{"id":21878,"date":"2023-09-30T22:38:50","date_gmt":"2023-09-30T19:38:50","guid":{"rendered":"https:\/\/ziarulderimnic.ro\/?p=21878"},"modified":"2023-09-30T22:38:50","modified_gmt":"2023-09-30T19:38:50","slug":"spatii-culturale-nr-10-6","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=21878","title":{"rendered":"Spa\u021bii culturale nr. 10 (6)"},"content":{"rendered":"<p><strong>LIDIA LAZU<\/strong><\/p>\n<p><strong>POEME<\/strong><\/p>\n<p>Sunetele ritmate oricum<br \/>\nte elibereaz\u0103 \u015fi te \u00eenal\u0163\u0103<br \/>\nde aceea \u015fi c\u00e2nd joc<br \/>\ns\u00e2rba-n c\u0103ru\u0163\u0103<br \/>\neu cred c\u0103 ridic osanale<br \/>\n\u015fi c\u00e2nd corpul meu se<br \/>\nzbucium\u0103 f\u0103r\u0103 nici-o noim\u0103<br \/>\nel cat\u0103 s\u0103 fie un strig\u0103t<br \/>\nde iubire \u015fi jertf\u0103 \u015fi \u00eemp\u0103care<br \/>\niar c\u00e2ntul deodat\u0103 ivit<br \/>\n\u00ee\u015fi g\u0103se\u015fte \u00een suflete<br \/>\nt\u0103r\u00e2mul de care are nevoie &#8211;<br \/>\nca s\u0103 se des\u0103v\u00e2r\u015feasc\u0103<br \/>\n\u015fi s\u0103 se preg\u0103teasc\u0103<br \/>\npentru marea iertare<br \/>\n(11.11.2004)<\/p>\n<p>O zi de-a mea este la fel<br \/>\nde pre\u0163ioas\u0103 ca o clip\u0103<br \/>\nde la-nceputul lumii<br \/>\nbrusc ea m\u0103 atinge u\u015for \u015fi m\u0103 preface<br \/>\n\u00eentr-o fiin\u0163\u0103 miraculoas\u0103<br \/>\ncare poate p\u0103trunde \u00een oricare<br \/>\ndintre chipurile p\u0103m\u00e2ntului<br \/>\nsau ale v\u0103zduhului<br \/>\ncu dinadins<br \/>\n\u015fi poate s\u0103-\u015fi aleag\u0103<br \/>\ndin care parte s\u0103-i vin\u0103<br \/>\nstarea de gra\u0163ie<br \/>\n(20.01.2004)<\/p>\n<p>\u00cen jurul nostru erau<br \/>\ncei mai mari dansatori<br \/>\npurta\u0163i numai pe sus<br \/>\nde magia c\u00e2ntului<br \/>\ncoloritul penelor era<br \/>\nat\u00e2t de viu &#8211;<br \/>\np\u0103reau petele focului<br \/>\ncare se-aprindea mereu<br \/>\nla orice mi\u015fcare<br \/>\niar dansul<br \/>\nera o vraj\u0103 care<br \/>\ntopea \u00een ea toate spaimele<br \/>\n\u015fi disper\u0103rile<br \/>\nne f\u0103cea egalii zeilor<br \/>\n(10.03.2005)<\/p>\n<p>Nici vorb\u0103 de mersul pe ape<br \/>\n\u00eens\u0103 de-acum mi-e clar \u2013<br \/>\npe deasupra apelor e zborul cel mai greu<br \/>\naburii sunt \u00een\u015fel\u0103tori<br \/>\nmi\u015fcarea valurilor ademenitoare<br \/>\ngreutatea talazului presim\u0163it\u0103<br \/>\nse-ncarc\u0103 de ispit\u0103 chem\u0103toare<br \/>\nor, c\u00e2nd mi-e prea fric\u0103 de-al apelor h\u0103u<br \/>\nm\u0103 las str\u0103puns\u0103 de s\u0103geata luminii<br \/>\n\u015fi pe ea m\u0103-nal\u0163<br \/>\nf\u0103r\u0103 s\u0103 mi\u015fc o arip\u0103<br \/>\n(10.07.06)<\/p>\n<p>Balada \u0163iganului orfan<br \/>\nmurdar cum nu se poate<br \/>\nzdrelit pe m\u00e2ini pe fa\u0163\u0103<br \/>\ncu ochi sticlo\u015fi<br \/>\nde lup fl\u0103m\u00e2nd<br \/>\nse las\u0103 prins de bun\u0103voie<br \/>\ns\u0103 mearg\u0103 la p\u00e2rnaie<br \/>\nc\u0103-acolo e mai bine<br \/>\nunde va fi cu al\u0163ii<br \/>\n\u015fi multe-or s\u0103-l \u00eenve\u0163e<br \/>\nnu peste mult\u0103 vreme<br \/>\no s\u0103 p\u0103\u015feasc\u0103 \u0163an\u0163o\u015f<br \/>\ncu l\u0103n\u0163i\u015foare multe<br \/>\ncu freza briliant\u0103<br \/>\n\u015fi cu pu\u015ftoaice-n preajm\u0103<br \/>\nc\u0103 asta este totul<br \/>\n\u00een lumea cea amar\u0103<br \/>\nc\u0103 m\u0103-sa nu-l dorise<br \/>\n\u015fi \u00eel l\u0103sa pe-afar\u0103<br \/>\n\u015fi supse rea \u015ftiin\u0163\u0103<br \/>\ndirect din caldar\u00e2m<br \/>\ne sigur doar un lucru<br \/>\nnu va muri b\u0103tr\u00e2n&#8230;<br \/>\n(9.02.06)<\/p>\n<p>\u00cen Pia\u0163a Spaniei plin\u0103 de flori<br \/>\nfanfara se-ntrece cu al\u0103murile zilei<br \/>\n\u015fi pentru c\u00e2teva clipe le \u015fi egaleaz\u0103<br \/>\nne opre\u015fte din goana noastr\u0103<br \/>\ndup\u0103 biserici gr\u0103dini \u015fi statui<br \/>\n\u015fi dup\u0103 ruine imperiale<br \/>\ndup\u0103 pini forja\u0163i \u015fi cipre\u015fi<br \/>\n\u00eendrepta\u0163i spre cer cu s\u0103ge\u0163i uluite<br \/>\nc\u0103 nu-\u015fi ating \u0163inta<br \/>\nde\u015fi au pornit de un veac &#8211;<br \/>\napa gri-verde a Tibrului<br \/>\np\u0103zit\u0103 de platanii p\u0103ta\u0163i<br \/>\ncasele cu terase<br \/>\n\u015fi oamenii parc\u0103<br \/>\nf\u0103r\u0103 nici-o treab\u0103<br \/>\nmereu \u00een vacan\u0163\u0103<br \/>\nacolo am sim\u0163it fiecare minut<br \/>\nca pe-o matrice de s\u0103rb\u0103toare<br \/>\n(12 iulie 2006, cu g\u00e2ndul la Roma)<\/p>\n<p>\u00cen fiecare zi \u00eemi caut urmele<br \/>\nde ieri ca s\u0103 decid<br \/>\nce urmeaz\u0103 &#8211;<br \/>\n\u015fi mereu mi se pare<br \/>\nc\u0103 le-am \u015fters din neaten\u0163ie<br \/>\ntocmai pe cele care m\u0103-ndrum\u0103<br \/>\npe calea bun\u0103<br \/>\n*<br \/>\nDe pe foi\u0163a mea transparent\u0103<br \/>\npot s\u0103 urc \u015fi s\u0103 urc p\u00e2n\u0103 ce g\u00e2ndul<br \/>\nse sparie \u015fi fuge<br \/>\ns\u0103-\u015fi trag\u0103 suflarea<br \/>\nla intrarea \u00een p\u0103durea<br \/>\nn\u0103p\u0103dit\u0103 de lumina<br \/>\na\u015ftept\u0103rii tale<br \/>\n(9 iulie 2008)<\/p>\n<p>*<br \/>\nAm auzit melopeea sirenelor<br \/>\ninterstelare<br \/>\n\u015fi ca s\u0103 nu m\u0103 soarb\u0103<br \/>\n\u00een vortexul lor<br \/>\nam \u00eenceput s\u0103 dansez<br \/>\nca-ntr-o avanscen\u0103 \u2013<br \/>\ns\u0103 le dau impresia<br \/>\nc\u0103 m\u0103 apropii de ele \u2013<br \/>\ncomet\u0103 cu tren\u0103<br \/>\n(15 dec. 07)<\/p>\n<p>*<br \/>\n\u00cen jurul luminii a\u015feza\u0163i<br \/>\ncuminte<br \/>\n\u00een buc\u0103t\u0103ria de var\u0103<br \/>\neram to\u0163i ai casei prin\u015fi<br \/>\n\u00eentr-un fream\u0103t mut<br \/>\n\u015fi plin de a\u015fteptare<br \/>\nlumina ne \u00eemp\u0103rt\u0103\u015fea<br \/>\nceva din visul ei de a se \u00eentrupa<br \/>\niar noi ceva din visul de-a pluti<br \/>\npe-o p\u0103rere de und\u0103<br \/>\n\u015fi din dorin\u0163a de-a ne elibera<br \/>\nde zgura vie\u0163ii<br \/>\nm\u0103car<br \/>\no miime de secund\u0103<br \/>\n*<br \/>\nV\u00e2ntul se joac\u0103<br \/>\ncu tot ce-i iese-n cale<br \/>\n\u015fi cu lumina tremur\u0103toare<br \/>\ndintre frunzele de magnolie &#8211;<br \/>\n\u015fi totu\u015fi<br \/>\n\u00een clipa asta l-am \u00eentrecut<br \/>\ncu mult<br \/>\npentru c\u0103 eu nu trebuie nici m\u0103car<br \/>\ns\u0103 pornesc \u00eencotrova<br \/>\nci doar s\u0103-mi las g\u00e2ndul slobod<br \/>\ndin pragul zilei<br \/>\n(20 mai 2008)<\/p>\n<p><strong><br \/>\nPAUL BLAJ<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj.jpg\" alt=\"\" width=\"332\" height=\"187\" class=\"alignnone size-full wp-image-15474 lazyload\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj.jpg 332w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj-300x169.jpg 300w\" data-sizes=\"(max-width: 332px) 100vw, 332px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 332px; --smush-placeholder-aspect-ratio: 332\/187;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj.jpg\" alt=\"\" width=\"332\" height=\"187\" class=\"alignnone size-full wp-image-15474\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj.jpg 332w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/08\/blaj-300x169.jpg 300w\" sizes=\"(max-width: 332px) 100vw, 332px\" \/><\/noscript><\/a><\/p>\n<p><strong>POEME<\/strong><\/p>\n<p><strong>v\u0103d cire\u015fi de smoal\u0103<\/strong><\/p>\n<p>ast\u0103 sear\u0103 beau ceai \u015fi privesc calm un punct<br \/>\nprin care am impresia c\u0103 a\u015f putea ie\u015fi afar\u0103 din<br \/>\ncamer\u0103<br \/>\n\u00eemi str\u00e2ng genunchii la piept<br \/>\n\u00eemi trec m\u00e2na prin p\u0103r<br \/>\nwelcome to my sex room spun r\u00e2z\u00e2nd<br \/>\nnu m\u0103 aude nimeni<br \/>\nnu pleac\u0103 nimeni de l\u00e2ng\u0103 mine<br \/>\np\u00e2n\u0103 termin cana lucrurile devin negre<br \/>\nsimt pe \u015fira spin\u0103rii un frig necunoscut<br \/>\n\u00eemi ridic halatul \u00eencet f\u0103r\u0103 grab\u0103<br \/>\nm\u0103 \u00eenf\u0103\u015for \u00een el bl\u00e2nd magnetic<br \/>\ndeschid fereastra, trag \u00een piept fluid noaptea<br \/>\nse aud c\u00e2ini care latr\u0103<br \/>\ncartierul se dezbrac\u0103 lent de zi, aproape feminin<br \/>\napoi dispare ha\u015furat, cu lumin\u0103 sub piele<br \/>\nm\u0103 v\u0103d scutit s\u0103 fiu de\u015ftept \u015fi pl\u00e2ng<\/p>\n<p><strong><br \/>\neviden\u0163e pentru husa alb\u0103<\/strong><\/p>\n<p><em>\u201e\u015ei-at\u00e2t de mult doream \u00een bulioane \/ s\u0103<br \/>\nlenevesc, vis\u00e2nd sub celofane\u201d<\/em><\/p>\n<p>uit prea des oamenii care \u00eemi sunt dragi<br \/>\ntrebuie s\u0103 m\u0103 lovesc de ei pentru a tres\u0103ri<br \/>\nmai tresar \u00een somn \u00eemi spune o ea pe care<br \/>\nam privit-o \u00eentr-o sear\u0103 \u015fi am \u00eentrebat-o<br \/>\ntu ce cau\u0163i l\u00e2ng\u0103 mine? lini\u015fte parc\u0103 mi-a<br \/>\nr\u0103spuns era o vreme de huil\u0103 cu p\u0103s\u0103ri<br \/>\ncare se izbeau \u00een geam apoi a plecat<br \/>\ndiminea\u0163\u0103 eram un pic ame\u0163it am vegetat<br \/>\ntoat\u0103 ziua ca un castravete murat ploile<br \/>\nde atunci m\u0103 ating ea s-a \u00eentors seara<br \/>\n\u015fi-a aruncat po\u015feta dezinvolt mi-a z\u00e2mbit<br \/>\nun z\u00e2mbet obosit de serviciu \u00eens\u0103 mie<br \/>\nmi-a pl\u0103cut parc\u0103 eram \u00eentr-un hotel sau\u2026<br \/>\nnu nu se poate pentru c\u0103 a\u015f fi fost palid<br \/>\ncalm sau nelini\u015ftit at\u00e2t de bine m\u0103 cunosc<br \/>\noamenii care \u00eemi sunt dragi, uit prea des<br \/>\npantalonii arunca\u0163i pe un fotoliu comod<br \/>\nreclamele proaste ce ies dintr-un televizor<br \/>\npoetul bulionului \u00eemb\u0103tr\u00e2nind f\u0103r\u0103 ro\u015fii<br \/>\neviden\u0163e pentru husa alb\u0103 a memoriei mele<\/p>\n<p><strong><br \/>\npeisaj cu individ<\/strong><\/p>\n<p>st\u0103p\u00e2n pe dou\u0103 noptiere goale<br \/>\nm\u0103 plimb de-a lungul camerei<br \/>\nvorbesc la telefon cu ochii \u00eenchi\u015fi<br \/>\naud \u0219i oamenii murind \u00een lume<br \/>\npozez cu picioarele descul\u0163e<br \/>\nsunt mai t\u00e2n\u0103r \u00eemi \u00eenchipui dezinvolt<br \/>\ndiscut\u0103m despre vinul demisec,<br \/>\ntimpuri, prieteni,<br \/>\n\u00eemi vine s\u0103 miros o portocal\u0103<br \/>\no iau din frapier\u0103 o admir \u00eencet<br \/>\nplanet\u0103 pentru degete<br \/>\nvocea ta devine p\u0103tur\u0103<br \/>\nea \u00eenvele\u015fte matur corpul iubit<br \/>\nmil\u0103 celor ce dorm, se aude roman\u0163a<\/p>\n<p><strong><br \/>\ntol\u0103nit \u00eentr-o limb\u0103 str\u0103in\u0103<\/strong><\/p>\n<p>\u00een camer\u0103 e cald ca \u00eentr-o piersic\u0103<br \/>\nridic ochii \u015fi las cartea pe genunchi<br \/>\nse deschide firesc<br \/>\nalt\u0103 dimensiune<br \/>\no studiez atent<br \/>\nperdeaua prin care intr\u0103 soarele<br \/>\nnu \u00eenmugure\u015fte<br \/>\ndar nu e vina ei, \u00eemi zic<br \/>\naprind tv-ul pe un post<br \/>\nde sport extrem<br \/>\ncum a\u015f respira un bulg\u0103re de z\u0103pad\u0103 p\u00e2n\u0103 la cap\u0103t<br \/>\nse instaleaz\u0103 lini\u015ftea,<br \/>\ncre\u015fte,<br \/>\n\u015fi \u00eemi place s\u0103 m\u0103 prefac<br \/>\nc\u0103 nu \u015ftiu de ce a ales iarna<br \/>\ns\u0103 vin\u0103 dup\u0103 toamn\u0103<br \/>\nca s\u0103 m\u0103 lase beat pe o p\u00e2nz\u0103 nepictat\u0103<\/p>\n<p><strong><br \/>\npoem cu palmele fine<\/strong><\/p>\n<p>are o str\u0103lucire aparte v\u00e2rsta \u00een care<br \/>\n\u00eei atingi hainele altfel<br \/>\nca pe o hart\u0103 invizibil\u0103 a lentorii<br \/>\nhalatul ro\u015fu pufos<br \/>\napune dup\u0103 un um\u0103r<br \/>\n\u015fi tot ce urmeaz\u0103 pare o bl\u00e2nd\u0103 ninsoare<br \/>\nt\u00e2rziu te \u00eentinzi \u00eei stingi veioza<br \/>\ncum ai \u00eenchide un plic<br \/>\npe care l-ai p\u0103strat dintre timpuri<br \/>\nziua vine \u00eencet<br \/>\no coloan\u0103 sonor\u0103 f\u0103r\u0103 film<br \/>\ndincolo de marginea gropii cre\u015fte t\u0103cut sicriul<\/p>\n<p><strong><br \/>\n\u201eochii verzi \u015fi gura mic\u0103\u201d<\/strong><\/p>\n<p><em>in memoriam J.D. Salinger<\/em><\/p>\n<p>rece este singurul cuv\u00e2nt care \u00eemi place la ora asta<br \/>\nsunt un interior de pahar ciobit amestecat<br \/>\ncu absint<br \/>\no mas\u0103 lamentabil indiscret\u0103 alb\u0103 \u00eentr-un salon gol<br \/>\ndar m\u0103 suni cuvintele parc\u0103 intr\u0103 pe g\u00e2t ori<br \/>\n\u00een ven\u0103<br \/>\nvocea ta e o rulet\u0103 ruseasc\u0103 tu\u015fe\u015fte un pic,<br \/>\nte rog, azi<br \/>\nlas-o pe maic\u0103-ta c\u0103 nu are nicio importan\u0163\u0103 acum<br \/>\na\u015f vrea s\u0103 fiu \u00eembr\u0103cat m\u0103 cam taie frigul<br \/>\ncu drujba<br \/>\nce ziceai? desigur doar \u00eemi c\u0103utam o \u0163igar\u0103,<br \/>\ncu cine?<br \/>\nda, \u00eentotdeauna mi s-a p\u0103rut interesant\u0103 valea<br \/>\nrinului<br \/>\nnu, nu m\u0103 gr\u0103besc nic\u0103ieri sigur c\u0103 mi-e dor<br \/>\nde tine<br \/>\nca de catifeaua roas\u0103 a canapelei din sufrageria<br \/>\nveche<br \/>\nnormal c\u0103 nu mai este acolo am dat-o de mult<br \/>\ndrag\u0103<br \/>\n\u015fi c\u00e2t ziceai c\u0103 are \u00eent\u00e2rziere zborul t\u0103u? ei, asta e<br \/>\ndac\u0103 \u00ee\u0163i spun c\u0103 \u0103sta e adev\u0103rul sunt mai palid<br \/>\nca ziua<br \/>\nuite ce m\u0103 intereseaz\u0103 acum ni\u015fte ciorne ale tale<br \/>\nda pe ele am g\u0103sit scris cu litere mari \u00eencercuit<br \/>\nchiar<br \/>\nrece este singurul cuv\u00e2nt care \u00eemi place la ora asta<br \/>\ncum? eram certa\u0163i? da\u2019 pentru ce s\u0103r\u0103cie? Aaaaa&#8230;<br \/>\nperspicacitatea ta mi-a fost always prilej<br \/>\nde desf\u0103tare<\/p>\n<p><strong><br \/>\nFLORIN DOCHIA<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia.jpg\" alt=\"\" width=\"314\" height=\"315\" class=\"alignnone size-full wp-image-15854 lazyload\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia.jpg 314w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia-300x300.jpg 300w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia-150x150.jpg 150w\" data-sizes=\"(max-width: 314px) 100vw, 314px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 314px; --smush-placeholder-aspect-ratio: 314\/315;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia.jpg\" alt=\"\" width=\"314\" height=\"315\" class=\"alignnone size-full wp-image-15854\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia.jpg 314w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia-300x300.jpg 300w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/09\/dochia-150x150.jpg 150w\" sizes=\"(max-width: 314px) 100vw, 314px\" \/><\/noscript><\/a><\/p>\n<p><strong>A unsprezecea elegie de pe strada mea<\/strong><br \/>\n(endecasilab\u0103)<\/p>\n<p>cine p\u0103ze\u015fte pentru mine drumul?<br \/>\npoate \u00eentr-o zi voi pleca voi pleca<br \/>\npoate \u00eentr-o zi chiar m\u0103 voi \u00eentoarce<br \/>\npoate \u00eentr-o zi voi fi altcineva<br \/>\nsau nimeni nu voi fi nimeni nu voi fi<br \/>\ntu vei a\u015ftepta o atingere tu<br \/>\niar eu nu te voi a\u015ftepta nu prea mult<br \/>\nva trebui s\u0103 \u00eencerci s\u0103 mori pu\u0163in<br \/>\no moarte mic\u0103, pu\u0163in c\u00e2te pu\u0163in<br \/>\ndoar c\u00e2t orgasmul stelei abia stinse<br \/>\nun somn un zbor un vis \u015fi alb un flutur<br \/>\ns\u0103 la\u015fi pe strada mea s\u0103la\u015f s\u0103-l scutur<br \/>\ns\u0103 vin s\u0103 vreau s\u0103-nv\u0103\u0163 s\u0103 ap\u0103r \u015fi nop\u0163i<br \/>\n\u00eentregi s\u0103 m\u0103 cufund \u00een trup de abur<br \/>\ncine p\u0103ze\u015fte pentru mine drumul?<br \/>\n\u015fi cine pentru mine cuib tocme\u015fte?<br \/>\ncine prive\u015fte-n locul meu imagini<br \/>\nce m\u00e2ine abia se anun\u0163\u0103 a fi?<br \/>\ncine se uit\u0103-n zarea iar venind\u0103<br \/>\ns-o schimbe cu ochii de aur \u015fi cer?<br \/>\nau cine st\u00e2rne\u015fte ritmuri \u015fi mai noi?<br \/>\ndin haos m\u0103 scoate-va cine \u015fi<br \/>\ncine cu mir m\u0103 va unge \u015fi cine<br \/>\nuitarea salva-va &#8211; otrava de dat<br \/>\nlui socrate au cine o va scoate?<br \/>\nfugit e paznicul \u015fi drumul vrai\u015fte<br \/>\nm\u0103 recompun din trei\u015fpe \u015fi din pai\u015fpe<br \/>\nm\u0103 \u00eencarnez din aripi de albin\u0103<br \/>\nteenager sunt \u2013 iubito, tu, divin\u0103!<br \/>\n(I cried a tear. For nobody but you. I&#8217;ll be a lonely one If<br \/>\nyou should say we&#8217;re through. Each night I ask the stars<br \/>\nup above, Why must I be a teenager in love?)<\/p>\n<p><strong><br \/>\nDELIA ARTEMIZA AS\u0102NACHE<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2.jpg\" data-rel=\"lightbox-image-2\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2.jpg\" alt=\"\" width=\"439\" height=\"498\" class=\"alignnone size-full wp-image-9173 lazyload\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2.jpg 439w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2-264x300.jpg 264w\" data-sizes=\"(max-width: 439px) 100vw, 439px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 439px; --smush-placeholder-aspect-ratio: 439\/498;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2.jpg\" alt=\"\" width=\"439\" height=\"498\" class=\"alignnone size-full wp-image-9173\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2.jpg 439w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/06\/artemiza-2-264x300.jpg 264w\" sizes=\"(max-width: 439px) 100vw, 439px\" \/><\/noscript><\/a><\/p>\n<p><strong>Rela\u0163ia narator \u2013 cititor \u00een proza pa\u015foptist\u0103<\/strong><\/p>\n<p>Caracterul unitar al prozei pa\u015fopti\u015fte \u015fi<br \/>\npostpa\u015fopti\u015fte, urmare a unui program cultural<br \/>\ncomun \u00eenceput \u00een literatur\u0103, cultur\u0103, administra\u0163ie \u015fi<br \/>\npolitic\u0103, de c\u00e2\u0163iva tineri rom\u00e2ni, proasp\u0103t \u00eentor\u015fi de la<br \/>\nstudii din Occident, este subliniat \u015fi prin strategiile<br \/>\ncomunica\u0163ionale utilizate de prozatorii vremii.<br \/>\nRetorismul, personalizarea discursului narativ, ie\u015firea<br \/>\n\u00een prim-plan a instan\u0163ei auctoriale, modul specific de a<br \/>\ndialoga cu cititorul, \u00eencerc\u0103rile de a negocia cu<br \/>\npublicul, explica\u0163iile ample ale prozatorilor, insisten\u0163a<br \/>\ncu care ace\u015ftia reclam\u0103 aportul de imagina\u0163ie al<br \/>\npartenerului de dialog fictiv sunt, \u00een opinia lui Liviu<br \/>\nPapadima (\u201eLiteratur\u0103 \u015fi comunicare\u201d, Ia\u015fi, Editura<br \/>\nPolirom, 1999), c\u00e2teva dintre tr\u0103s\u0103turile definitorii ale<br \/>\nprozei secolului al XIX-lea.<br \/>\nNaratorul, persoana, \u201evocea\u201d, c\u0103ruia autorul \u00eei<br \/>\n\u00eencredin\u0163eaz\u0103 misiunea de a povesti o anumit\u0103<br \/>\n\u00eent\u00e2mplare, poate avea pe l\u00e2ng\u0103 aceast\u0103 func\u0163ie<br \/>\nnarativ\u0103 \u015fi una explicativ-interpretativ\u0103 (face<br \/>\ncomentarii, intervine) \u015fi descriptiv\u0103 (descrie locuri,<br \/>\npersonaje, obiceiuri etc.).<br \/>\nAutorul este persoana care concepe \u015fi care scrie o<br \/>\noper\u0103 (literar\u0103, \u015ftiin\u0163ific\u0103 etc.). Autorul concret,<br \/>\ncreatorul operei literare, adreseaz\u0103, ca expeditor, un<br \/>\nmesaj literar cititorului concret, care func\u0163ioneaz\u0103 ca<br \/>\ndestinatar \/ receptor. Autorul concret \u015fi cititorul<br \/>\nconcret sunt personalit\u0103\u0163i istorice \u015fi biografice, ce nu<br \/>\napar\u0163in operei literare. Ele se situeaz\u0103 \u00een lumea real\u0103<br \/>\nunde duc, independent de textul literar, o via\u0163\u0103<br \/>\nautonom\u0103.<br \/>\nAutorul este creatorul universului epic, iar<br \/>\nnaratorul este cel care comunic\u0103 istorisirea narat\u0103<br \/>\ncititorului fictiv, naratorul este cel care face medierea<br \/>\n\u00eentre autor \u015fi cititor. Personajul este o alt\u0103 instan\u0163\u0103<br \/>\nimportant\u0103 implicat\u0103 \u00een discursul narativ, care are, \u015fi<br \/>\nel, o func\u0163ie de mediere \u00een triada instan\u0163elor<br \/>\ncomunic\u0103rii narative autor &#8211; narator &#8211; cititor.<br \/>\nAt\u00e2t naratorul, c\u00e2t \u015fi personajul (care determin\u0103<br \/>\nac\u0163iunea \u015fi se afl\u0103 \u00een mijlocul evenimentelor) sunt<br \/>\nm\u00e2nuite de autor \u00een scopul dorit de acesta \u015fi \u00een<br \/>\nconformitate cu propria viziune asupra lumii. Pentru<br \/>\na vedea care este rela\u0163ia dintre autor, narator \u015fi cititor<br \/>\n\u015fi dac\u0103 aceasta se \u00eenscrie pe coordonatele trasate la<br \/>\n\u00eenceputul lucr\u0103rii, ne vom opri asupra nuvelei lui<br \/>\nMihail Kog\u0103lniceanu \u201eIluzii pierdute&#8230; Un \u00eent\u0103i amor\u201d,<br \/>\nap\u0103rut\u0103, \u00een bro\u015fur\u0103, la Ia\u015fi, \u00een 1841. \u00cenc\u0103 de la \u00eenceputul<br \/>\noperei, naratorul \u0163ine s\u0103 fac\u0103 ni\u015fte preciz\u0103ri importante:<br \/>\n\u201e\u00cenainte de toate trebuie, ca o neap\u0103rat\u0103 prefa\u0163\u0103, s\u0103<br \/>\nm\u0103rturisim cu inim\u0103 curat\u0103 \u015fi cu duh umilit, c\u0103 toate<br \/>\nnumele din aceste file sunt \u00eenchipuite, c\u0103 n-am \u00een\u0163eles<br \/>\npre nimene, c\u0103 tot este ob\u015ftesc \u015fi nimic\u0103 personal.<br \/>\nAceast\u0103 m\u0103rturisire o facem pentru siguran\u0163a noastr\u0103 \u015fi<br \/>\npentru lini\u015ftea acelora ce s-ar socoti atin\u015fi de oarecare<br \/>\n\u00eens\u0103mn\u0103ri\u201d (Mihail Kog\u0103lniceanu, Scrieri, Bucure\u015fti,<br \/>\nEditura Tineretului, 1967, p. 55). Naratorul nu este<br \/>\nconstruit ca o identitate care s\u0103 se opun\u0103 autorului.<br \/>\nScriitorul nu este o instan\u0163\u0103 impersonal\u0103, ci una care se<br \/>\nmanifest\u0103 prin oper\u0103. Se creeaz\u0103, astfel, o rela\u0163ie de<br \/>\nomonimie \u00eentre narator \u015fi autor, la fel ca \u00een Amintirile<br \/>\ndin copil\u0103rie ale lui Ion Creang\u0103.<br \/>\nFolosind persoana I plural ca substitut emfatic<br \/>\npentru eu, naratorul precizeaz\u0103 natura fic\u0163ional\u0103 a<br \/>\nscrierii sale \u015fi face cu cititorul un pact fic\u0163ional<br \/>\n(Umberto Eco, \u201e\u015ease plimb\u0103ri prin p\u0103durea narativ\u0103\u201d),<br \/>\natr\u0103g\u00e2ndu-i aten\u0163ia c\u0103 exist\u0103 un adev\u0103r estetic care nu<br \/>\nse suprapune obligatoriu cu cel al cotidianului.<br \/>\nPrecizarea naratorului relev\u0103 faptul c\u0103 acesta este<br \/>\ncon\u015ftient \u201ep\u00e2n\u0103 \u00een v\u00e2rful unghiilor de procedeele<br \/>\nliterare folosite\u201d (Nicolae Manolescu, \u201eIstoria critic\u0103 a<br \/>\nliteraturii rom\u00e2ne\u201d, Bucure\u015fti, Editura Minerva, 1990,<br \/>\np. 207), dar \u015fi c\u0103 publicul c\u0103ruia i se adreseaz\u0103 nu are<br \/>\nla dispozi\u0163ie \u201eun arsenal bogat de teoretiz\u0103ri explicite<br \/>\n(&#8230;) ale rolului jucat de fic\u0163ionalitate \u00een literatur\u0103\u201d<br \/>\n(Papadima, p. 142).<br \/>\nExplica\u0163iile naratorului continu\u0103, c\u0103ci imediat dup\u0103<br \/>\nce intr\u0103 \u00een subiect, acesta face o digresiune pentru a<br \/>\nilustra modul \u00een care publicul cititor confund\u0103<br \/>\nfic\u0163iunea cu realitatea: \u201eSunt acum vro doi ani, c\u00e2nd<br \/>\n\u00eentr-un articol scos din \u201eParis ou le Livres des cent et<br \/>\nun\u201d, am tradus \u201ela rue Poissoniere\u201d, slov\u0103 dup\u0103 slov\u0103,<br \/>\nprin P\u0103sc\u0103rie \u2013 nu mi-am aprins paie \u00een cap? Nu s-au<br \/>\nsculat \u00eempotriva mea l\u0103cuitorii din P\u0103sc\u0103rie cu preten\u0163ie<br \/>\nc\u0103 i-am atacat \u00een cinstea lor, \u015fi cerea cu topuzul ca s\u0103<br \/>\nfiu sp\u00e2nzurat ca Petrariul, pe \u015fesul Frumoasei\u201d<br \/>\n(Kog\u0103lniceanu, p. 56).<br \/>\nDup\u0103 ce s-a asigurat c\u0103 este bine \u00een\u0163eles, c\u0103 nu va<br \/>\njigni pe nimeni \u015fi c\u0103 nu \u00ee\u015fi pune via\u0163a \u00een pericol,<br \/>\nnaratorul \u00ee\u015fi \u00eencepe povestirea. \u00cencerc\u00e2nd s\u0103<br \/>\nstabileasc\u0103 locul \u015fi timpul ac\u0163iunii, el parodiaz\u0103<br \/>\nmodelul balzacian al intr\u0103rii \u00een subiect: \u201e\u00centr-o sear\u0103<br \/>\nde iarn\u0103 sau de prim\u0103var\u0103, zeu nu \u0163i-oi \u015fti spune,<br \/>\npentru c\u0103 nu sunt astronom, dar \u015ftiu c\u0103 era \u00een mart, era<br \/>\nadunat\u0103 o mic\u0103 societate alc\u0103tuit\u0103 de tineri \u015fi de dame<br \/>\nasemine tinere; este de prisos s\u0103 spun c\u0103 era \u015fi<br \/>\nfrumu\u015fele. Aceast\u0103 societate era \u00een Ia\u015fi, \u00eentr-o uli\u0163\u0103 al<br \/>\nc\u0103ria nume nu \u0163i l-oi spune, fiindc\u0103 eu \u00eensumi nu-l<br \/>\ncunosc\u201d (Idem, p. 55).<br \/>\nNaratorul se adreseaz\u0103 cititorului la persoana a II-a<br \/>\nsingular, ca \u015fi c\u00e2nd ar vorbi cu el fa\u0163\u0103 \u00een fa\u0163\u0103, ca \u015fi cum<br \/>\nar fi partenerul s\u0103u de dialog cu drepturi egale, put\u00e2nd<br \/>\ninterveni, \u00een orice moment, cu \u00eentreb\u0103ri de l\u0103murire.<br \/>\nNaratorul este con\u015ftient de parantezele pe care le face<br \/>\n\u015fi pentru a \u00eennoda firul povestirii, reia dialogul cu<br \/>\nreceptorul: \u201eCum \u00ee\u0163i spuneam, societatea noastr\u0103 se<br \/>\nafla \u00eentr-o uli\u0163\u0103 f\u0103r\u0103 nume\u201d. De\u015fi se confrunt\u0103 cu<br \/>\nezit\u0103rile naratorului \u00een ceea ce prive\u015fte determinarea<br \/>\nspa\u0163io-temporal\u0103, cititorul poate stabili, destul de u\u015for,<br \/>\ncadrul desf\u0103\u015fur\u0103rii ac\u0163iunii (Ia\u015fiul contemporan<br \/>\nautorului), prin detaliile despre \u201ecapitalia Moldaviei\u201d.<br \/>\nPrezentarea personajelor (cinci tinere dame \u015fi<br \/>\n\u201edemuazele\u201d, trei b\u0103rba\u0163i \u00eensura\u0163i \u015fi patru tineri sau<br \/>\nholtei) este prilej pentru narator de a face o mic\u0103<br \/>\nparantez\u0103 pentru a explica ce \u00eenseamn\u0103 cuv\u00e2ntul<br \/>\n\u201eprud\u0103\u201d (\u201efemeie a c\u0103ria numai urechile, rareori \u015fi<br \/>\nochii, \u00eei sunt curate\u201d). Naratorul adopt\u0103 o atitudine<br \/>\numil\u0103 \u015fi respectuoas\u0103 fa\u0163\u0103 de cititor, cer\u00e2ndu-\u015fi<br \/>\noarecum scuze c\u0103 trebuie s\u0103 explice un asemenea<br \/>\ncuv\u00e2nt unui public a\u015fa de \u00eenv\u0103\u0163at ca al s\u0103u, dup\u0103 ce<br \/>\nmai \u00eenainte \u00eel acuzase c\u0103 nu are nici cele mai<br \/>\nelementare no\u0163iuni de teorie literar\u0103! \u201e\u015ei eu, cu tot<br \/>\nrespectul ce trebuie s\u0103 aib\u0103 un scriitor dinaintea unui<br \/>\npublic, a\u015fa de \u00eenv\u0103\u0163at ca al nostru, \u0163i-oi r\u0103spunde c\u0103<br \/>\npruda, prude, este un cuv\u00e2nt fran\u0163uzesc&#8230;\u201d (Idem, p.<br \/>\n57). Pentru a spori orgoliul celui care cite\u015fte \u015fi pentru<br \/>\na-l atrage de partea sa, naratorul strecoar\u0103 \u00een text, de<br \/>\npe o pozi\u0163ie fals-umil\u0103 \u015fi teatral\u0103, ori de c\u00e2te ori are<br \/>\nocazia, laude la adresa publicului: \u201ePruderia dar \u015fi<br \/>\ntirania st\u0103p\u00e2nii casei lipsea cu totul din societateamodel\u0103<br \/>\ncare o expunem cinsti\u0163ilor \u015fi \u00eenv\u0103\u0163a\u0163ilor no\u015ftri<br \/>\ncetitori, ce se alc\u0103tuiesc negre\u015fit dintr-o \u00eenalt\u0103 noble\u0163\u0103<br \/>\n\u015fi dintr-un respectabil public\u201d (Idem, p. 59).<br \/>\nPreocupat s\u0103 fac\u0103 un portret frumoaselor<br \/>\nmoldovence \u015fi femeilor, \u00een adev\u0103ratul sens al<br \/>\ncuv\u00e2ntului, naratorul anticipeaz\u0103 \u00eentreb\u0103rile pe care<br \/>\ncititorii mai erudi\u0163i i le-ar putea pune: \u201eDar poate mia<br \/>\nzice un pedant, ce fel de fleacuri vorbesc, \u015fi oare tot<br \/>\nce nu-i b\u0103rbat nu-i femeie?\u201d (Idem, p. 60). Dup\u0103 ce \u00ee\u015fi<br \/>\nexpune, pe larg, opiniile despre ce \u00eenseamn\u0103 o femeie<br \/>\n\u00een via\u0163a unui b\u0103rbat, vocea auctorial\u0103 aduce \u00een discu\u0163ie<br \/>\nconceptele de cinste, patriotism \u015fi amor, ocazie de a<br \/>\ncritica societatea superficial\u0103 \u00een care tr\u0103ie\u015fte: \u201eDar tot<br \/>\nacel pedant, critic, aspru \u015fi material, mi-a zice iar\u0103\u015fi,<br \/>\nc\u0103 nici o \u0163ar\u0103 este \u00een lume unde s\u0103 se vorbeasc\u0103 mai<br \/>\nmult de cinste, patriotism \u015fi amor, c\u0103, prin urmare,<br \/>\ncum \u00eendr\u0103znesc a zice c\u0103 aceste virtu\u0163i lipsesc \u00een prea<br \/>\ndulcea \u0163ara noastr\u0103?<br \/>\nTocma pentru c\u0103 se vorbe\u015fte a\u015fa de mult de d\u00e2nsele,<br \/>\ntocma de acea lipsesc, \u015fi la zisele mele dau dovezi a\u015fa<br \/>\nde l\u0103murire ca de dou\u0103 ori\u201d (Idem). Astfel, ochiul critic<br \/>\n\u015fi ironic al autorului-narator analizeaz\u0103 cu<br \/>\nobiectivitate \u015fi deta\u015fare obiceiurile compatrio\u0163ilor s\u0103i<br \/>\ncare \u00ee\u015fi iubesc \u0163ara doar din vorbe, nu \u015fi prin fapte.<br \/>\nCon\u015ftient c\u0103 se \u00eendep\u0103rteaz\u0103 de la subiect, naratorul<br \/>\n\u00ee\u015fi \u00eendreapt\u0103 aten\u0163ia c\u0103tre grupul \u00een care se afl\u0103, nu<br \/>\n\u00eenainte de a mai juca, \u00eenc\u0103 o dat\u0103, rolul scriitorului care<br \/>\n\u00ee\u015fi recunoa\u015fte vina pentru gre\u015felile f\u0103cute, ca \u015fi c\u00e2nd s-ar<br \/>\nafla la tribun\u0103, \u00een fa\u0163a unui auditoriu: \u201eDar v\u0103d, \u00eenalto<br \/>\nnoble\u0163\u0103 \u015fi respectabile public, c\u0103 m-am dep\u0103rtat cu totul<br \/>\nde sujetul meu. (&#8230;) V\u0103 rog s\u0103-mi ierta\u0163i aceast\u0103 digresie<br \/>\n\u015fi revenons \u00e0 nos moutons, adec\u0103 ai s\u0103 ne \u00eentoarcem la<br \/>\niluziile pierdute\u201d (Idem, p. 62). Formulele pe care<br \/>\nnaratorul le adreseaz\u0103 cititorului sunt extrem de<br \/>\npoliticoase, dovad\u0103 a faptului c\u0103 naratorul st\u0103p\u00e2ne\u015fte la<br \/>\nperfec\u0163ie arta oratoric\u0103. Ba chiar \u00ee\u015fi \u00eempodobe\u015fte<br \/>\ndiscursul cu partenerul s\u0103u fictiv cu expresii latine\u015fti<br \/>\n(Retro Satana!) \u015fi fran\u0163uze\u015fti, curente \u00een epoc\u0103. Naratorul<br \/>\n\u00eencalc\u0103, \u00een mod inten\u0163ionat, \u201emoda\u201d balzacian\u0103 a scrierii<br \/>\nunei opere (prezentarea detaliat\u0103 a cadrului, leg\u0103tura<br \/>\nom-mediu etc.) \u015fi refuz\u0103 s\u0103 descrie salonul \u00een care se afl\u0103<br \/>\npersonajele, amintind \u00eenc\u0103 o dat\u0103 de efectele pe care arta<br \/>\nle produce asupra realit\u0103\u0163ii: \u201eSocietatea noastr\u0103 era<br \/>\nadunat\u0103 \u00eentr-un salon, a c\u0103ria nu \u0163i-oi face descrierea,<br \/>\nm\u0103car oric\u00e2t de \u00e0 la mode s\u0103 fie descrierile saloanelor<br \/>\n\u015fi a mobilelor din capitalie \u2013 pentru provinciali, carii<br \/>\ndup\u0103 asemene descrieri \u00ee\u015fi oranjarisesc salonurile \u015fi-\u015fi<br \/>\ncump\u0103r\u0103 mobilurile\u201d (Idem). Publicul cititor cere ca<br \/>\noperele literare \u201es\u0103 fie nu numai verosimile, ci \u015fi, \u00eentrun<br \/>\nanumit sens, \u201everidice\u201d, s\u0103 de\u0163in\u0103 un soi de<br \/>\n\u201ecertificat de adev\u0103r\u201d: documentar, memorialistic, al<br \/>\n\u201eobserva\u0163iei\u201d juste\u201d. (Papadima, p. 143).<br \/>\nPrev\u0103z\u00e2nd c\u0103 reac\u0163ia cititorului \u00een fa\u0163a at\u00e2tor<br \/>\ndigresiuni nu este tocmai una favorabil\u0103, naratorul<br \/>\ndecide s\u0103 renun\u0163e la propriile reflec\u0163ii \u015fi s\u0103 povesteasc\u0103<br \/>\nanecdota promis\u0103: \u201eDar v\u0103d c\u0103 cetitorii mei se o\u0163\u0103resc.<br \/>\n\u00cendat\u0103 ce cineva hot\u0103re\u015fte s\u0103 scrie, s\u0103 se tip\u0103reasc\u0103 de<br \/>\nviu, el nu mai este slobod, este rob; \u015fi ca rob trebuie s\u0103<br \/>\nse supuie publicului, ca \u0163iganul arma\u015fului \u2013 sau<br \/>\nnazirului, dup\u0103 noul a\u015fez\u0103m\u00e2nt. De aceea, cu toate c\u0103<br \/>\na\u015f avea \u00eenc\u0103 multe s\u0103 va spun de lingu\u015fitori, de patrio\u0163i<br \/>\np\u00e2ng\u0103ri\u0163i, de scriitori v\u00e2ndu\u0163i, de parveni\u0163i mai r\u0103i<br \/>\ndec\u00e2t to\u0163i aristocra\u0163ii din lume, de tinere cochete, de<br \/>\nv\u0103duve rele \u015fi slute \u00eenc\u00e2t veninul le ies\u0103 pe obraz, \u015fi de<br \/>\nalte at\u00e2te lucruri vrednice de \u00eensemnat, ce caracterisesc<br \/>\nmoldovenii veacului al nou\u0103sprezecelea, totu\u015fi m\u0103 v\u0103d<br \/>\nsilit s\u0103-mi curm reflec\u0163iile \u015fi s\u0103-\u0163i povestesc curat<br \/>\nanecdota mea\u201d (Kog\u0103lniceanu, p. 63).<br \/>\nTendin\u0163a de a face c\u00e2t mai \u201emulte lucruri deosebite<br \/>\ndeodat\u0103: s\u0103 povesteasc\u0103, s\u0103 ia atitudine, s\u0103 rosteasc\u0103<br \/>\nadev\u0103ruri, s\u0103 formuleze m\u0103rturii, s\u0103 explice, s\u0103 plac\u0103<br \/>\n\u015fi, de ce nu, s\u0103 epateze\u201d, precum \u015fi \u201elipsa<br \/>\n\u00abprofesionaliz\u0103rii\u00bb \u00eendeletnicirii pe care o<br \/>\n\u00eembr\u0103\u0163iseaz\u0103\u201d (Papadima, p. 82), fac din autor un<br \/>\nconstructor care nu \u015ftie s\u0103-\u015fi gestioneze prea bine<br \/>\nmaterialele cu care vrea s\u0103-\u015fi ridice opera. Odat\u0103<br \/>\n\u00eenceput acest proces, el \u00ee\u015fi d\u0103 seama c\u0103 trebuie s\u0103 \u0163in\u0103<br \/>\ncont de publicul receptor. Naratorul este interesat \u00een<br \/>\nmare m\u0103sur\u0103 de reac\u0163ia cititorilor \u015fi \u00eencearc\u0103 s\u0103<br \/>\nprevad\u0103 ce i-ar putea ne \/ mul\u0163umi pentru a le fi pe<br \/>\nplac \u015fi pentru a avea succes. El nu scrie o literatur\u0103 de<br \/>\nsertar, ci scrie pentru a fi citit \u015fi are \u00een vedere s\u0103<br \/>\nmen\u0163in\u0103 tot timpul contactul cu lectorul. Ba chiar<br \/>\nm\u0103rturise\u015fte c\u0103 \u201eeu nu scriu ca s\u0103 te fac s\u0103 pl\u00e2ngi.<br \/>\nTrebuie s\u0103 te fac s\u0103 r\u00e2zi; \u015fi chiar dac\u0103 inima mi-i sac\u0103,<br \/>\ndac\u0103 r\u00e2sul, expresia fericirei, este dep\u0103rtat de buzele<br \/>\nmele, trebuie s\u0103 r\u00e2d, dac\u0103 vreu s\u0103 fiu cetit\u201d<br \/>\n(Kog\u0103lniceanu, p. 65).<br \/>\nAtent la gusturile publicului, naratorul vrea s\u0103<br \/>\nintereseze (docere), s\u0103 seduc\u0103 (delectare) \u015fi s\u0103<br \/>\nconving\u0103 (movere), tr\u0103s\u0103turi care reprezint\u0103, \u00eenc\u0103 din<br \/>\nantichitate, virtutea oric\u0103rui discurs. \u00cen plus, el vrea<br \/>\ns\u0103-\u015fi fac\u0103 receptorii s\u0103 se elibereze de patimi (catharsis)<br \/>\n\u015fi s\u0103 se ridice, prin arta cuv\u00e2ntului \u00eentr-o \u201elume<br \/>\nimpersonal\u0103\u201d (Titu Maiorescu, \u201eComediile d-lui I. L.<br \/>\nCaragiale\u201d), a fic\u0163iunii artistice. Naratorul \u00ee\u015fi d\u0103 seama<br \/>\nc\u0103 succesul unei opere, \u00eenscrierea ei \u00een canonul literar<br \/>\n\u0163ine, pe l\u00e2ng\u0103 aprecierile pozitive ale criticilor, \u015fi de<br \/>\nmodul \u00een care cartea este primit\u0103 \u015fi receptat\u0103 de public.<br \/>\nOdat\u0103 \u00eencheiat\u0103, opera literar\u0103 nu este o lume \u00eenchis\u0103,<br \/>\nci o produc\u0163ie continu\u0103 de enun\u0163uri, care spore\u015fte cu<br \/>\nfiecare lectur\u0103 \u00een parte.<br \/>\nAlternan\u0163a singular \/ plural prin care naratorul se<br \/>\nadreseaz\u0103 receptorului vine dintr-un \u201eimpuls c\u0103tre o<br \/>\n\u00abadresare total\u0103\u00bb, care suprim\u0103 distinc\u0163iile<br \/>\nparticularizante, ca, de pild\u0103, dintre \u00abprivat\u00bb \u015fi<br \/>\n\u00abpublic\u00bb\u201d (Papadima, p. 98). Cu toate acestea,naratorul<br \/>\nnu se conformeaz\u0103 \u00eentru-totul a\u015ftept\u0103rilor publicului,<br \/>\nc\u0103ci refuz\u0103 s\u0103 scrie dup\u0103 \u201ere\u0163etele\u201d narative la mod\u0103. \u00cen<br \/>\nplus, imaginea pe care o are despre publicul larg<br \/>\ncontemporan nu pare a fi una pozitiv\u0103, \u00eentruc\u00e2t cititorii<br \/>\nrom\u00e2ni de la jum\u0103tatea secolului al XIX-lea nu au o<br \/>\nexperien\u0163\u0103 literar\u0103. Faptul este de \u00een\u0163eles \u00een condi\u0163iile<br \/>\n\u00een care difuzarea c\u0103r\u0163ilor era destul de redus\u0103,<br \/>\nlaicizarea culturii rom\u00e2ne s-a f\u0103cut destul de t\u00e2rziu, iar<br \/>\nprofesia de scriitor \u015fi-a consolidat pozi\u0163ia foarte lent.<br \/>\nNaratorul se joac\u0103 intertextual, a\u015fa cum o vor face,<br \/>\nmai t\u00e2rziu, \u015fi prozatorii optzeci\u015fti, pentru c\u0103 damele<br \/>\nprezente \u00een salonul-cadru citesc, \u00een revista Albina<br \/>\nrom\u00e2neasc\u0103, \u201eIluzii pierdute\u201d de V&#8230; A&#8230; (Vasile<br \/>\nAlecsandri), dovad\u0103 a faptului c\u0103 \u015ftie cum se scrie o<br \/>\nnuvel\u0103 \u015fi c\u0103 are cuno\u015ftin\u0163e de naratologie. Dup\u0103<br \/>\nlectura nuvelei, damele au \u00eenceput, fiecare, a povesti<br \/>\nceva din iluziile lor pierdute. Prezentarea cadrului<br \/>\nfiind \u00eencheiat\u0103, \u00eencepe, ca \u00een \u201eDecameronul\u201d lui<br \/>\nBoccaccio, o serie de istorioare amoroase. Naratorul,<br \/>\nmartor al pove\u015ftilor relatate \u00een salon, devine personaj<br \/>\nc\u00e2nd \u00eei vine r\u00e2ndul la povestit.<br \/>\n\u00cen prima parte a nuvelei, naratorul folose\u015fte<br \/>\npersoana I, num\u0103rul plural, pentru ca, mai apoi, s\u0103<br \/>\nrelateze la persoana a III-a, num\u0103rul singular.<br \/>\nNara\u0163iunea este \u00eentrerupt\u0103 de pasaje reflexive, dar \u015fi<br \/>\ndespre cei din jurul s\u0103u, m\u0103rturisirea lu\u00e2nd aspectul<br \/>\nunui \u201edocument cultural\u201d (D. Popovici, \u201eRomantismul<br \/>\nrom\u00e2nesc\u201d, Bucure\u015fti, Editura Tineretului, 1969,<br \/>\np. 386). Firul narativ este, de asemenea, \u00eentrerupt de<br \/>\ncontactul dialogic explicit cu lectorul, naratorul fiind<br \/>\npreocupat s\u0103 nu-l plictiseasc\u0103 sau s\u0103-l oboseasc\u0103.<br \/>\nPozi\u0163ion\u00e2nd adjectivul pronominal \u201enoastr\u0103\u201d \u00een fa\u0163a<br \/>\nsubstantivului \u201esocietate\u201d (cu sensul de \u201egrup\u201d),<br \/>\nnaratorul \u00ee\u015fi revendic\u0103 apartenen\u0163a la aceast\u0103 adunare,<br \/>\nceea ce face din el un narator-martor.<br \/>\n\u00cen partea a doua a nuvelei, naratorul poveste\u015fte<br \/>\nauditoriului (celor prezen\u0163i \u00een salon), aduc\u00e2nd la<br \/>\ncuno\u015ftin\u0163\u0103 \u015fi cititorului, prima lui decep\u0163ie din<br \/>\ndragoste, \u00eent\u0103iul amor. Naratorul devine personaj, iar<br \/>\nnara\u0163iunea cap\u0103t\u0103 un caracter memorialistic, \u201efiind,<br \/>\ndup\u0103 \u201eCum am \u00eenv\u0103\u0163at rom\u00e2ne\u015fte\u201d a lui Negruzzi, a<br \/>\ndoua amintire din copil\u0103rie a unui scriitor rom\u00e2n\u201d<br \/>\n(Manolescu, p. 207). Cu toate acestea, naratorul arunc\u0103<br \/>\no umbr\u0103 de \u00eendoial\u0103 asupra veridicit\u0103\u0163ii pove\u015ftii pe<br \/>\ncare urmeaz\u0103 s\u0103 o \u00eenceap\u0103: \u201eC\u00e2nd r\u00e2ndul meu veni,<br \/>\niat\u0103 ce povestii; \u015fi s\u0103 n-am parte de nimic\u0103, s\u0103 nu<br \/>\ng\u0103sesc niciodat\u0103 scaun la teatru, capul s\u0103 nu mi se<br \/>\nrazime niciodat\u0103 pe s\u00e2nul unei femei, s\u0103 nu-mi vie<br \/>\nniciodat\u0103 dro\u015fc\u0103 la deal unde \u015fed, soarele s\u0103 nu aib\u0103<br \/>\nraze pentru mine, v\u00e2natul s\u0103 nu ias\u0103 niciodat\u0103 \u00eenaintea<br \/>\npu\u015ftei mele \u2013 dac\u0103 tot ce spun \u00eei adev\u0103rat, sau nu-i<br \/>\nadev\u0103rat\u201d (Kog\u0103lniceanu, p. 66). Exprimarea este<br \/>\nambigu\u0103 \u015fi las\u0103 loc la interpret\u0103ri. Naratorul se joac\u0103<br \/>\ncu cititorul \u015fi formuleaz\u0103 o fraz\u0103 de tip perioad\u0103,<br \/>\nutilizat\u0103, \u00een general, de scriitorii savan\u0163i (Miron Costin,<br \/>\nAlexandru Odobescu etc.) care pune pe g\u00e2nduri.<br \/>\nPovestea care urmeaz\u0103 este o fic\u0163iune sau nu?<br \/>\nPentru a g\u0103si un r\u0103spuns ar trebui s\u0103 men\u0163ion\u0103m o alt\u0103<br \/>\nm\u0103rturisire a naratorului: \u201eC\u00e2t pe ce eram s\u0103-\u0163i spun o<br \/>\nistorie adev\u0103rat\u0103, c\u00e2nd m-am \u00eendatorit s\u0103-\u0163i spun o<br \/>\nanecdot\u0103, n\u0103scut\u0103 \u00een \u00eenchipuirea mea\u201d (Idem, p. 65).<br \/>\nMisterul se elucideaz\u0103 \u00eenainte de a relata \u00eent\u0103iul amor,<br \/>\nc\u0103ci autorul-narator \u00ee\u015fi asum\u0103, hot\u0103r\u00e2t, cele ce vor<br \/>\nurma: \u201eV\u0103 voi vorbi, dar, numai de iluziile mele de<br \/>\namor: \u015fi aceste-s de mai multe feluri; \u00een ast\u0103 sar\u0103, v\u0103<br \/>\nvoi spune numai decep\u0163ia celui \u00eent\u0103i amor ce am sim\u0163it<br \/>\n\u00een via\u0163a mea\u201d (Idem, p. 67).<br \/>\nPovestirea implic\u0103 o rela\u0163ie special\u0103 \u00eentre narator \u015fi<br \/>\ncititor, impun\u00e2nd un ceremonial al discursului, un<br \/>\nsistem de conven\u0163ii \u015fi anumite formule de adresare<br \/>\n(\u201eMesdames \u2013 am \u00eenceput a vorbi cu un ton profesoral<br \/>\n\u2013 iluziile care le-am pierdut sunt de trei feluri: iluzii<br \/>\npolitice, iluzii literare, iluzii de amor\u201d (Idem, p. 66)),<br \/>\nmenite a crea atmosfer\u0103, a capta aten\u0163ia cititorului \u015fi ai<br \/>\ncultiva o stare de a\u015fteptare, men\u0163in\u00e2ndu-l \u00een suspans.<br \/>\nDup\u0103 aceast\u0103 lung\u0103 introducere, \u00eencepe o povestire \u00een<br \/>\npovestire care \u201eni-l arat\u0103 pe Kog\u0103lniceanu, elev al unui<br \/>\npension francez din Ia\u015fi, \u00eembr\u0103cat \u00een lungi straie<br \/>\nasiatice\u015fti \u015fi \u00eendr\u0103gostit de Niceta, fiica generoas\u0103 \u00een<br \/>\ndragoste a profesorului de grece\u015fte \u015fi tovar\u0103\u015fa de<br \/>\nstudii \u00eentru Telemac\u201d (Popovici, p. 386). Dac\u0103 D.<br \/>\nPopovici se rezum\u0103 s\u0103 fac\u0103 doar o scurt\u0103 trecere \u00een<br \/>\nrevist\u0103 a subiectului, remarc\u00e2nd nuvela pentru ca este<br \/>\ncea dint\u00e2i \u00eencercare epic\u0103 a lui Kog\u0103lniceanu, Nicolae<br \/>\nManolescu este interesat de procedeele narative<br \/>\nutilizate de autor, compar\u00e2ndu-l cu scriitorii optzeci\u015fti<br \/>\nprin maniera ludic\u0103 \u00een care descrie anumite pasaje.<br \/>\nNaratorul-personaj este con\u015ftient de figurile de stil<br \/>\nfolosite \u015fi de referin\u0163ele livre\u015fti pe care le face: \u201eFa\u0163a ei<br \/>\nera r\u0103tund\u0103 \u015fi alb\u0103 ca puful unei lebede. Compara\u0163ia \u00eei<br \/>\ncam obi\u015fnuit\u0103, dar mi-\u0163i ierta c\u0103 alta mai poetic\u0103 numi<br \/>\nvine subt pan\u0103. Sprincenile ei era negre \u015fi ochii<br \/>\nalba\u015ftri; judeca\u0163i, dar, ce minune era. Ce era \u00eens\u0103 \u00een ea<br \/>\nmai f\u0103rm\u0103c\u0103tor dec\u00e2t toate, era buzele ei mai frumoase<br \/>\ndec\u00e2t dou\u0103 frunze de roze. De a\u015f fi Lamartine sau<br \/>\nVictor Hugo, tot n-a\u015f fi \u00een stare s\u0103 v\u0103 fac o descriere<br \/>\nadev\u0103rat\u0103 de acele buze\u201d (Kog\u0103lniceanu, p. 68).<br \/>\nDescriind emo\u0163iile prin care trece \u00een dob\u00e2ndirea<br \/>\naten\u0163iei \u015fi amorului Nicetei, cucerit\u0103 cu o declara\u0163ie de<br \/>\ndragoste \u00een care adolescentul de atunci a pus cele mai<br \/>\n\u00eenfocate compara\u0163ii din lume, admi\u0163\u00e2nd, cu umor, c\u0103 a<br \/>\nrecurs la \u201etoate cuvintele tehnice de filozofie, de<br \/>\nretoric\u0103, de geografie, de istorie, p\u00e2n\u2019 \u015fi de<br \/>\nastronomie\u201d (Idem, p. 72), eroul-narator face o<br \/>\nm\u0103rturisire pe care o vom \u00eent\u00e2lni \u015fi la Camil Petrescu,<br \/>\nun secol mai t\u00e2rziu: \u201e\u00cens\u0103 iar egoismul m-apuc\u0103; iar<br \/>\n\u00eemi vine s\u0103 vorbesc de eu \u015fi de mine. Dar ce s\u0103 fac; a\u015fa<br \/>\nam hot\u0103r\u00e2t din \u00eenceputul povestirei, s\u0103 v\u0103 vorbesc<br \/>\nnumai de persoana mea. De c\u00e2te ori am vorbit de al\u0163ii,<br \/>\nchiar adev\u0103rat, totdeauna am p\u0103\u0163it pozna. De aceea (&#8230;)<br \/>\nam jurat s\u0103 nu mai vorbesc dec\u00e2t de mine\u201d (Idem, p. 73).<br \/>\nAceast\u0103 perspectiv\u0103 subiectiv\u0103 va fi preferat\u0103 de Camil<br \/>\nPetrescu \u00een dauna perspectivei omnisciente care-l<br \/>\nconsacrase pe Liviu Rebreanu, \u00eentruc\u00e2t, potrivit lui<br \/>\nC. Petrescu, nu ne putem cunoa\u015fte cu adev\u0103rat dec\u00e2t<br \/>\npe noi \u00een\u015fine.<br \/>\nPentru \u201ea nu fi numit leh\u0103u\u201d \u015fi pentru a nu-\u015fi plictisi<br \/>\nauditoriul cu \u201e\u00eent\u00e2lnirile pline de s\u0103rut\u0103ri dulci \u015fi de<br \/>\nconversa\u0163ii interesante\u201d ale celor doi tineri amorezi,<br \/>\npersonajul \u00ee\u015fi scurteaz\u0103 povestirea. Scena final\u0103, mai<br \/>\npu\u0163in amuzant\u0103 pentru erou, este povestit\u0103 de narator<br \/>\ncu umor. \u00cen ziua de Anul Nou, camerista Nicetei, \u201eo<br \/>\ncreatur\u0103 grozav\u0103, sc\u00e2rnav\u0103, gheboas\u0103, \u015fchioap\u0103, numai<br \/>\ncu un ochi, \u015fi par dessus le march\u00e9, era \u015fi mut\u0103\u201d (Idem,<br \/>\np. 77) \u2013 naratorul adun\u0103 aici, toate tr\u0103s\u0103turile fizice<br \/>\nnegative posibile \u2013 \u00eei aduce o acadea \u00een form\u0103 de<br \/>\ninim\u0103, str\u0103puns\u0103 simbolic de dou\u0103 bolduri. Naratorul<br \/>\nnu las\u0103 s\u0103-i scape repulsia \u015fi oroarea pe care o simte<br \/>\nfa\u0163\u0103 de aceast\u0103 ar\u0103tare malefic\u0103, fa\u0163\u0103 de aceast\u0103<br \/>\nvr\u0103jitoare: \u201eMuta dracului se apropie de mine \u015fi prin<br \/>\nsemne \u00eemi ar\u0103t\u0103 c\u0103 avea s\u0103-mi dea ceva din partea<br \/>\nduduc\u0103i\u201d (Ibidem). Amorul s\u0103u at\u00e2t de curat a fost<br \/>\n\u201espurcat prin o aluzie a\u015fa de prozaic\u0103\u201d, dovedind c\u0103<br \/>\nNiceta nu este un \u00eenger, ci mai degrab\u0103, o \u201eb\u0103c\u0103li\u0163\u0103 de<br \/>\npe Podul Lung\u201d. \u00cen finalul nuvelei, naratorul \u00eenchide<br \/>\npovestea de amor (dragostea lui a murit, nu a mai<br \/>\nv\u0103zut-o pe Niceta) \u015fi revenind la povestea cadru spune<br \/>\nce ar face de pe pozi\u0163ia omului matur (\u201eAltul, \u015fi eu<br \/>\nast\u0103zi a\u015f face-o, ar fi m\u00e2ncat inima \u015fi pe urm\u0103 s-ar fi<br \/>\ndus \u015fi ar fi str\u00e2ns pe Niceta \u00een bra\u0163e tare \u015fi zdrav\u0103n\u201d),<br \/>\nsf\u00e2r\u015findu-\u015fi povestea abrupt \u2013 \u201eEu am sf\u00e2r\u015fit\u201d.<br \/>\n\u00cembin\u00e2nd povestirea \u015fi consemnarea, romanul \u015fi<br \/>\ndizerta\u0163ia, \u201e\u00eentr-un paradis inocent al toleran\u0163ei<br \/>\nreciproce\u201d (Papadima, p. 63), nuvela lui Kog\u0103lniceanu<br \/>\naduce \u00een prim-plan \u201eun soi de \u00ab autonarator \u00bb, intens<br \/>\npersonalizat, pun\u00e2nd \u00een gaj pentru adev\u0103rul povestirii<br \/>\nm\u0103rturii autobiografice sau idei \u015fi atitudini exhibate<br \/>\ncu aplombul liderului de opinie, tematiz\u00e2ndu-\u015fi<br \/>\npostura auctorial\u0103 (&#8230;), ca s\u0103 treac\u0103 apoi \u00een rolul<br \/>\nconven\u0163ional de personaj-martor sau de simplu<br \/>\npovestitor care \u00ee\u015fi delecteaz\u0103 \u00abauditoriul\u00bb cu<br \/>\nistorisirile sale\u201d (Idem, p. 152).<br \/>\nPovestitorul arat\u0103, explic\u0103, interpreteaz\u0103, \u00ee\u015fi \u00eencepe<br \/>\nrelatarea dup\u0103 largi ocoluri, nu este \u00eentotdeauna<br \/>\nconsecvent cu sine, schimb\u0103 planurile epice cu<br \/>\nu\u015furin\u0163\u0103, amestec\u0103 fic\u0163iunea \u015fi realitatea, strune\u015fte<br \/>\nimagina\u0163ia cititorului cu care men\u0163ine, \u00een permanen\u0163\u0103,<br \/>\ncontactul.<br \/>\nProza pa\u015foptist\u0103, de\u015fi are numeroase deficien\u0163e,<br \/>\ninerente unei literaturi aflat\u0103 la \u00eenceputurile ei, atrage<br \/>\ntocmai prin acest amalgam de tr\u0103s\u0103turi identificate \u00een<br \/>\nnuvela lui Kog\u0103lniceanu. De\u015fi sunt redundante \u015fi par<br \/>\nplictisitoare, adres\u0103rile c\u0103tre cititor relev\u0103 importan\u0163a<br \/>\npe care scriitorii o acord\u0103 receptorului, iar aceast\u0103<br \/>\ncurtoazie nu te poate face, \u00een calitate de lector, dec\u00e2t<br \/>\ns\u0103 te sim\u0163i bine.<\/p>\n<p><em>Bibliografie<br \/>\nKog\u0103lniceanu, Mihail, Scrieri literare, istorice, politice,<br \/>\nBucure\u015fti, Editura Tineretului, 1997.<br \/>\nManolescu, Nicolae, Istoria critic\u0103 a literaturii rom\u00e2ne,<br \/>\nBucure\u015fti, Editura Minerva, 1990.<br \/>\nPapadima, Liviu, Literatur\u0103 \u015fi comunicare. Rela\u0163ia<br \/>\nautor-cititor \u00een proza pa\u015foptist\u0103 \u015fi postpa\u015foptist\u0103, Ia\u015fi,<br \/>\nEditura Polirom, 1999.<br \/>\nPopovici, D., Romantismul rom\u00e2nesc, Bucure\u015fti,<br \/>\nEditura Tineretului, 1969.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>LIDIA LAZU POEME Sunetele ritmate oricum te elibereaz\u0103 \u015fi te \u00eenal\u0163\u0103 de aceea \u015fi c\u00e2nd joc s\u00e2rba-n c\u0103ru\u0163\u0103 eu cred<\/p>\n","protected":false},"author":18,"featured_media":10070,"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":[7,328],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/21878"}],"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\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=21878"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/21878\/revisions"}],"predecessor-version":[{"id":21879,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/21878\/revisions\/21879"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/10070"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=21878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=21878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}