{"id":5063,"date":"2010-06-15T22:17:16","date_gmt":"2010-06-15T20:17:16","guid":{"rendered":"http:\/\/egophobia.ro\/?p=5063"},"modified":"2010-07-03T15:45:18","modified_gmt":"2010-07-03T13:45:18","slug":"%e2%80%9eatac-de-panica%e2%80%9d-sau-a-la-recherche-de-la-femme-perdue-in-fono-grafii-my-dying-bride","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=5063","title":{"rendered":"\u201eAtac de panic\u0103\u201d sau \u00e0 la recherche de la femme perdue \u00een fono-grafii My Dying Bride"},"content":{"rendered":"

[Gelu Vla\u015fin – Atac de panic\u0103<\/i>,
\nEditura Noesis, Bucure\u015fti, 2000, Editura Muzeul Literaturii Rom\u00e2ne, Bucure\u015fti, 2002]<\/strong><\/p>\n

de Ormeny Francisc Norbert<\/p>\n

\nLocuim o realitate ciudat\u0103, mai bine zis ciudat de exasperant\u0103 \u00een care \u201enimic nu se sf\u00e2r\u015fe\u015fte \u015fi nimic nu \u00eencepe.\u201d O lume de o circularitate exasperant\u0103 prin care timpul trece ca un marfar<\/em> surd, greoi \u015fi ursuz pe linia vie\u0163ii<\/em> spre un nic\u0103ieri irecuperabil \u00een reprezent\u0103ri. Timpul aduc\u00e2ndu-\u0163i moarte \u015fi oboaseala \u00een oase e \u201etrenul cotropindu-\u0163i arterele prin care au \u00eenceput s\u0103 curg\u0103 vagoanele cu\u015fet\u0103.\u201d Asemeni ro\u0163ilor acestuia, \u201ecutremurele nu mai contenesc cu huruitul lor asurzitor.\u201d Oamenii locuiesc ni\u015fte spa\u0163ii intermediare interminabile, reci intersti\u0163ii asemeni spa\u0163iilor albe dintre cuvinte (\u00eentre cuvinte\u00a0 ca \u00eentre ziduri \u201enimeni nu mai trece dincolo de cuvinte\u201d) ori t\u0103cerilor surde dintre notele muzicale (note muzicale \u00een\u0163elese ca o \u201egalaxie de silabe unde verbul t\u0103u \u015fi-a f\u0103cut o clon\u0103\u201d) \u2013 mai clar spus, cu verbul inautentificat, tr\u0103iesc \u00een a\u015fteptare p\u00e2n\u0103 c\u00e2nd \u201eli se rotunjesc genunchii de la at\u00e2ta a\u015fteptare\u201d, \u00een suspans, \u00een catalepsie.<\/p>\n

\n\u00cen co\u015fmarul perpetuu numit timp (de fapt o mare metafor\u0103 pentru \u00centunericul – \u00eentunericul care ne \u00eempresoar\u0103 de peste tot planeta (Marele Spa\u0163iu [Intermediar]) \u015fi care, inevitabil ne va \u00eenghi\u0163i), omul se uit\u0103 pe sine ca centru de greutate psihic\u0103:<\/p>\n

\u201eLeaves they fall in time
\nDrifting down in time
\nDarkness comes, right on time\u201d (To Remain Tombless<\/em>)[n.r.<\/em><\/strong> ambele sensuri valabile: 1.\u201eexact la timp\u201d dar \u015fi- de fapt mai ales- 2.\u201dsubstituindu-se perfect timpului\u201d c\u00e2nd o fa\u0163\u0103 a lui Ianus se \u00eentoarce \u015fi-i z\u00e2mbe\u015fte celeilalte]<\/p>\n


[Gelu Vla\u015fin & Fernando Savater]<\/p>\n

\nPoetul \u00eencearc\u0103 s\u0103 sub\u00eentind\u0103 acest univers absurd al intervalelor (alei oarbe \u00eentr-un labirint ale c\u0103rui ziduri sunt prea alunecoase pentru a ne putea urca pe ele \u015fi ob\u0163ine o vedere panoramic\u0103 \u015fi a \u00een\u0163elege \u00een timp real dinamica \u015fi ritmicit\u0103\u0163ile mi\u015fc\u0103rilor Elementalului care-\u0163i reguleaz\u0103 via\u0163a \u2013 sau, at\u00e2t de poetic spus de Vla\u015fin \u2013 \u201es\u0103 \u015ftii cum (\u015fi pe unde) alearg\u0103 noaptea s\u0103(-\u0163i) lumineze chipul de stea c\u0103z\u0103toare \u201d) \u015fi s\u0103\u00a0 \u201epotriveasc\u0103 spa\u0163iile albe dintre vise\u201d, s\u0103 articuleze nimicul cu el \u00eensu\u015fi \u015fi s\u0103-l acorde pe o freven\u0163\u0103 recuperatorie, suficient de magnetizat\u0103 pentru a atrage \u00eenapoi la ea toate fragmentele Sinelui descuamate risipite \u00een spa\u0163iu, de-a lungul timpului. Poetul \u00eencerac\u0103 sa \u00eenc\u0103lzeasc\u0103 timpul, un timp ce (ca s\u0103 continu\u0103m metafora de mai sus) \u00eemprumut\u0103 r\u0103ceala spa\u0163iului cosmic. \u015ei o face proiect\u00e2nd asupra lui (arunc\u00e2nd peste el)\u00a0 pielea iubitei moale \u015fi parfumat\u0103 ca o piersic\u0103…\u015fi c\u0103ptu\u015find cu aceast\u0103 piele, a\u015fa cum am mai spus, recile \u015fi interminabilele\u00a0 spa\u0163ii intermediare:<\/p>\n

\u201eLick the eyes
\nTo make them shine
\nPeel the peach
\nCold with time\u201d (De Sade Soliloquay<\/em>)<\/p>\n

\nStagnarea, paralizia, zilnica indecizie urban\u0103 (\u201estai \u00eenfipt \u00een semaforul verde cu un ochi lipit de trotuare\u201d) \u2013 sunt exprimate de Gelu Vla\u015fin \u00een imaginea omului de zapad\u0103 – greoi, incapabil s\u0103 se mi\u015fte \u015fi topindu-se neputincios sub propria-i greutate: \u201ec\u00e2nd omul de zapad\u0103 cer\u015fe\u015fete\u201d sub un timp care nu mai e al lui \u015fi \u00een care salvarea \u015fi fericirea cad peste el \u201eca o ninsoare t\u00e2rzie\u201d care nu-i mai poate re\u00eentregi formele sau opri scurgerea \u00eenapoi \u00een p\u0103m\u00e2nt.<\/p>\n

\n\u00cen muzica My Dying Bride, o excelent\u0103 paralel\u0103 pentru topirea omului de z\u0103pad\u0103 \u00een moarte o g\u0103sim pe piesa\u00a0 The Wreckage of My Flesh, pe care pare a se vorbi chiar din perspectiva acestui om de z\u0103pad\u0103:<\/p>\n

\u201eRaise the poor outcast I have become.
\nI am undone.
\nCalm is the air. Still is the sea.
\nThe valley of death keeps calling me.\u201d (The Wreckage of My Flesh)<\/p>\n

Imaginea se deschide dinspre microcosmos \u00eenspre macrocosmos, balta \u00een care se tope\u015fte omul de zapad\u0103 fiind o metonimie a m\u0103rii \u2013 leag\u0103n prim al vie\u0163ii \u015fi principiu ultim de al Noe \u00eencoace al sf\u00e2r\u015fitului \u015fi a revenirii multiplilor la Unul aneantizant.<\/p>\n

\n\u00cen muzica My Dying Bride tranzi\u0163ia m\u0103rii \u015fi a tuturor b\u0103l\u0163ilor de la leag\u0103n al vie\u0163ii la creuzet atot-absorband \u015fi atot-dizolvant e vizibil\u0103 pe linia ce une\u015fte piesa\u00a0 I Cannot Be Loved cu\u00a0 Santuario di Sangue (apa ca sanctuar absolut al s\u00e2ngelui, origine prim\u0103 \u015fi chemare ultim\u0103 spre subterane \u015fi pe acolo tot \u00eenainte, tot mai jos p\u00e2n\u0103 \u00eenapoi la nivelul zero):<\/p>\n\n\n\n
I paw at you golden flesh
\nGolden breast
\nI sail on your, on your sea
\nOf ecstasy. (I Cannot Be Loved<\/em>)<\/td>\n		\n——————><\/strong><\/td>\nBeneath the shiver of your sea
\nand the gold that you bleed
\nOn the wings of your charm
\nA promise of great harm (Santuario di Sangue<\/em>)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nCircuitul apei \u00een natur\u0103 (ca s\u0103 vulgariz\u0103m pu\u0163in cu cinism) e, dup\u0103 cum se poate vedea, circuitul s\u00e2ngelui \u00een natur\u0103, pentru c\u0103 numai organicul se tope\u015fte \u00een p\u0103m\u00e2nt pentru a ajunge \u00eenapoi \u00een mare. Marea gesteaz\u0103 permanent via\u0163\u0103 \u015fi \u00eenghite tot permanent via\u0163\u0103, hulpav\u0103 ca o caracati\u0163\u0103 fabuloas\u0103; nimic nu moare pentru a r\u0103m\u00e2ne mort, nimic nu se na\u015fte pentru a r\u0103m\u00e2ne viu…nimic nu \u00eencepe, nimic nu se termin\u0103.Gelu Vla\u015fin exprim\u0103 exact acesat\u0103 idee \u00een versuri simple \u015fi foarte elegante: \u201e indecis\/se macin\u0103\/ ziua \u015fi\/noaptea\/cu arom\u0103\/de mare\u201d, \u00eencerc\u00e2nd \u00een acela\u015fi timp, \u00eentr-un stil ludic \u015fi \u015farmant \u00a0\u00e0 la Top\u00e2rceanu s\u0103 schi\u0163eze un simpatic profil al condi\u0163iei umane \u00eenp\u0103cate cu sine (\u015fi cu acest principiu infernal al vie\u0163ii \u015fi al gesta\u0163iei care m\u0103n\u00e2nc\u0103 via\u0163\u0103 pentru a face via\u0163\u0103) \u015fi oarecum (modest) fericit\u0103:<\/p>\n

\u201esunt cumplit de
\nhoinar si
\nm\u0103 bucur
\nstingher
\nde
\nobscurul
\nsuprem\u201d<\/p>\n

\n\u00cen virtutea chiar a acestui fapt (oarecum paradoxal \u2013 al unei lumi care nu \u00eencepe \u015fi nu se termin\u0103…sau, poate, nu \u00eencepe tocmai pentru a nu se termina \u015fi prefer\u0103 astfel suspansul \u015fi paralizia), \u00eencerc\u0103m, de multe ori instinctual \u015fi incon\u015ftient s\u0103 fim ecoul ei perfect –\u00a0 \u015fi de acea ne c\u0103ut\u0103m fericirea \u00een ceea ce posed\u0103 f\u0103r\u0103 a lua (\u00een posesie); \u00een ceea ce nu e doar dat ci\u00a0 se \u015fi d\u0103; \u00een ceea ce ne vrea binele ( adic\u0103 vrea s\u0103 ni-l aduc\u0103 f\u0103c\u00e2ndu-\u015fi cas\u0103 definitiv\u0103 \u00een vidul dintre intersti\u0163iile reci ale fiin\u0163ei noastre pe care a venit s\u0103-l umple cu pielea ei \u2013 cel mai mare \u015fi mai protectiv organ al fiin\u0163elor vii;\u00a0 \u015fi nu ni-l vrea \u00een sensul pe care societatea de azi la clasicizat: \u201e\u00ee\u015fi vreau binele \u2013 adic\u0103 vreau s\u0103 \u0163i-l iau\u201d).<\/p>\n


[Gelu Vla\u015fin, Marius Ianu\u015f & Nicolae Tzone]<\/p>\n

\nOdat\u0103 ajun\u015fi \u00een acest punct ne punem \u00eentrebare cum putem p\u0103\u015fi \u00een afara acestui blestemat cerc vicios, cum putem sc\u0103pa de \u00eenr\u0103d\u0103cinare care ne trage, asemeni omului de z\u0103pad\u0103, \u00eencet, \u00eenapoi \u00een p\u0103m\u00e2nt? R\u0103spunsul conjugat My Dying Bride + GeluVla\u015fin e: muzica. Muzica, \u00een\u0163eleas\u0103 ca mediu absolut de crea\u0163ie \u015fi izb\u0103vire, muzica \u00een\u0163eleas\u0103 \u00een sens nitzschean ca Gesamtkunstwerk (oper\u0103 de art\u0103 total\u0103<\/em>) \u015fi care implic\u0103 o transgresare a limitelor pe care Lessing le trasase \u00eentre pictur\u0103 \u015fi poezie.<\/p>\n

\nMuzica, \u00een\u0163eleas\u0103 de Nietzsche drept singura art\u0103 dionisiac\u0103 autentic\u0103, se deosebe\u0219te de toate celelalte arte prin faptul c\u0103 nu este o reproducere a fenomenului sau, mai exact, a obiectit\u0103\u0163ii adecvate a voin\u0163ei, ci, \u00een mod nemijlocit, e reproducere a voin\u0163ei \u00eense\u015fi. Fiind \u00eenainte de toate\u00a0 un limbaj semnificant, muzica de\u0163ine un sens extra-muzical. Muzicianul nu se mul\u0163ume\u0219te doar s\u0103 m\u00e2nuiasc\u0103 \u00een\u0103l\u0163imi \u015fi durate, ci el exprim\u0103, prin intermediul sunetelor, idei extra-muzicale. Muzica nu este voin\u0163\u0103, dar ea se manifest\u0103 ca voin\u0163\u0103. \u201cSimbolica universal\u0103 a muzicii nu poate fi sub nici o form\u0103 pe deplin egalat\u0103 de limbaj, fiindc\u0103 ea se refer\u0103 simbolic la contradic\u0163ia \u015fi durerea primordial\u0103 din inima henului primordial[1]<\/a>\u201d.(loc unde, corelat\u0103 \u015fi cu discursul de mai sus, metafora \u201eo mare de sunete\u201d \u00eencepe s\u0103 capete sens)<\/p>\n

\nMuzica \u201csimbolizeaz\u0103\u201d, ea este o \u201creiterare\u201d a lumii. Muzica exprim\u0103 \u00een mod simbolic esen\u0163a naturii. Astfel, sunetul, spre deosebire de discursul conceptual, nu este supus legilor logicii (principiul identit\u0103\u0163ii, al non-contradic\u0163iei). El poate simboliza ceea ce este dincolo de logic\u0103, \u015fi anume, ceea ce Nietzsche nume\u015fte: voin\u0163\u0103, voin\u0163\u0103 originar\u0103, durere primordial\u0103 sau contradic\u0163ie (principii ale gesta\u0163iei infernale a vie\u0163ii \u00een mare). El poate exprima ceea ce este dincolo de orice determinare \u015fi identitate (marea \u00eens\u0103\u015fi). Dionisiacul corespunde, a\u015fadar, disolu\u0163iei individualit\u0103\u0163ii \u015fi instaur\u0103rii excesului (altfel spus invaziei m\u0103rii care \u00eenghite tot \u015fi toate, furtunii turbate \u015fi apocaliptice).<\/p>\n

\nExist\u0103 \u00eens\u0103 un instrument aparte care face muzica s\u0103 sune mai dulce, moale \u015fi l\u0103ptoas\u0103 ca coapsele iubitei…languraose \u015fi totu\u015fi ferm incitante. La Gelu Vla\u015fin, acest principiu operativ al plin\u0103t\u0103\u0163ii suave, moi \u015fi dulce e pianul.<\/p>\n

\nMelodicit\u0103\u0163ile calde ale pianului fac s\u0103 r\u0103sune consisten\u0163a tainic\u0103 a fiin\u0163ei, iar silen\u0163ioasele trasee ale degetelor de la st\u00e2nga la dreapta \u015fi invers pe supra-fe\u0163ele clapelor las\u0103 urme ad\u00e2nci \u00een monolitul fiin\u0163ei deschiz\u00e2nd dimensiuni ale interiorit\u0103\u0163ii \u2013 de fapt delicios de ad\u00e2nci deficien\u0163e \u00een fiin\u0163\u0103…. Femeia vine s\u0103 locuias\u0103 aceste spa\u0163ii (urme ad\u00e2ncite \u00een fisuri \u015fi apoi \u00een abisuri) \u2013 aceste viduri reci din intersti\u0163iile fiin\u0163ei \u015fi s\u0103 le transforme din simple separ\u0103ri \u00een articula\u0163ii coerente ale fiin\u0163ei…moment \u00een care\u00a0 muzica pianului devine ultimul stadiu al delirului \u2013 ra\u0163iunea \u00eenal\u0163\u00e2ndu-se spre idei. Aici e locul unde extazul, acum lini\u015ftit, se prelunge\u015fte \u00een respira\u0163ia calm\u0103 a nop\u0163ii, pielea se muleaz\u0103 perfect pe carne iar inspira\u0163ia apare sub forma \u201einstinctul memor\u00e2nd s\u0103ruturi care n-au existat\u201d…s\u0103ruturi recuperate din chiar acele intersti\u0163ii reci ale fiin\u0163ei \u2013 \u00een pauzele dintre note. Pauza dintre note e recunoscut\u0103 ca fiind chiar \u201eumbra (iubitei) fr\u00e2nta-n\/ decorul\/ unei amintiri\/ (de ieri sau alaltaieri); iar \u00een maginile aspre \u015fi t\u0103ioase ale clapelor ridicate se simt \u201ebuzele uscate (ale iubitei) \/printre care se ascund\/ nop\u0163ile plimbate\/ pe c\u0103r\u0103rile\u201dcelor c\u00e2teva stele mari, ce clipeau aprig, lupt\u00e2nd cu \u00eentunericul care n\u0103v\u0103lea s\u0103 le sting\u0103…\u00eentru slava unui \u00eentueric \u201eca o mare f\u0103r\u0103 o raz\u0103\u201d.<\/p>\n

\nPianul face posibil\u0103 o alchimie bombastic\u0103, spectaculoas\u0103: atunci c\u00e2nd, \u00een absen\u0163a epidermei iubitei care s\u0103 umple moale \u015fi pl\u0103cut intersti\u0163iile reci ale fiin\u0163ei, am avut o \u201emuzic\u0103 peste\/care s-au\/a\u015fternut versurile\/ca ni\u015fte\/s\u0103ge\u0163i cu v\u00e2rful\/otr\u0103vit<\/strong>“…c\u00e2nd epiderma \u00eens\u0103\u015fi a fost una cadaveric\u0103, grea \u015fi flasc\u0103 (\u201ete-ai a\u015fternut ca o\/plapum\u0103 rece peste\/clapele pianului\u201d) atr\u0103g\u00e2nd, \u00een consecin\u0163\u0103, sanitarii (\u201edoi\/vulturi se plimb\u0103\/pe clape\/adulmec\u00e2ndu-si prada\u201d) \u2013 ei bine, atunci s-a ap\u0103sat o clap\u0103 din gre\u015feal\u0103, s-a auzit un sunet cald, nemai\u00eent\u00e2lnit, cerul \u00eenstelat \u015fi rece a cobor\u00e2t \u00een cerul gurii care, cald \u015fi primitor,\u00a0 a supt sf\u00e2rcul de cadavru<\/em> (\u201egura umpluta cu sf\u00e2rcuri tari<\/em>\u201d) \u015fi, prin s\u00e2n \u00een tot corpul, a re\u00eenc\u0103lzit, \u00eentr-un s\u0103rut divin cum altul nu a mai fost, carnea moale \u015fi pl\u0103cut\u0103 a fetei \u2013 aprinz\u00e2nd un nou soare, de data aceasta intern (intim, personal \u015fi foarte pl\u0103cut):<\/p>\n

\u201eDivine like no other.
\nKiss the poison<\/strong> breast.
\nFlamed like the sun.\u201d (The Prize of Beauty<\/em>)<\/p>\n

\n\u00cen fa\u0163a acestui nou soare, marea s-a retras (idee surprins\u0103 \u00een senza\u0163ionala metafor\u0103 a lui Aaron \u2013 \u201eThe uterine murderess dies herself.\u201d – The Songless Bird<\/em>) iar pas\u0103rea se \u00eentrupeaz\u0103 \u00een fine, \u00eentr-o femeie gra\u0163ioas\u0103, decupat\u0103 parc\u0103 direct din epifania joycean\u0103. Pianul este cel care a eliberat aceast\u0103 pas\u0103re \u00eentru fiin\u0163are; care i-a deschis colivia (\u201evaliza\u201d \u2013 c\u0103l\u0103toare \u015fi ea dar etern \u00eenchis\u0103, etern secret\u0103 din punct de vedere al con\u0163inutului) ca pe o binecuv\u00e2ntat\u0103 cutie a pandorei:<\/p>\n\n\n\n
\u201evreau s\u0103-\u0163i
\nspun
\nmulte lucruri
\nuitate-n
\nvaliza
\ncu p\u0103s\u0103ri
\nc\u0103l\u0103toare\u201d
\n(Gelu Vla\u015fin<\/em>)<\/td>\n		\u201eHeaven pours from
\nher throat, as she sings and as she\u00a0\u00a0 dances.
\n[…] My mouth eager
\nand wishing. But I return to this
\nnightingale. Her hair all fiery red. Deep it is
\nand wild. My weakness will be fed.\u201d
\n(Turn Loose the Swans<\/em>)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nParalelismul femeie-pas\u0103re, modulat epifanic a fost consacrat \u00een literatur\u0103, dup\u0103 cum spunea de James Joyce. Interesant est\u0103 c\u0103 scriitorul plaseaz\u0103 acesat\u0103 apari\u0163ie cumva \u00eentr-un prim stadiu al gesta\u0163iei (fata pare a ap\u0103rea de-a dreptul din mare) \u015fi o face astfel purt\u0103toare a \u00eentregii \u00eenc\u0103rc\u0103turi infernale frumuse\u0163ii s\u0103lbatice \u00een puritatea sa:<\/p>\n

\n\u201eEra singur. Era uitat de to\u0163i, fericit \u015fi aproape de inima vijelioas\u0103 a lumii. Era singur \u015fi t\u00e2n\u0103r \u015fi hot\u0103r\u00e2t \u015fi cu inima vijelioas\u0103, singur \u00een mijlocul unui de\u015fert de aer liber \u015fi ape s\u0103rate \u015fi printre roadele m\u0103rii de scoici \u015fi b\u0103l\u0103rii \u015fi-n lumina cenu\u015fie, \u00eenv\u0103luit\u0103, a soarelui […] Avea \u00een fa\u0163\u0103-i o fat\u0103, ce sta \u00een mijlocul \u015fuvoiului singur\u0103, nemi\u015fcat\u0103, privind departe, spre mare. Ca o f\u0103ptur\u0103 atins\u0103 de-o vraj\u0103 ce-ar fi f\u0103cut-o s\u0103 semene cu o stranie \u015fi frumoas\u0103 pas\u0103re de mare. Picioarele ei lungi, goale \u015fi zvelte, erau fragile ca ale unui cocor \u015fi curate, \u00een afar\u0103 de locul unde d\u00e2ra de smarald a unei alge tr\u0103sese un semn pe carnea ei. Coapsele, mai pline \u015fi de nuan\u0163a dulce a ivoriului, erau dezvelite aproape p\u00e2n\u0103 la \u015fold, unde franjurile albe ale pantalona\u015filor aminteau un penaj de fulgi moi \u015fi albi. Poalele fustelor de albastrul ardeziei, sumese \u00eendr\u0103zne\u0163 \u00een jurul taliei, \u00eei alc\u0103tuiau la spate o coad\u0103 \u00eenvoalat\u0103 de hulub. S\u00e2nul st\u00e2ng era al unei p\u0103s\u0103ri, catifelat \u015fi ginga\u015f, ginga\u015f, \u015fi catifelat ca gu\u015fa unui hulub cu penaj \u00eentunecat. Dar p\u0103rul lung, b\u0103lai, era al unei copile; \u015fi tot al unei copile, atins de miracolul frumuse\u0163ii pieritoare a oamenilor, \u00eei era chipul. Sta singur\u0103, nemi\u015fcat\u0103, privind departe spre mare; \u015fi c\u00e2nd \u00eei sim\u0163i prezen\u0163a \u015fi adora\u0163ia din ochi, ochii ei se \u00eendreptar\u0103 spre ai lui, r\u0103bd\u00e2ndu-le lini\u015ftit privirea, f\u0103r\u0103 sfial\u0103 \u015fi f\u0103r\u0103 povocare. Lung, \u00eendelung, \u00eei r\u0103bd\u0103 privirea, apoi \u00ee\u015fi \u00eentoarse calm\u0103 ochii dintr-ai lui \u015fi-i \u00eendrept\u0103 c\u0103tre \u015fuvoi, tulbur\u00e2nd u\u015furel apa cu piciorul […]\u2013Doamne! Strig\u0103 sufletul lui Stephen \u00eentr-o izbucnire de bucurie profan\u0103. Se desprinse brusc \u015fi porni de-a curmezi\u015ful \u0163\u0103rmului. \u00cei ardeau obrajii, \u00eei dogorea tot trupul, \u00eei tremurau m\u0103dularele. \u00cenainte \u015fi tot \u00eenainte, \u00eenainte \u015fi tot \u00eenainte mergea cu pa\u015fi mari, departe peste nisipuri, av\u00e2nt\u00e2ndu-\u015fi c\u0103tre mare c\u00e2ntecul p\u0103tima\u015f, chiuind s\u0103 \u00eent\u00e2mpine solia de via\u0163\u0103 ce strigase spre d\u00e2nsul. Imaginea ei \u00eei trecuse \u00een suflet pe veci \u2013 \u015fi nici un cuv\u00e2nt nu rupsese t\u0103cerea sf\u00e2nt\u0103 a extazului s\u0103u. Ochii ei \u00eel chemaser\u0103 \u015fi sufletul lui se av\u00e2ntase c\u0103tre chemare. S\u0103 tr\u0103ie\u015fti, s\u0103 gre\u015fe\u015fti, s\u0103 cazi, s\u0103 izb\u00e2nde\u015fti, s\u0103 creezi iar via\u0163\u0103 din via\u0163\u0103! Un \u00eenger s\u0103lbatic \u00eei ap\u0103ruse, \u00eengerul tinere\u0163ii \u015fi frumuse\u0163ii muritoare, sol din bogatele incinte ale vie\u0163ii, furtunos s\u0103-i deschid\u0103 \u00eentr-o clip\u0103 de extaz por\u0163i c\u0103tre c\u0103ile toate de-a gre\u015fi \u015fi-a se \u00een\u0103l\u0163a.[2]<\/a>\u201d<\/p>\n


[Gelu Vla\u015fin & Grigore Le\u015fe]<\/p>\n

\nPianul este capabil, prin armoniile sale melodioase s\u0103 calmeze marea \u015fi s-o fac\u0103 s\u0103 nasc\u0103 un feminin\u00a0 absolut nou: o epiderm\u0103 cu moliciuni absolute de molusc\u0103, ca catifel\u0103ri diafane luate direct din penajul p\u0103s\u0103rilor marine, cu arome subtile de fructe de mare. Pianule un \u201eaparatele de fotografiat iluzii\u201d. Fesele reci \u015fi revigorante ale acestei apari\u0163ii sunt, de fapt, dou\u0103 din clapele sale principale: una clitorisul, alta punctul G al claviaturii. Iar atunci c\u00e2nd degetele \u201es\u0103rut\u0103 (aceste) fesele reci\u201d, sunetul cap\u0103t\u0103 o consisten\u0163\u0103 solar\u0103 \u00een sufletul uimit al amatorului.<\/p>\n

\nNu e at\u00e2t c\u0103 la \u00eenceput ar fi fost foamea sau c\u0103 la \u00eenceput a fost hrana \u015fi apoi a ap\u0103rut \u015fi foamea ca s\u0103 dea totu\u015fi un sens prezen\u0163ei surde, placide de p\u00e2n\u0103 atunci a hranei \u2013 o hran\u0103 absurd\u0103, bolov\u0103noas\u0103 \u015fi f\u0103r\u0103 sens, \u00een afara oric\u0103rei comunic\u0103ri \u015fi al oric\u0103rui refuz de a comunica, o hran\u0103 f\u0103r\u0103 urechi precum un p\u00e2ntece fl\u0103m\u00e2nd. Miza acestui joc nu e recuperarea (absurd\u0103 \u00een definitiv) o originalit\u0103\u0163ii\/primordialit\u0103\u0163ii unuia dintre aceste dou\u0103 elemente(principii) ci ajungerea la simultaneitatea hranei \u015fi a foamei \u2013 care simultaneitate ea \u015fi nuai ea mai poate fi condi\u0163ia paradisiac\u0103 ini\u0163ial\u0103 a pl\u0103cerii \u015fi mai departe, prin introiec\u0163ii, a dorin\u0163ei. \u015ei abia \u00een dorin\u0163\u0103 (pe care Schoppenhauer o nume\u015fte pe drept cuv\u00e2nt voin\u0163\u0103), densitatea, combustia interioar\u0103 a lui acela\u015fi care vrea s\u0103 scape de aceei\u015fitatea<\/em> lui devine at\u00e2t de mare, at\u00e2t de insuportabil\u0103, \u00eenc\u00e2t acesta decide\u00a0 s\u0103 plonjeze \u00een altul…s\u0103 naufragieze \u00een altul dec\u00e2t s\u0103 se \u00eenece \u00een sine, pentru ca mai apoi, cu ajutorul acestui altul s\u0103 surmonteze \u00eens\u0103\u015fi precaritatea acestei eliber\u0103ri.<\/p>\n

\nMuzica My Dying Bride surprinde aceast\u0103 dimensiune imperial\u0103<\/em><\/strong> a dorin\u0163ei care func\u0163ioneaz\u0103 \u00een ambele sensuri, ca un vector permanent dedublat. Mai mult chiar, \u00een reciprocitatea \u015fi simultaneitatea acestei dedubl\u0103ri se g\u0103se\u015fte esen\u0163a salv\u0103rii de sine prin cel\u0103lalt: sinele se recupereaz\u0103 din cel\u0103lat, din dragostea pe care cel\u0103lalt o are pentru acest sine – pe care acest sine i-o surprinde \u00een ochi (\u00een chiar ochii \u00een care\/prin care\u00a0 anterior \u015fi-a \u201e\u00eennecat corabiile\u201d aflate \u00een c\u0103utare de necunoscut \u015fi de aventur\u0103) \u015fi, lu\u00e2ndu-\u015fi-o de acolo \u00eenapoi, se re\u00eentrege\u015fte:<\/p>\n\n\n\n
“The empire<\/em><\/strong> of my desire
\nGathers you into my fire
\nI hope you fall. Hope you call,
\nMy filthy name. It makes you crawl
\non your knees, with all your pleas”
\n(The Scarlet Garden<\/em>)<\/td>\n		The crisis of my empire<\/em><\/strong>
\nThe volume of your desire
\n(Santuario di Sangue<\/em>)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Dincolo de epifanie\u2026.<\/p>\n

\nPartenerul de via\u0163\u0103 \u00een cadrul unui cuplu stabil este o figur\u0103 eterogen\u0103 \u015fi contingent-superficial\u0103, numai bun\u0103 pentru o sociologie sau o antropologie \u00een criz\u0103 de subiecte majore, comod\u0103 \u00een explor\u0103rile sale, dar serios preocupat\u0103 de micrologiile vie\u0163ii cotidiene \u015fi de patologiile sale efemere.<\/p>\n

\nPoezia lui Gelu Vla\u015fin \u00eencearc\u0103 s\u0103 exploreze altfel acest teritoriu at\u00e2t de familiar \u015fi totu\u015fi at\u00e2t de periculos \u00een\u00a0 tectonica primordial\u0103, foarte lent\u0103 dar sinistru de imprevizibil\u0103 din care vine \u015fi pe care st\u0103 (tectonic\u0103 ce d\u0103 adesea o impresie fals\u0103 \u015fi c\u00e2teodat\u0103 fatal\u0103 de \u201emonstru adormit\u201d)<\/p>\n

\nDespre ce este vorba: iubita (cu rotunjimile ei apetisante) se disperseaz\u0103 peste lucruri, le neteze\u015fte rugozit\u0103\u0163ile ca o plapum\u0103 de familiaritate \u015fi intimitate – iar acum, \u00een stil proustian, ego-ului nu-i mai r\u0103m\u00e2ne dec\u00e2t s\u0103 se recupereze din reflexele calm-odihnitoare pe care lumina le face la apus peste aceste lucruri, din aroma lor metafizic\u0103 cauzat\u0103 de faptul c\u0103 odat\u0103 ea a fost \u00een camer\u0103 \u015fi le-a atins. Aceasta este nici mai mult nici mai pu\u0163in dec\u00e2t disolu\u0163ia fabuloas\u0103 a formei \u00een materie (paralel\u0103 sau analoag\u0103 cu topirea oamenilor \u00een p\u0103m\u00e2nt \u015fi apoi, mai jos \u00een mare), disolu\u0163ie neverosimil\u0103 pentru orice teorie estetic\u0103 \u015fi care impune o fizic\u0103 apocaliptic\u0103 a cantit\u0103\u0163ii \u00een locul lumii divin de exuberante \u015fi simple a percep\u0163iei (directe). Lucrurile din camer\u0103, asemeni m\u0103rii, apas\u0103 acum cu toart\u0103 for\u0163a metafizic\u0103 asupra ocupantului \u00eenc\u0103perii \u2013 for\u0163\u0103 la care prezen\u0163a brut\u0103, empiric\u0103 mai e doar o confirmare sadic\u0103 \u015fi visceral\u0103 a faptului c\u0103 istoria recent\u0103 chiar s-a \u00eent\u00e2mplat (\u201eFalling flat, falling on my face\/Up yours you fucking basket case\u201d – Heroin Chic<\/em> ). Obiectele stau acum \u00een camer\u0103 ca pietrele \u00een cimitir, ca cuile \u00een membrele lui Iisus r\u0103stignit, fe\u0163e unghilure, pietriforme ale mustr\u0103rii venite \u00een mod sinistru din chiar imobilitatea\u00a0 lumii \u00eenconjur\u0103toare(ce \u00eentotdeauna mi s-a p\u0103rut suspect\u0103). Eul contemplativ descoper\u0103 toate aceste remane\u0163e ciudate \u015fi reflectate amenin\u0163\u0103tor \u00eenspre el de unghiularit\u0103\u0163i inexplicabil de\u00a0 agresive ale obiectelor \u2013 \u00eens\u0103, din p\u0103cate pentru el, acesast\u0103 descoperire nu este destinul s\u0103u, nu este destinul nim\u0103nui, e doar opera dorin\u0163ei care, analizat\u0103 \u00een nuditatea ei ultim\u0103, se arat\u0103 a coincide (dac\u0103 nu chiar a se identifica) cu con\u015ftiin\u0163a a ceea ce s-a pierdut.<\/p>\n

\u201estai \u00een
\npicioarele
\nmele ca o
\nminge \u00een
\nfata unei porti goale peste
\ncare s-au
\naruncat
\ncojile de seminte\u201d<\/p>\n

\n(Metafora fotbalistic\u0103 folosit\u0103 aici de Vla\u015fin aduce un nea\u015fteptat grad de familiaritate. F\u0103r\u0103 a fi cinici sau pamfletari, durerea microbistului familist atunci c\u00e2nd echipa pierde \u015fi las\u0103 \u00een urm\u0103 un teren gol, murdar \u015fi dezolant ca un uter spintecat; nonsensul care plute\u015fte peste \u00eentreaga aren\u0103 care s-a promis \u00eenc\u0103 cu o s\u0103pt\u0103m\u00e2n\u0103 \u00eenainte\u00a0 fi locul unui festivism total \u015fi care acum a fost profanat\u0103 at\u00e2t de brutal printr-o \u00eenfr\u00e2ngere luat\u0103 la modul cel mai ersonal cu putin\u0163\u0103\u2013 e comparabil\u0103 cu nonsensul dintr-o rela\u0163ie personal\u0103 e\u015fuat\u0103, cu speran\u0163ele f\u0103cute c\u00e2rpe de \u015fters pe jos).<\/p>\n

\nConfrunta\u0163i permanent cu acest vid placat pe\u00a0 osatura formal\u0103 a lui \u201eprea t\u00e2rziu\u201d \u2013 \u00een cazul oamenilor \u015fi a lui \u201eprea devreme\u201d\u00een cazul lui Dumnezeu \u2013 care ne cheam\u0103 \u00eentotdeauna prea devreme la el \u2013 \u201cScum of God\/ Black as night. Mute and sick\/ Sent by the Lord. The boy his sword\/ To reap the gold. To use the stick\/ He watches her from his side in the blood\/Waiting for the holy call for her blood\/ Every moon she comes close to her Lord\/ Sick with suffering. The stench and filth of him\/ Death all around him. The flies, the dogs, the din\/ King of death and pain. Ruler of the slain\/ All in Gods name. Creatures for the maim (The Raven and the Rose<\/em>) \u2013 ei bine, onfrunta\u0163i cu acest vid avem datoria existen\u0163ial\u0103 de a con\u015ftientiza diferen\u0163a ontologic\u0103 dintre nevoie \u015fi dorin\u0163\u0103: dorin\u0163a e revela\u0163ie \u015fi se na\u015fte din obiect, nevoia e doar un dezgust\u0103tor (\u015fi ru\u015finos) vid al subiectului.<\/p>\n

\n\u00cen acesat\u0103 lume, datoria suprem\u0103 a celorlalte elemente fa\u0163\u0103 de tine este s\u0103-\u0163i fac\u0103 fa\u0163\u0103, tot a\u015fa cum a ta fa\u0163\u0103 de ele este s\u0103 lefaci fa\u0163\u0103. Iar a face fa\u0163\u0103 cuiva (fie \u015fi unei banale situa\u0163ii) nu \u00eenseamn\u0103 nicidecum a birui \u00een mod brut, barbar acel ceva, nici a i te opune \u00een mod bovin ci a-i desena conturul facial, a-l reliefa (mai bine) prin contrast.<\/p>\n

\n\u00cens\u0103 poetul arat\u0103 cum fa\u0163a (ta sau a iubitei) poate fi de fapt o fa\u0163\u0103 de mas\u0103 (de pe care fiecare m\u00e2n\u0103nc\u0103 \u015fi face mizerie, pe care fiecare \u00ee\u015fi a\u015feaz\u0103 coatele) – \u201etoat\u0103 ziua m\u0103 izbesc\/de fe\u0163ele voastre de mas\u0103\/\u00eentinse la uscat\u201d;\u201d fa\u0163a de mas\u0103 brodat\u0103 cu cearc\u0103ne mov\u201d \u2013 context \u00een care omenirea, din fost ofrand\u0103 sacrificial\u0103 pentru zei decade \u00een \u201emodernitatea lichid\u0103\u201d( Zygmunt Bauman) la nivelul de suport de m\u00e2ncare; zeii m\u0103n\u00e2nc\u0103 de pe fa\u0163a oamenilor, nici m\u0103car din ea. Poate c\u0103(-\u015fi)mai fac \u015fi alte chestii pe ea…<\/p>\n

\n

Note<\/p>\n

\n[1]<\/a> . Nietzsche, Na\u015fterea tragediei<\/em>, \u00een Opere Complete II<\/em>, Edi\u0163ie critic\u0103 \u015ftiin\u0163ific\u0103 \u00een 15 volume de G. Colli \u015fi M. Montinari, traducere de S. D\u0103nil\u0103, ed. Hestia, Timi\u015foara, 1998, \u00a7 6, pp. 36-37<\/p>\n

\n[2]<\/a> James Joyce – Portret al Artistului la Tinere\u0163e<\/em>, Ed. Rao International Publishing Company S.A., Bucure\u015fti, martie 1995, traducere de Frida Papadache, pp.194-195-196<\/p>\n","protected":false},"excerpt":{"rendered":"

[Gelu Vla\u015fin – Atac de panic\u0103, Editura Noesis, Bucure\u015fti, 2000, Editura Muzeul Literaturii Rom\u00e2ne, Bucure\u015fti, 2002] de Ormeny Francisc Norbert Locuim o realitate ciudat\u0103, mai bine zis ciudat de exasperant\u0103 \u00een care \u201enimic nu se sf\u00e2r\u015fe\u015fte \u015fi nimic nu \u00eencepe.\u201d O lume de o circularitate exasperant\u0103 prin care timpul trece ca un marfar surd, greoi […]<\/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":[585,125],"tags":[1149,609,1129,130],"class_list":["post-5063","post","type-post","status-publish","format-standard","hentry","category-egophobia-27","category-invitat","tag-egophobia-27","tag-gelu-vlasin","tag-invitat","tag-ormeny-francisc-norbert"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-1jF","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5063","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=5063"}],"version-history":[{"count":7,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5063\/revisions"}],"predecessor-version":[{"id":5067,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5063\/revisions\/5067"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5063"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5063"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5063"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}