{"id":11436,"date":"2020-10-18T22:02:23","date_gmt":"2020-10-18T19:02:23","guid":{"rendered":"http:\/\/ziarulderimnic.ro\/?p=11436"},"modified":"2020-10-18T22:02:23","modified_gmt":"2020-10-18T19:02:23","slug":"de-ai-nostri-valeriu-sofronie-domnul-p-7","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=11436","title":{"rendered":"De-ai no\u0219tri! &#8211; Valeriu Sofronie &#8211; Domnul P. (7)"},"content":{"rendered":"<p><a href=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/sofronie.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/sofronie.jpg\" alt=\"\" width=\"193\" height=\"299\" class=\"alignnone size-full wp-image-11306 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 193px; --smush-placeholder-aspect-ratio: 193\/299;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/sofronie.jpg\" alt=\"\" width=\"193\" height=\"299\" class=\"alignnone size-full wp-image-11306\" \/><\/noscript><\/a><br \/>\n<strong>Os \u00eengropat \u00eentr-un cal alb<\/strong><\/p>\n<p>Zeii lui Valeriu Sofronie sunt st\u0103p\u00e2ni peste elementele primordiale, peste ap\u0103, foc, p\u0103m\u00e2nt ori v\u0103zduh \u0219i, pl\u0103smuiri de dincolo de lumea noastr\u0103, se \u00eentrupeaz\u0103 \u00een logos: \u201edintre to\u021bi zmeii cuv\u00e2ntului \/ zmeul lemnului \/ cunoa\u0219te cel mai bine limba omului \/ \u0219i vorbe\u0219te pe \u00een\u021belesul ei&#8221; pentru a men\u021bine, fie \u0219i precar, echilibrul dintre fizic \u0219i metafizic. Poetul, chiar dorindu-se creator de mitologie, chiar p\u0103r\u00e2nd c\u0103-\u0219i ia \u00een serios demersul, nu poate renun\u021ba totu\u0219i la cinismul s\u0103u funciar, at\u00e2ta vreme c\u00e2t, \u00een lumea real\u0103, limbajul a \u00eenceput s\u0103 se limiteze la cli\u0219ee, la formule-de-gata trimi\u021b\u00e2nd la idei-de-gata, ca s\u0103 devin\u0103 un \u201elimbaj de lemn&#8221; pe care doar focul (cu \u00een\u021belesul de catharsis) \u00eel mai poate lua \u00een st\u0103p\u00e2nire: \u201ec\u00e2nd a\u0219teptau s\u0103 se fac\u0103 \u00een vale o gr\u0103din\u0103 \/ a trecut pe acolo un foc \/\/ s\u0103-i \u00eenapoieze cenu\u0219a\u201d (\u201eLemn\u201d).<br \/>\nCiclul \u201ezmeilor\u201d, \u00eempreun\u0103 cu un lung poem intitulat \u201eEnkidu&#8221; (unde se g\u0103sesc, aglutinate, elemente mitice \u0219i religioase, plecarea \u201edin dou\u0103 capete deodat\u0103&#8221; amintind de ambiguit\u0103\u021bile semantice nichitast\u0103nesciene) alc\u0103tuiesc un fel de preambul al celuilalt ciclu, care d\u0103 titlul \u0219i substan\u021ba c\u0103r\u021bii: \u201eDomnul P&#8221;. Cine este \u201eP&#8221;? Poate fi \u201eomul din sticl\u0103&#8221;, cel care, izolat \u00een metafizic, se trimite pe sine ca mesaj \u00een marea cea mare a vie\u021bii celei de toate zilele: \u201eretras \u00een cochilia polar\u0103 \/ f\u0103ptura din sticl\u0103 \u0219tie c\u0103 la noapte vor c\u0103dea planete f\u0103r\u0103 lumin\u0103 \/ cuprinse de \u00een\u021belepciunea \u00eentinderii f\u0103r\u0103 sf\u00e2r\u0219it \/ multe priviri odihnite s-au adunat pe mal \/ a\u0219tept\u00e2nd momentul c\u00e2nd \/ omul cunosc\u0103tor de ape limpezi va preface \u00een cioburi imaginea sa \/ l\u0103s\u00e2ndu-\u0219i doar ochii m\u0103run\u021bi ai nisipului \/ s\u0103 se deschid\u0103 \u00een luminile altei lumi\u201d (\u201eOmul din sticl\u0103\u201d).<br \/>\nCu dou\u0103 aripi \u201epe umerii \u00eensemna\u021bi cu lemn ro\u0219u&#8221;, gata s\u0103 plece \u0219i gata s\u0103 r\u0103m\u00e2n\u0103, t\u00e2njind dup\u0103 \u00een\u0103l\u021bimi, dar suficient de lucid \u00eenc\u00e2t s\u0103 \u00een\u021beleag\u0103 imposibilitatea desprinderii, \u201eP&#8221; ilustreaz\u0103 capacitatea poetului de a se metamorfoza continuu, \u00een func\u021bie de dominanta afectiv\u0103 de moment, care-i \u0219i structureaz\u0103 discursul. Rela\u021bia dintre subiect \u0219i obiect \u00een plan liric nu este una de simbioz\u0103 \/ de identitate \/ de empatie, ci se bazeaz\u0103 mai cur\u00e2nd pe o respingere, motivat\u0103 de plasarea \u00een contingent, de statutul (asumat) de marionet\u0103 al poetului, care-\u0219i vede personajul altfel \u0219i altundeva: \u201epleac\u0103 \/ am putut iar\u0103\u0219i s\u0103 \u00eei strig pleac\u0103 de la mine \/ \u00een\u021belege odat\u0103 nu sunt eu acela la care se opre\u0219te ploaia \/ niciodat\u0103 nu voi fi eu acela \u00een care se lini\u0219te\u0219te v\u00e2ntul \/ pleac\u0103 acum \/ mai mult dec\u00e2t locul acesta \u00eengust nimic nu-\u021bi voi da \/ el st\u0103tea acolo \/ numai pentru mine \/\/ \u0219i v\u00e2n\u0103torul care \u00ee\u0219i adunase din iarb\u0103 s\u0103ge\u021bile \/ \u00ee\u0219i desf\u0103cu singurele aripi cu care putea s\u0103 zboare \/ \u00eentinz\u00e2ndu-mi-le mi-a \u0219optit la ureche \/ e r\u00e2ndul t\u0103u s\u0103 \u00eencerci t\u0103ria sforilor\u201d (\u201e0 defini\u021bie&#8221;).<br \/>\nDomnul P, filosof peripatetic, preocupat de \u00eentreb\u0103ri \u201ecare fur\u0103 min\u021bii odihna&#8221;, \u00eenregistreaz\u0103 f\u0103r\u0103 mirare ororile din lumea real\u0103, r\u0103t\u0103cirile, drumurile b\u0103t\u0103torite: \u201e\u00eentre lucrurile de at\u00e2tea feluri \/ suntem \u0219i noi r\u0103t\u0103ci\u021bii f\u0103r\u0103 potec\u0103 \/ oamenii lemnului crud \/ du\u0219mani de moarte ai drumurilor b\u0103t\u0103torite \/ porni\u021bi s\u0103 demonstr\u0103m \/ c\u0103 nu ne cuprind p\u00e2n\u0103 la urm\u0103 nici iadul \u0219i nici cerul \/ c\u0103 suferim de peripatetica metafizicii la fel de mult ca o creang\u0103 muceg\u0103it\u0103 \/ leg\u0103nat\u0103 dintr-un v\u00e2nt \u00een altul&#8221; (\u201e0 ie\u0219ire \u00een natur\u0103 \/ plimbarea cu P&#8221;).<br \/>\nGra\u021bie poetului, lumea cea mic\u0103 \u0219i timpul terestru &#8211; limitat, \u00een compara\u021bie cu ve\u0219nicia, la o secund\u0103 &#8211; tind s\u0103 devin\u0103 infinite. Discursul \u201e\u00een r\u0103sp\u0103r\u201d nu face dec\u00e2t s\u0103 accentueze disperarea din momentul construirii lui: \u201ec\u0103zusem \u00eentr-o secund\u0103 infinit\u0103 \/\/ cu genunchii \u00eentor\u0219i cu umerii departe \u00een \/\/ afara mea \/ cu fruntea de poet de provincie \/ c\u0103zusem \u00eentr-o secund\u0103 infinit\u0103 \/ \u0219i nu mai \u0219tiam s\u0103 ies \/ \u00een secund\u0103 \u00eenc\u0103puse ca printr-o minune \/ relativist\u0103 \/ \u0219i ora\u0219ul c\u0103zut \u00een dizgra\u021bie ecologic\u0103 \/\/ boal\u0103 nevindecabil\u0103 \/ luat\u0103 de la plopii dezbr\u0103ca\u021bi de pijamale \/ din dispozi\u021bia primarului \/\/ ora\u0219ul era mare \/ dar secundele de toate \u00eenc\u0103p\u0103toare \/ unii peste al\u021bii poe\u021bi \u0219i primari \/ femei \u0219i prostituate fraudate de \u0219oferi de curs\u0103 lung\u0103 \/ revolu\u021bionari f\u0103r\u0103 legitima\u021bie \/ mor\u021bi cu acte \u00een regul\u0103 \/ fiecare cu puteri c\u0103p\u0103tate \u00eentr-o singur\u0103 clip\u0103 \/ d\u0103m nervos din umeri\u201d (\u201eSecunda infinit\u0103&#8221;).<br \/>\nTema str\u0103veche a rela\u021biei cu divinitatea este tratat\u0103 oarecum ludic, \u00eentr-un poem intitulat \u201e0 \u00eentrebare grea \/ Dumnezeul lui P&#8221;, care merit\u0103 s\u0103 fie lecturat f\u0103r\u0103 prejudec\u0103\u021bi, \u00eentruc\u00e2t Valeriu Sofronie este un poet inteligent, capabil s\u0103-i ofere iubitului s\u0103u cititor satisfac\u021bii estetice \u0219i intelectuale. Tot a\u0219a, \u201eOmul din ploaie \/ misterul lui P&#8221;, care propune o \u201e\u0219edin\u021b\u0103 public\u0103 de demisterizare\u201d, \u00eembin\u0103 maniera dezinvolt\u0103 de a introduce banalul \/ cotidianul \u00een poem cu capacitatea de deta\u0219are imediat\u0103 de tot ceea ce a constituit substan\u021ba discursului: \u201enu \u00eent\u00e2mpl\u0103tor absen\u021ba reliefului \/ \u0219i albul imaculat al foii de h\u00e2rtie i-au servit dintotdeauna drept model \/ ca s\u0103 \u00ee\u0219i dovedeasc\u0103 sie\u0219i \/ lipsa de servitute \u00een fa\u021ba idolului \u00ee\u0219i arunca din c\u00e2nd \u00een c\u00e2nd hainele pe jos \/\/ \u0219i pornea gol prin ora\u0219 acompaniat \/ doar de zestrea sa natural\u0103 \/ (singura care l-a consacrat contrar voin\u021bei sale \u0219i \u00eempotriva c\u0103reia nu putea solicita \u00eentrunirea niciunui consiliu)&#8221;.<br \/>\nCondi\u021bia poetului \u0219i rela\u021bia dintre obiectul \/ subiectul liric sunt teme atinse obsesiv \u00een majoritatea poemelor, al\u0103turi de tema &#8211; nici ea nou\u0103 \/ neobi\u0219nuit\u0103 &#8211; a poemului care vorbe\u0219te despre sine \u00eensu\u0219i (v. \u201eUn punct luminos \/ P se g\u00e2nde\u0219te la poem&#8221;). Tabieturile creatorului, supersti\u021biile, c\u0103derea \u00een starea de gra\u021bie sunt, fire\u0219te, persiflate, fiindc\u0103 avem de-a face cu un poet de factur\u0103 sorescian\u0103, capabil s\u0103 te pun\u0103, r\u00e2z\u00e2nd, \u00een fa\u021ba unor adev\u0103ruri tragice: \u201e\u00eenc\u0103 de diminea\u021b\u0103 \u00ee\u0219i puse \u00een ordine creionul \/ h\u00e2rtia m\u00e2na cu degetul care arat\u0103 \/ \u00eentotdeauna departe \/ scaunul de l\u00e2ng\u0103 copacul cu crengi de aram\u0103 \/ din care fruct dup\u0103 fruct \/ m\u0103rturiseau despre c\u0103deri \/\/ sub picioare \u00ee\u0219i adunase \u00een lini\u0219te iarb\u0103 s\u0103lbatic\u0103 \/ melci care \u00ee\u0219i legau coarnele lungi de \u0219ireturi \/\/ p\u0103m\u00e2nt u\u0219or de duminic\u0103 \u0219i un pumn de semin\u021be r\u0103mase din ultimul anotimp \/ P \u00ee\u0219i \u021binea capul u\u0219or aplecat asupra lemnului \u0219i a\u0219tepta&#8221;.<br \/>\n\u201e\u00eentre umeri \u0219i cer \/ v\u00e2rstele lui P&#8221; este un poem impresionant, centrat pe tema mor\u021bii, a\u0219a cum este \u00een\u021beleas\u0103 ea de c\u0103tre filosofi \u0219i folclori\u0219ti, drept cufundare \u00een natur\u0103, contopire \/ topire \u00een ea: \u201edup\u0103 ei mul\u021bumit c\u0103 e ultimul care \u00eenchide \/ cercurile b\u0103tr\u00e2nul \u00ee\u0219i \u00eentinse bra\u021bele pe l\u00e2ng\u0103 \/ el \u0219i l\u0103s\u0103 apele u\u0219oare s\u0103 \u00eel acopere \/ \u00eempreun\u0103 cu brotacii de sub c\u0103ma\u0219a lacului \/ \u0219i disp\u0103ru cum uneori dispare toat\u0103 apa \/ de pe suprafa\u021ba ochilor \/ de r\u0103m\u00e2n doar norii \/ mototoli\u021bi ca o amintire de sertar&#8221;. Ini\u021bial identific\u00e2ndu-se cu \u201eb\u0103tr\u00e2nul\u201d, \u201eP&#8221;, personajul liric al poemului, se deta\u0219eaz\u0103 de posibilul s\u0103u alter-ego, pentru a-\u0219i recuceri pozi\u021bia de partener colocvial al poetului, \u00eentr-un final percutant, amintind de morali\u0219tii francezi at\u00e2t de dragi profesorului de filosofie Valeriu Sofronie: \u201e\u0219i v\u0103z\u00e2nd cum plute\u0219te puiul p\u0103s\u0103rii \/ peste t\u0103cerea ce-i leag\u0103 cu bocanci de fier aripile \/ s\u0103 nu se \u00eendep\u0103rteze de cuibar prea devreme \/ atunci c\u00e2nd v\u00e2rstele vor \u00eencepe s\u0103 vorbeasc\u0103 \/ deodat\u0103 \u00een el \/ P a \u00een\u021beles c\u0103 va veni o vreme c\u00e2nd \/ sufletul acesta rotund \u00eenr\u0103mat \u00eentre umeri \u0219i cer se va \u00eentoarce acas\u0103 ca un miel r\u0103t\u0103cit\u201d (\u201e\u00eentre umeri \u0219i cer \/ v\u00e2rstele lui P&#8221;).<br \/>\nCititorul atent va g\u0103si \u00een volumul de fa\u021b\u0103 \u0219i motive de medita\u021bie, \u0219i \u00eentreb\u0103ri, \u0219i r\u0103spunsuri care nu clarific\u0103, de fapt, nimic, fiindc\u0103 universul \u00een care tr\u0103im este unul absurd, numai bun s\u0103-\u021bi ofere schelete de patrupezi uria\u0219i ie\u0219ind dintr-un cal alb: \u201e\u00eentre a\u021b\u00e2\u021bi copaci \u00eensemna\u021bi pe frunte cu \/ \u00eentreb\u0103ri din care \u00ee\u0219i luase c\u00e2ndva r\u0103spunsul \/ orele care treceau gr\u0103bite prin el \/ ca printr-un p\u0103m\u00e2nt proasp\u0103t scos din p\u0103duri \/\/ \u00een\u021belesese \u0219i faptul c\u0103 nu ar mai fi fost de r\u0103mas \/ prea mult anotimp prin lume \/ atunci c\u00e2nd mul\u021bimile de c\u00e2ini f\u0103r\u0103 st\u0103p\u00e2ni \/ ies din cate-o poveste direct sub picioarele noastre \/ P analizase situa\u021bia \u0219i c\u0103uta s\u0103 \u00een\u021beleag\u0103 \/ mul\u021bimea de pietre din drum \/ mul\u021bimea de p\u0103duri ap\u0103rute peste noapte \/\/ mul\u021bimea de trec\u0103tori c\u0103lc\u00e2nd \u00een picioare un patruped uria\u0219 \/\/ ajuns \u00een fa\u021ba c\u00e2inelui \u00ee\u0219i d\u0103du \u00eens\u0103 seama \/ c\u0103 nu de \u00een\u021belepciunea ce umbla descul\u021b\u0103 prin lume \/ avea el nevoie \/ ci de un c\u00e2ine tocmai bun de ademenit cu un os \/ \u00eengropat \u00eentr-un cal alb&#8221; (\u201eC\u00e2inele \/ P s-a \u00eentrebat ce a gre\u0219it&#8221;). <\/p>\n<p><strong>Valeria Manta T\u0103icu\u021bu<\/strong><\/p>\n<p><em>Coperta <\/em>&#8211; <strong>Sebastian Sofronie<\/strong><br \/>\n<em>Tehnoredactor<\/em> &#8211; <strong>Andrea-Cristina Sofronie<\/strong><br \/>\n<em>Redactor<\/em> &#8211; <strong>Nicolai T\u0103icu\u021bu<\/strong><br \/>\nApare sub egida \u201e<em>Asocia\u021biei Culturale Valman<\/em>\u201d<br \/>\n<em>Sponsor<\/em> &#8211;<strong> S.C. Coni. SRL<\/strong><\/p>\n<p><strong>Editura VALMAN 2010<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Os \u00eengropat \u00eentr-un cal alb Zeii lui Valeriu Sofronie sunt st\u0103p\u00e2ni peste elementele primordiale, peste ap\u0103, foc, p\u0103m\u00e2nt ori v\u0103zduh<\/p>\n","protected":false},"author":13,"featured_media":11305,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"default_layout","colormag_page_sidebar_layout":"default_layout","_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"ngg_post_thumbnail":0,"video_url":"","footnotes":""},"categories":[7,320],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/11436"}],"collection":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11436"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/11436\/revisions"}],"predecessor-version":[{"id":11437,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/11436\/revisions\/11437"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/11305"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}