{"id":14851,"date":"2023-08-30T09:10:30","date_gmt":"2023-08-30T07:10:30","guid":{"rendered":"https:\/\/egophobia.ro\/?p=14851"},"modified":"2023-08-29T22:13:09","modified_gmt":"2023-08-29T20:13:09","slug":"regina-maria-a-romaniei-si-a-sa-literatura-gotica","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=14851","title":{"rendered":"Regina Maria a Rom\u00e2niei \u0219i a sa literatur\u0103 gotic\u0103"},"content":{"rendered":"

(Studii fantastice)<\/span><\/p>\n

de Oliviu Cr\u00e2znic<\/p>\n

\u201eLumea e un loc cumplit, \u0219i singur Dumnezeu are mil\u0103.\u201d<\/em><\/p>\n

\u00a0<\/strong>Despre Regina MARIA a Rom\u00e2niei<\/strong> am scris recent, prezent\u00e2nd Vis\u0103torul viselor <\/em>(https:\/\/egophobia.ro\/?p=14624<\/a>) \u0219i, respectiv, Ce-a v\u0103zut Vasile soldatul. Poveste din timpul R\u0103zboiului<\/em> (https:\/\/egophobia.ro\/?p=14632<\/a>).<\/p>\n

Am semnalat, astfel, necesitatea reevalu\u0103rii \u0219i revalorific\u0103rii literaturii fantastice create de Maiestatea Sa \u0219i etichetate, \u00een mod nejustificat, \u201eliteratur\u0103 pentru v\u00e2rsta copil\u0103riei\u201d ca urmare a confund\u0103rii \u201efantaziilor\u201d autoarei (destinate cititorilor maturi) cu basmele ei culte (acestea din urm\u0103, destinate \u00eentr-adev\u0103r cititorilor impuberi \u2013 dup\u0103 cum o demonstreaz\u0103 v\u00e2rsta fraged\u0103 a protagoni\u0219tilor, nara\u021biunea schematic\u0103, emfaza moral\u0103 etc.).<\/p>\n

Prezent\u00e2nd … Vasile soldatul …<\/em>, am semnalat, de asemenea, caracterul gotic al acestei nuvelete fantastice.<\/p>\n

Interesul Maiest\u0103\u021bii Sale pentru crearea de literatur\u0103 gotic\u0103 nu a reprezentat, \u00eens\u0103, doar un incident izolat[1], conex cre\u0103rii de literatur\u0103 fantastic\u0103 \u2013 dup\u0103 cum o dovede\u0219te opera literar\u0103 asupra c\u0103reia ne vom opri ast\u0103zi[2].<\/p>\n

Raportat la teoria literar\u0103, M\u0103\u0219ti. Roman <\/em>(1938; Masks. A Novel<\/em>, 1935; Masques. Roman<\/em>, 1936) apar\u021bine stilului func\u0163ional beletristic, curentelor literare romantic, respectiv (\u00een Partea Doua<\/em>) naturalist[3] \u00eempletit cu romantic, genului literar epic, fiind, ca specie literar\u0103 (din punct de vedere formal \u0219i, respectiv, tematic), un romant gotic[4] \u0219i, ca subspecie literar\u0103, un romant gotic afantastic [roman\u021bios].<\/p>\n

Partea \u00cent\u00e2ia<\/em> \u00eel are drept personaj principal pe un profesor de v\u00e2rst\u0103 mijlocie, c\u00e2ndva un vis\u0103tor romantic, acum c\u0103s\u0103torit cu o femeie supraponderal\u0103 \u0219i superficial\u0103, \u0219i duc\u00e2nd o via\u021b\u0103 banal\u0103 \u00eentr-un or\u0103\u0219el transilv\u0103nean. B\u0103rbatul ajunge s\u0103 cunoasc\u0103 misterul \u0219i aventura prin intermediul unui anticar b\u0103tr\u00e2n, evreu, de\u021bin\u0103tor al unui secret straniu: \u00een \u00eenc\u0103perile interzise ale dughenei cu vechituri a \u201eJidovului R\u0103t\u0103citor\u201d (autointitulat astfel), se ascunde o frumoas\u0103 adolescent\u0103 cu voce de vis \u2013 orfan\u0103 salvat\u0103 \u0219i crescut\u0103, \u00een tain\u0103, \u201edeparte de lumea dezl\u0103n\u021buit\u0103\u201d. Singurii prieteni ai tinerei sunt … m\u0103\u0219ti mortuare ale unor personaje istorice (Napoleon, Beethoven, Bismarck, Goethe \u0219.a.). Profesorul se \u00eendr\u0103goste\u0219te (platonic), fire\u0219te, de aceea care \u00eei devine, astfel, pe nea\u0219teptate, o s\u00e2rguincioas\u0103 elev\u0103 \u2013 descoperind, \u00eens\u0103, tulburat, c\u0103 adolescenta iube\u0219te deja … chipul unui frumos anonim, imortalizat \u00eentr-una din m\u0103\u0219tile mortuare aflate \u00een colec\u021bia macabr\u0103 a \u201ebunicului\u201d.<\/p>\n

Aceast\u0103 prim\u0103 Parte<\/em> este, a\u0219adar, o foarte reu\u0219it\u0103 poveste de dragoste gotic\u0103; unele (din fericire, nu multe) pagini, \u00eens\u0103, spre final, contrasteaz\u0103 neinspirat cu restul textului, autoarea prezent\u00e2ndu-ne, \u00eentr-un mod caragialesc, so\u021bia profesorului \u0219i c\u00e2teva episoade casnice. Probabil, Regina Maria a dorit s\u0103 justifice, astfel, \u00eentr-o oarecare m\u0103sur\u0103, pasiunea extraconjugal\u0103 a profesorului. Consider\u0103m invalid\u0103 aceast\u0103 eventual\u0103 justificare, deoarece so\u021bia, \u00een ciuda defectelor sale, este, totu\u0219i, o femeie bun\u0103 la suflet \u0219i iubitoare, nemerit\u00e2nd a fi desconsiderat\u0103 prin nedreapta compara\u021bie cu o rival\u0103 adolescent\u0103 favorizat\u0103, din punct de vedere fizic, de c\u0103tre Natur\u0103. Nici paginile \u00eenchinate prietenilor profesorului (un doctor \u0219i mama doctorului respectiv) nu sunt tocmai \u00een spiritul intrigii. Preferabil (\u0219i potrivit) ar fi fost ca personajul profesorului s\u0103 fie nec\u0103s\u0103torit \u0219i lipsit de prieteni \u2013 izolat, astfel, \u0219i el de restul societ\u0103\u021bii nu doar prin firea sa, ci \u0219i prin modul de via\u021b\u0103.<\/p>\n

Partea Doua<\/em> este substan\u021bial diferit\u0103, profesorul \u0219i anticarul neap\u0103r\u00e2nd deloc \u00een decor (dac\u0103 nu punem la socoteal\u0103 c\u00e2teva g\u00e2nduri \u0219i vorbe r\u0103zle\u021be ale personajului devenit acum principal): imagin\u00e2ndu-\u0219i c\u0103 masca iubit\u0103 red\u0103, prin excep\u021bie fa\u021b\u0103 de restul m\u0103\u0219tilor din dugheana cu vechituri, chipul unui b\u0103rbat viu (\u0219i instigat\u0103 de servitoarea slut\u0103 \u0219i m\u0103cinat\u0103 de invidie), adolescenta a fugit de acas\u0103 \u00een c\u0103utarea acestuia, spre a i se oferi. Ajuns\u0103 la Constantinopol, este nevoit\u0103 s\u0103 \u00ee\u0219i c\u00e2\u0219tige o existen\u021b\u0103 mizer\u0103, c\u00e2nt\u00e2nd \u0219i dans\u00e2nd (h\u0103r\u021buit\u0103 sexual, terorizat\u0103, epuizat\u0103, subnutrit\u0103 \u0219i bolnav\u0103) \u00eentr-o cosmopolit\u0103 spelunc\u0103. Singurii prieteni (\u0219i firavi protectori) ai tinerei sunt, de data aceasta, b\u0103tr\u00e2na gazd\u0103 turcoaic\u0103 \u0219i doi nomazi \u2013 \u201eun fel de profet[5]\u201d orb \u0219i un adolescent \u00eendr\u0103gostit, fire\u0219te, de frumoasa dansatoare (ulterior, \u0219i un onorabil impresar englez sau american, impresionat de vocea \u0219i de suferin\u021bele tinerei, va \u00eencerca, f\u0103r\u0103 succes, s\u0103 o ajute \u2013 a se vedea \u0219i [3]). \u00centr-o zi fatidic\u0103, nefericita fugar\u0103 recunoa\u0219te \u00een mul\u021bimea de mu\u0219terii ai r\u0103u-famatei taverne, aduna\u021bi s\u0103 o priveasc\u0103 \u0219i s\u0103 o asculte, chipul mult-c\u0103utat; \u00eens\u0103 o tragic\u0103 r\u0103sturnare de situa\u021bie (caracteristic\u0103 romantismului[6]) va dezv\u0103lui adev\u0103rata, sinistra leg\u0103tura dintre respectivul chip \u0219i masca mortuar\u0103 aflat\u0103 \u00een posesia idealistei, naivei \u00eendr\u0103gostite …<\/p>\n

\u00cen Epilog<\/em>, ve\u0219ti ajung, de la b\u0103tr\u00e2nul evreu (ajuns prea t\u00e2rziu la Constantinopol), \u00een Transilvania \u2013 sub forma unei scrisori \u00eenl\u0103crimate, a unui \u0219al (cadou f\u0103cut c\u00e2ndva elevei de c\u0103tre profesor) \u0219i a unei proaspete m\u0103\u0219ti mortuare …<\/p>\n

Dup\u0103 cum scriam \u0219i cu alte ocazii, editorul care va \u0219ti s\u0103 relanseze, \u00een mod adecvat (desf\u0103\u0219ur\u00e2nd \u0219i o campanie publicitar\u0103 pe m\u0103sur\u0103), beletristica extraordinarului (fantasticului, goticului) semnat\u0103 de c\u0103tre Regina Maria, va aduce un important serviciu nu doar cititorilor, nu doar propriei afaceri comerciale, ci \u0219i \u021b\u0103rii noastre \u0219i literaturii universale.<\/p>\n

 <\/p>\n

#Note<\/p>\n

[1] Un incontestabil filon gotic \u00eent\u00e2lnim \u0219i \u00een romantul (prefer\u0103m s\u0103 scriem \u201eromant\u201d \u0219i nu \u201eroman\u201d, din motive asupra c\u0103rora ne-am oprit cu alt\u0103 ocazie \u2013 a se vedea O. Cr\u00e2znic, Roman: considerente lingvistice<\/em>, \u00een EgoPHobia nr. 75\/202<\/em>3 https:\/\/egophobia.ro\/?p=14652<\/a>) Dor nestins<\/em> (1920; Why? A Story of Great Longing<\/em>, 1923), al c\u0103rui erou cade \u00een mrejele unei seduc\u0103toare \u0219i diabolice regine-vampir (av\u00e2nd ca model, foarte probabil, s\u00e2ngeroasa contes\u0103 B\u00e1thori Erzs\u00e9bet, 1560-1614).<\/p>\n

Merit\u0103 re\u021binut\u0103 de aici, a\u0219adar, \u0219i utilizarea vampirismului ca motiv literar (gotic prin excelen\u021b\u0103), anterior lui M. Eliade (Domni\u0219oara Christina<\/em>, 1936 \u2013 a se vedea \u0219i O. Cr\u00e2znic, Straniul caz al Doctorului Eliade \u0219i al Domni\u0219oarei Christina<\/em> https:\/\/egophobia.ro\/?p=13270<\/a>).<\/p>\n

Nu am scris, \u00eens\u0103, pe larg, despre Dor nestins<\/em> (\u00eenc\u0103), deoarece intriga \u0219i personajele acestuia se aseam\u0103n\u0103 (cam prea) mult cu intriga \u0219i personajele Vis\u0103torului viselor<\/em>, astfel \u00eenc\u00e2t am preferat s\u0103 ne oprim (deocamdat\u0103) asupra altor titluri din bibliografia Maiest\u0103\u021bii Sale.<\/p>\n

\n

[2] Cu toate c\u0103 respectiva oper\u0103 literar\u0103 nu apar\u021bine literaturii fantastice, am decis s\u0103 o prezent\u0103m \u00een cadrul Studiilor fantastice<\/em> \u2013 din motive, credem, lesne de \u00een\u021beles (fireasca apropiere gotic-fantastic, trimiterile inevitabile c\u0103tre crea\u021bii ori no\u021biuni teoretice apar\u021bin\u00e2nd literaturii fantastice etc.).<\/p>\n

\n

[3] O asem\u0103nare incontestabil\u0103 descoperim \u00eentre M\u0103\u0219ti <\/em>\u0219i … crea\u021biile animaliere ale lui J. London (cunoa\u0219tem, de altfel, admira\u021bia profund\u0103 manifestat\u0103 de Maiestatea Sa \u00een privin\u021ba aventurierului american, ale c\u0103rui opere literare, prin urmare, este probabil s\u0103 \u00eei fi fost familiare Reginei Rom\u00e2niei): Chemarea str\u0103bunilor<\/em> (The Call of the Wild<\/em>, 1903), Col\u021b Alb<\/em> (White Fang<\/em>, 1906) \u0219.a.<\/p>\n

Fire\u0219te, plasarea unei fiin\u021be umane (a unei tinere femei \u2013 a unei copile, practic) \u00een centrul intrigii \u00eei d\u0103 autoarei posibilitatea nu doar s\u0103 sporeasc\u0103 semnificativ tragismul pove\u0219tii, ci \u0219i s\u0103 \u00ee\u0219i atrag\u0103 cititori nenaturali\u0219ti (romantici, chiar roman\u021bio\u0219i).<\/p>\n

Dincolo de acest aspect, \u00eens\u0103, r\u0103m\u00e2ne impresia rescrierii crea\u021biilor jacklondoniene (\u00eentr-o form\u0103 menit\u0103 a intensifica mesajul umanist \u0219i, bine\u00een\u021beles, purt\u00e2nd amprenta stilului individual al Maiest\u0103\u021bii Sale), din urm\u0103toarele motive:<\/p>\n

\u2013 at\u00e2t c\u00e2inele \u201eBuck\u201d (Chemarea str\u0103bunilor<\/em>), c\u00e2t \u0219i adolescenta \u201eRahel\u201d (M\u0103\u0219ti<\/em>), se afl\u0103 ini\u021bial \u00een grija, dar \u0219i, oarecum, \u00een captivitatea unor persoane bune la suflet, nesim\u021bind, \u00eens\u0103, o iubire propriu-zis\u0103 fa\u021b\u0103 de gardienii respectivi \u0219i neregret\u00e2nd cu adev\u0103rat r\u0103pirea (\u201eBuck\u201d nu caut\u0103 \u00een nici un fel s\u0103 \u201ese \u00eentoarc\u0103 acas\u0103\u201d, ca faimoasa Lassie Come-Home<\/em> a lui E. Knight) ori fuga (c\u00e2nd \u201eRahelei\u201d i se ofer\u0103 posibilitatea \u00eencerc\u0103rii unei \u00eentoarceri acas\u0103, ea nu manifest\u0103 entuziasm \u2013 \u201eNu \u0219tiu ce s\u0103 fac … V\u0103d bine c\u0103 sunt cam ciudat\u0103.\u201d \u2013, p\u0103r\u00e2nd chiar a evita continuarea ori, ulterior, reluarea discu\u021biei \u00een privin\u021ba acestui subiect) de la ace\u0219tia;<\/p>\n

\u2013 at\u00e2t c\u00e2inii \u201eCol\u021b Alb\u201d \u0219i \u201eBuck\u201d, c\u00e2t \u0219i adolescenta \u201eRahel\u201d, ajung \u00een puterea unor brute lacome de c\u00e2\u0219tig \u0219i lipsite de scrupule;<\/p>\n

\u2013 \u201eCol\u021b Alb\u201d este b\u0103tut cu bestialitate \u0219i silit s\u0103 lupte pe via\u021b\u0103 \u0219i pe moarte cu al\u021bi c\u00e2ini pentru distrac\u021bia \u0219i c\u00e2\u0219tigul st\u0103p\u00e2nului, \u201eBuck\u201d este b\u0103tut cu bestialitate \u0219i silit s\u0103 trag\u0103 sania st\u0103p\u00e2nului p\u00e2n\u0103 la epuizare fatal\u0103, \u201eRahel\u201d este b\u0103tut\u0103 cu bestialitate \u0219i silit\u0103 s\u0103 danseze \u0219i s\u0103 c\u00e2nte pentru distrac\u021bia \u0219i c\u00e2\u0219tigul \u201est\u0103p\u00e2nului\u201d;<\/p>\n

\u2013 exist\u0103 asem\u0103n\u0103ri v\u0103dite at\u00e2t \u00eentre tiranii \u201eSmith Frumosul\u201d (Col\u021b Alb<\/em>) \u0219i \u201eScani\u201d (M\u0103\u0219ti<\/em>), c\u00e2t \u0219i \u00eentre salvatorii \u201eWeedon Scott\u201d (Col\u021b Alb<\/em>), \u201eJohn Thornton\u201d (Chemarea str\u0103bunilor<\/em>) \u0219i \u201eMorrison\u201d (M\u0103\u0219ti<\/em>), cu tragica deosebire c\u0103 acesta din urm\u0103 d\u0103 gre\u0219 \u00een misiunea sa;<\/p>\n

\u2013 respingerea (ini\u021bial\u0103) de c\u0103tre \u201eCol\u021b Alb\u201d a salvatorului \u201eWeedon Scott\u201d (prin contrast, \u201eBuck\u201d \u00eel accept\u0103 imediat pe \u201eJohn Thornton\u201d), rezultat direct al \u00eengrozitorului tratament suferit, se reflect\u0103 \u00een respingerea (definitiv\u0103, din nefericire) de c\u0103tre \u201eRahel\u201d a salvatorului \u201eMorrison\u201d;<\/p>\n

\u2013 \u00een sf\u00e2r\u0219it, \u201eCol\u021b Alb\u201d este pe jum\u0103tate lup, \u201eBuck\u201d simte, permanent, \u201echemarea s\u0103lb\u0103ticiei\u201d, iar \u201eRahel\u201d (sim\u021bind, de altfel, \u0219i ea, o chemare irezistibil\u0103 \u0219i, putem spune, atavic\u0103) este, deseori, comparat\u0103, de c\u0103tre autoare, cu o \u201es\u0103lb\u0103t\u0103ciune\u201d, tiranul \u201eScani\u201d numind-o, f\u0103r\u0103 menajamente, chiar \u201ec\u00e2ine\u201d.<\/p>\n

\u00cencheiem aceste considerente de literatur\u0103 comparat\u0103 semnal\u00e2nd (f\u0103r\u0103 a sim\u021bi nevoia s\u0103 intr\u0103m \u00een am\u0103nunte) \u0219i asem\u0103n\u0103rile existente \u00eentre \u201eRahel\u201d \u0219i \u201eGurista\u201d din Misterele Parisului<\/em> (Les Myst\u00e8res de Pari<\/em>s; E. Sue, 1842-1843).<\/p>\n

\n

[4] Dup\u0103 cum am ar\u0103tat cu alt\u0103 ocazie (a se vedea O. Cr\u00e2znic, Fantasticul delimitat<\/em> https:\/\/egophobia.ro\/?p=11067<\/a>), specia literar\u0103 gotic\u0103 este o specie literar\u0103 parcelar\u0103.<\/p>\n

Nu vom insista, aici \u0219i acum, asupra caracteristicilor acesteia; consider\u0103m, totu\u0219i, util a men\u021biona faptul c\u0103, din acest punct de vedere, goticul poate s\u0103 fie fantastic, pseudofantastic sau afantastic (specia literar\u0103 ramific\u00e2ndu-se, astfel, \u00een trei subspecii literare).<\/p>\n

Goticul afantastic, de asemenea, se subramific\u0103 (\u0219i subsubramific\u0103 …) \u00een func\u021bie de suprapunerea cu alte specii (ori subspecii) literare \u2013 put\u00e2nd fi, a\u0219adar, amoros (roman\u021bios sau senzual), criminalistic (judiciar, detectivistic sau interlop) etc.<\/p>\n

\n

[5] \u201eProfe\u021biile\u201d personajului nu au nimic fantastic, fiind simple vorbe \u00een\u021belepte.<\/p>\n

\n

[6] Autoarea utilizeaz\u0103 motive literare precum: geam\u0103nul malefic (totodat\u0103 narator \u0219i protagonist \u00eentr-un episod ale c\u0103rui intrig\u0103 \u0219i nara\u021biune amintesc de William Wilson<\/em> \u2013 E.A. Poe, 1839), lan\u021bul coinciden\u021belor \u0219i coinciden\u021ba fatal\u0103 etc.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Studii fantastice) de Oliviu Cr\u00e2znic \u201eLumea e un loc cumplit, \u0219i singur Dumnezeu are mil\u0103.\u201d \u00a0Despre Regina MARIA a Rom\u00e2niei am scris recent, prezent\u00e2nd Vis\u0103torul viselor (https:\/\/egophobia.ro\/?p=14624) \u0219i, respectiv, Ce-a v\u0103zut Vasile soldatul. Poveste din timpul R\u0103zboiului (https:\/\/egophobia.ro\/?p=14632). Am semnalat, astfel, necesitatea reevalu\u0103rii \u0219i revalorific\u0103rii literaturii fantastice create de Maiestatea Sa \u0219i etichetate, \u00een mod […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,1653,892],"tags":[1113,1654,636,1628,1194],"class_list":["post-14851","post","type-post","status-publish","format-standard","hentry","category-critica","category-egophobia-77","category-ghidul-cititorului-de-fantastic","tag-critica","tag-egophobia-77","tag-oliviu-craznic","tag-regina-maria","tag-studii-fantastice"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-3Rx","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14851"}],"version-history":[{"count":1,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14851\/revisions"}],"predecessor-version":[{"id":14852,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/14851\/revisions\/14852"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14851"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14851"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}