectacolul disimul\u0103rii<\/strong>, Timi\u015foara, Editura David Print, 2012), prin care \u00eencearc\u0103 a stabili un nou echilibru, imponderabil, \u00een perceperea c\u00e2t mai aproape de realitate a acesteia. Prin\u00a0realitate<\/em>, natural, \u00een\u0163elegem, \u00eent\u00e2i de toate, realitatea literar\u0103, universul ad\u00e2nc al fic\u0163ionalit\u0103\u0163ii, apt s\u0103 strabat\u0103 vremea pe deasupra tuturor legendelor \u015fi anecdotelor ce s-au tot \u0163esut, \u00eenc\u0103 din timpul vie\u0163ii marelui nostru clasic, pe seama sa \u015fi a operei sale.<\/p>\n

Criticul posed\u0103 \u015ftiin\u0163a \u015fi harul cit\u0103rii, prin introducerea unor sintagme expresive \u015fi definitorii \u00een propriul discurs, ce devine astfel o proz\u0103 de cea mai bun\u0103 calitate. Eseistul ia, practic, \u00een discu\u0163ie, tot ce s-a scris despre Ion Creang\u0103, av\u00e2nd r\u0103bdarea de a g\u0103si pepite chiar \u015fi \u00een vechi monografii, precum cea a lui Savin Bratu. Nicio perspectiv\u0103 nu este refuzat\u0103. Tex\u001ftul s\u0103u este iluminat prin aten\u0163ie concentrat\u0103, analitic\u0103, orice v\u00e2n\u0103 de minereu pre\u001f\u0163ios este aflat\u0103 \u015fi pus\u0103 \u00een valoare printr-o nou\u0103 contextualizare. \u00censu\u015fi autorul, \u00eentr-o just\u0103 auto\u001fca\u001fracterizare a demersului s\u0103u, sus\u0163ine a fi alc\u0103tuit o \u201esintez\u0103 critic\u0103<\/em>\u201d, un model, am putea ad\u0103uga, de \u00eeng\u0103duire a diferen\u0163elor, pledoarie pentru \u201ecoexisten\u0163a valorilor \u015fi simultaneismul opiniilor, oferind prin \u015ftafeta genera\u0163iilor, dincolo de \u00eencr\u00e2ncen\u0103ri \u015fi fulgere polemice, un<\/em>\u00a0dialog mirabil<\/em><\/strong>\u00a0\u00een ceea ce s-a numit, \u00eendrept\u0103\u0163it,<\/em>\u00a0spectacolul recept\u0103rii<\/em><\/strong>\\\u201d (p. 14).<\/p>\n

Paradoxul a existat \u00eenc\u0103 de la \u00eenceputul recept\u0103rii lui Creang\u0103: ne vor uimi \u015fi azi, poa\u001fte, interpret\u0103rile vaste \u015fi \u00eendr\u0103zne\u0163e ale lui C\u0103\u001fli\u001fnescu, ce nu se va sfii s\u0103 convo<\/p>\n

ace \u201emetoda fizionomic\u0103<\/em>\u201d ori hermeneutica zodiacal\u0103 (p. 18). Mai nou, sintezele esoteric-gu\u00e9noniste ale lui Vasile Lovinescu pot crea perplexitate, prin insolit, dar \u015fi prin \u00eendep\u0103rtarea de literar, \u00een vreme ce perspectiva psihanalitic\u0103 a lui Dan Gr\u0103dinaru poate da na\u015ftere la interpret\u0103ri unilaterale.<\/p>\n

A.D. Rachieru nu ostene\u015fte s\u0103 fac\u0103, pe tot parcursul c\u0103r\u0163ii, un portret perpetuu al marelui humule\u015ftean, dintr-o iubire autentic\u0103 a operei \u015fi personalit\u0103\u0163ii acestuia, contemplate ca \u00een scli\u001fpirea multifa\u0163etat\u0103 a unui poliedru de cris\u001ftal. Eugen Simion este considerat a fi autorul celor mai pregnante reinterpret\u0103ri, \u00eendeosebi pentru lumina proiectat\u0103, \u00een cheie postmodern\u0103, asupra caracterului autofic\u0163ional, specific\u00a0Amintirilor din copil\u0103rie<\/strong>. Evocarea, la Creang\u0103, nu este at\u00e2t rememorare, c\u00e2t recreare a unui paradis pierdut (Mircea Eliade), prin ruperea de spa\u0163iul copil\u0103riei, ce nu va mai fi niciodat\u0103 reg\u0103sit. Ceea ce aduce a scriere se\u001fnin\u0103 se reveleaz\u0103, la un examen atent, a fi o\u00a0lung\u0103 lamenta\u0163ie<\/em>\u00a0\u015fi o autofic\u0163iune, iar nu o reconstituire. Nu exist\u0103, vai, drum de \u00eentoar\u001fcere, o spune limpede textul\u00a0Amintirilor<\/strong>, care consfin\u0163e\u015fte c\u0103derea definitiv\u0103 a inocen\u0163ei \u00een lume (p. 50).<\/p>\n

Comentariul c\u00e2\u015ftig\u0103 \u00een densitate \u015fi datorit\u0103 viziunii sociologice \u015fi psihologice asupra contextului, carnalit\u0103\u0163ii cu care se configureaz\u0103 un climat literar: epoca \u00een care a creat Ion Crean\u001fg\u0103, anturajul s\u0103u, junimist ori eminescian, sunt (re)desenate \u00een tu\u015fe sigure, din vocabule bine alese, dovedind o cuprindere clar\u0103 \u015fi vivace a ansamblului: \u201eDu\u015fm\u0103nit, cu o via\u0163\u0103 \u00abscanda\u001floas\u0103\u00bb, \u00abarestuit\u00bb chiar, cu o c\u0103snicie ratat\u0103 (diaconi\u0163a Eliana fiind \u00absmintit\u0103\u00bb de Isaia Vicol Dioclias), rup\u00e2nd cu diaconia \u015fi d\u0103sc\u0103\u001flia, trecut prin ani negri, tutungiu pentru o vreme (v\u00e2nz\u00e2nd iarba dracului)<\/em>\\\u201d (p. 22). Ni se reaminte\u015fte \u201eun Creang\u0103 col\u0163os, j\u0103lbar, c\u0103u\u001ft\u00e2nd scandalul; despopirea era inevitabil\u0103. Nemaiput\u00e2nd \u00abliturgisi\u00bb, ex-diaconul se va alina mai apoi cu o turm\u0103 de pisici, \u00een frunte cu cotoiul Titu<\/em>\\\u201d (p. 38-39).<\/p>\n

Paradoxul este mereu activ pe toate planurile \u2013 \u00een scriitur\u0103, c\u00e2t \u015fi \u00een via\u0163\u0103: de\u015fi ruperea de Humule\u015fti a fost tragic\u0103, ora\u015ful \u00een care ajunge provoac\u0103 opera. Junimea, apoi, dob\u00e2nde\u015fte func\u0163ia de substitut, pe alt plan, intelectual, dar \u015fi afectiv, al satului de ba\u015ftin\u0103. Ea devine un nou \u201epeisaj-cuib<\/em>\\\u201d (Vl. Streinu), un alt \u201eeden reg\u0103sit<\/em>\u201d, ce-i va asigura stabilitatea sufleteasc\u0103 tocmai prin mediul s\u0103u iconoclast: \u201esocietate f\u0103r\u0103 statute, adun\u00e2nd boemi \u015fi zeflemi\u015fti, potrivnici anchiloz\u0103rii institu\u0163ionale<\/em>\\\u201d (p. 58).<\/p>\n

Creang\u0103 este \u00eens\u0103 un adev\u0103rat scriitor, un profesionist, care \u015ftia ce \u00eenseamn\u0103 munca pe manuscris \u015fi ne d\u0103ruie\u015fte o lume\u00a0f\u0103cut\u0103<\/em>, iar nu una\u00a0copiat\u0103<\/em>. De\u015fi faptul a fost observat, A.D. Rachieru nu obose\u015fte a-l repeta, pentru a elimina persisten\u0163a etichet\u0103rii lui Creang\u0103 ca posesor al unei vechi \u015ftiin\u0163e\u00a0poporale<\/em>\u00a0de factur\u0103 oral\u0103 (eticheta junimist\u0103!), prelucr\u0103tor de folclor, \u201ecopist de geniu<\/em>\\\u201d ori simplu scriitor pentru copii, pornograf, \u201esnovar<\/em>\\\u201d sau \u201epovesta\u015f<\/em>\u201d. Nu \u00eenseamn\u0103 c\u0103 nu ar exista aici un s\u00e2mbure de adev\u0103r, dar Creang\u0103 este un scriitor pe de\u001fplin asumat, iar nu unul iner\u0163ial, el \u00ee\u015fi pl\u0103smuie\u015fte universul cu luciditate scriitoriceasc\u0103, manifestare a deta\u015f\u0103rii, a impersonalit\u0103\u0163ii narative (Adrian Marino). \u201eMare orgolios<\/em>\\\u201d, de o \u201emodestie mimat\u0103<\/em>\\\u201d, el \u201ese multiplic\u0103<\/em>\u201d (M.A. Diaconu) la ad\u0103postul m\u0103\u015ftii alese, asum\u00e2ndu-\u015fi toate rolurile (p. 78). De\u015fi iubea oralitatea, \u201eCreang\u0103 nu cade \u00een vorb\u0103rie; opera sa e concentrat\u0103, v\u0103dind organicitate<\/em>\u201d (p. 58), izb\u00e2nd\u0103 stilistic\u0103 a unuia ce scria cu un \u201econdei de plumb<\/em>\u201d, iar nu o neproblematic\u0103 ste\u001fnografie folclorizant\u0103. Prin\u00a0Amintiri\u2026<\/strong>, arat\u0103 conving\u0103tor Adrian Dinu Rachieru, \u00ee\u015fi ia revan\u015fa scriitoriceasc\u0103 omul, nefericit \u00een fond, acel \u201eal doilea Creang\u0103 (scriitorul), asaltat de priva\u0163iuni, ros de boal\u0103, propulsat \u00een legen\u001fd\u0103<\/em>\\\u201d, autorul, care reinventeaz\u0103 raiul humule\u015f\u001ftean, de\u015fi \u2013 negre\u015fit \u2013 \u201esatul lui Creang\u0103 nu putea fi o \u00abinsul\u0103 fericit\u0103\u00bb<\/em>\\\u201d (p. 13).<\/p>\n

Imaginea complex\u0103 a lui Creang\u0103 pendu\u001fleaz\u0103 \u00eentre vizibil \u015fi invizibil, ea define\u015fte, totodat\u0103, \u0163\u0103ranul cultivat, exoteric totu\u015fi, dar \u015fi \u00eenduio\u015f\u0103toarea f\u0103ptur\u0103 cultural\u0103 ce \u015fi-a dorit ardent \u201eemanciparea<\/em>\u201d \u015fi a dob\u00e2ndit-o prin fruc\u001ftificarea geniului scriitoricesc, la flac\u0103ra aspira\u0163iei materne \u015fi a clarvederii emines\u001fciene, un \u201ebufon tragic<\/em>\u201d ce-\u015fi accept\u0103 rolul cu \u201epref\u0103cut\u0103 umilin\u0163\u0103<\/em>\\\u201d, un sceptic care ne face p\u0103rta\u015fi la \u201epl\u00e2nsul fiin\u0163ei<\/em>\\\u201d, iubind\u00a0spectacolul disimul\u0103rii<\/em>. Adrian Dinu Rachieru reu\u015fe\u015fte, \u00een aceast\u0103 carte captivant\u0103, s\u0103 schi\u0163eze cu pros\u001fpe\u0163ime profilul unui clasic de mult\u0103 vreme clasat, \u00een toat\u0103 urie\u015fenia sa \u2013 rabelaisian\u0103 nu doar la nivel tematic, ci \u015fi \u00een dimensiunea, mai subtil\u0103, a unui imaginar literar cameleonic uneori, apt a se dilata nest\u0103vilit, \u00een func\u0163ie \u015fi de mentalul auditoriului ori al criticilor s\u0103i.<\/p>\n

\u00a0Simona-Grazia Dima<\/strong><\/p>\n

Luceaf\u0103rul de diminea\u0163\u0103, Nr. 9 \/ septembrie 2012<\/p>\n","protected":false},"excerpt":{"rendered":"

Intrigat de varietatea recept\u0103rii, \u00een timp, a operei lui Ion Creang\u0103, Adrian Dinu Rachieru a elaborat un eseu atipic, spumos [&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-7877","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\/7877","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=7877"}],"version-history":[{"count":0,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/7877\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=7877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=7877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=7877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}