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Despre Boierism: manifest si razie
Round Table
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- - - - - - - - - - - - - - - - - - - - - - 2007-09-23 | | II. The second chapter aims to follow the evolution of Valeriu Anania’s poetical creation, by distinctly analysing every of the five volumes of poetry published between 1971 and 1992. The introductory part attempts to identify the circumstances of the configuration of the poetic spirit, by relating to the personality and work of the two writers who represented declaratively an aesthetic reference: Tudor Arghezi and Vasile Voiculescu. We paid special attention to the symbol of light in the poetical works of the author, and the concise conclusion aims at showing the paradoxical role of the language with Valeriu Anania between to make and to create, understood as synonyms by the writer of theological education. The literary exegesis situates Valeriu Anania as poet at the antipodes of the paradigm of the Romanian religious poetry: as a descendent of Nichifor Crainic’s poetic art, as “the theologian almost always overwhelms the poet, in the sense that the writer cannot afford to lose the track of the religious education in order to create a metaphysics, indeed of Christian inspiration, but with various ways of interpretation, in the manner of Lucian Blaga or Tudor Arghezi, both severely reprimanded by theologians” (1), up to the opposite opinion: “I would not place him as a poet near Nichifor Crainic, but rather as descendent of Arghezi, who thus proves, similarly to Paul Valery that yet creation is a making, a skill which attracts by any means a mystique, an ineffable mystery.” (2) Valeriu Anania, albeit difficult to place as poet in a certain formula of history of literature or in the context of present-day poetry, seems to slide between the aesthetics of the two religious poets whom he met in his literary “apprenticeship”. He takes over the idea of poetic creation as skill from Tudor Arghezi, while from Vasile Voiculescu he takes over the idea of prayer and Eucharist through poetry. This is a blending that will melt in the retort of his own ars poetica, in a supreme effort of homogenising the contraries, a genuine feature of Valeriu Anania’s entire biography and work. The content of the memoirs reveals the fact that the fundamental affiliation of Valeriu Anania’s poetic art is of Arghezian origin: “… the poet’s altar, where every night there was the frightening mystery of bread’s turning into word.” (3) The poetical creation understood as a liturgy of the Christian ritual, the assimilation of the function of the poetical word into that of the secret Eucharist from the Christic body and spirit, will determine the configuration of not few of Valeriu Anania’s poetic arts, definitely the most accomplished segment of his poetry from an aesthetical point of view. We must remember two of the exegete Valeriu Anania’s statements. On the one hand, the religiosity of the Arghezian stanzas must be understood through “… the communion with God’s unseen presence in the miracle of the written word. Unable to grasp the mystery, the poet assumes it.” (4) On the other hand, the vision upon the poet creator Vasile Voiculescu: “The poet is, indeed, the creator of his own poetry, but he can also be the instrument through which the utterance of the Logos becomes articulated, sensitive, and communicative.” (5) Valeriu Anania finds the mutual paradigm for both poets to whose poetic art he has confessed as disciple. For Valeiu Anania, the act of artistic creation does nothing but reproduce the demiurgic one, at human scale, through the direct participation of the ontic force. The written word, as terrestrial “material” representative of the Logos is the corner stone of Valeriu Anania’s poetic art – a remarkable effort to conciliate the opposites. The volume Anamneze (Anamneses) published in 1984 must be considered Valeriu Anania’s masterpiece as a poet. In the section Orele mamei (Mother’s Hours) the poet’s attention is constantly focused on mother’s relation to the baby, and, thus, the attention is drawn to the latter,” the performer in the shadow” of the cycle. The cycle is infused with “lullabies”, characterised first by the author’s obvious closeness to popular folklore, from where he borrows poetic formulae and formulations, apparently simplistic and naďve at the level of artistic form, but which render an aura of ingenuous and genuine mystery to the evocation of in the cradle. The cradle is nothing but the artistic studio. In the cycle Anamneze (Anamneses), the poet is the initiated entity capable of naming the facets of the universe, reiterating the primordial Logos through its own poetic word and revealing to the reader a new facet of creation. The poet ensures the materialisation of the world in words just the way the creator ensures the existence of the soul within the body. “The Posthumous Geneses”, which the poet refers to are his own stanzas, always in a never-ending “blooming”. Valeriu Anania’s entire aesthetics rotates centripetally around the artist’s attempt to survive in a poetic facet after death. The artistic creation turns into the saving path of the self. This is a remarkable vision of a theologian who manages to be convincing as authentic artist as well, the association and dissociation of the two instances being always in a complementary relation and not in one of mutual rejection. In spite of all inconstancies of the poetic expression, inconstant from the point of view of value, the cycle Anamneses, and thus, the homonym volume, remain the culminating moment of aesthetic accomplishment in Valeriu Anania’s poetical work, especially for his poetic arts. Here every new joining of the poetic gift with the divine one, of the status of the artist with the Christic one, of the artistic word with the primordial Logos and with the creation of multiple geneses will generate never-ending ambiguities, tensions and speculations, maintaining the set of ideas within the dimension of an authentic confession of the profession of believer. By creating for the worship of divinity, the poet resorts to the usage of a well-known cultural and homogeneous motif from the significance point of view, to whom Christianity and especially mystique paid special attention. We would like to make an observation here: “The opposition light-darkness is (…) in the Occident, that between angels and demons.” (6) While, in Valeriu Anania’s poetry, the opposition light-darkness, rather fading, does by no means express the poetical expression of antagonism. But, it is also very unlikely that the author himself had intended this project, following directly the principle of the initiating-mystical enlightenment of man by divinity, light becoming a means of knowing the transcendent, but also one of offering one chance to soteriology. From this point of view, the symbolism of light is fully accomplished aesthetically in Valeriu Anania’s poetry, becoming a referential matter for any exegetic approach, which aims to underline the religious symbolism in Romanian poetry. The brief conclusion attempts to show the great importance that different theses of Christian aesthetics had upon Valeriu Anania’s poetry. One of Cassiodorus’s statements from Exposition of the Psalms imposes as fundamental in the decoding of Valeriu Anania’s aesthetics or, better said, poetics (taking into consideration the concept of poienin meaning to create): “If we make deeper research, there is a certain difference between the things made and the ones created. It is we who can make as we are not meant to create.” (7) An entire poetic art is born around this statement, and Valeriu Anania, while paradoxically dissociating from the great Arghezi, reveals himself in a dramatic attempt to dissimulate the evidence of the understanding and acceptation of the idea that through the work of art the poet will never reiterate the divine creation, but will only perform a succedaneum of it, in conformity with the gift understood as preoccupation…For the author, the term to make and to create are perfect synonyms, sharing a unique signified. Valeriu Anania’s best poems refer to exactly the artist’s status of creator, to his continuous odyssey of self-conviction that the Christic posture and the Logos have a nature similar to that of the poet and the artistic word, inviting to dramatic metaphysical meditations. By believing in the sacredness of the artistic act, Valeriu Anania considers that he does not make poetry as in the Arghezian skill, but that he performs a creation similar to the primordial one. The conceiver of good stanzas is not, in Valeriu Anania’ s poetry, a heretical or rebellious master, but a believer who creates within the Holy Spirit with his own words received from the Word: “We are told that Moses, as he was stuttering delegated his brother Aron, to speak to the people for him. A receiver of revelation, he could not be at the same time an instrument of communication as well but only a filter between the Logos and utterance. This is how I see the relation between tongue and language. The latter is meant to reveal the Logos not only at the level of utterance but also at the level of significance.” (8) A subtle, original and brave theological theleogumenon after all. III. The chapter dedicated to the analysis and interpretation of Valeriu Anania’s prose approaches distinctly the two volumes signed by the author, challenging a hermeneutical interpretation which uses the instruments of contemporary exegesis but maintaining a fundamental relation to the fundamental Christian text or with theology as a whole, in relation to which the writer constructs elaborated and erudite allegories. Finally yet importantly, we suggest the reading of the two volumes as an artistic dimension of certain autobiographical elements in a subtle parable of the writer’s own destiny. III. 1. The novel Străinii din Kipukua (The Strangers of Kipukua) (1979) is analysed rigorously, thoroughly, rather exhaustively, almost all the four sections aiming to decipher one of the complex aspects imposed by the novel: Elements of Narratology, The Fantastic, The Allegoric, The Identity of the Character. The double meaning, both literal and figurative is explicitly indicated in the novel, and thus, we receive certain references in order to place the text in the genre of intended allegory. The Strangers of Kipukua is a great metaphor of the narrator’s death, the figurative meaning being repeatedly declared in the text. Purgatory of the hero’s soul, Hawaii seems to be an anti-camera where he stops so that his eschatological destination should be decided, and in which he might go through a soteriological process. The attitude towards the significance of resurrection is, just like the fantastic, and narratology, ambiguous. The uncertainty regarding the status of the resurrection and of the resurrected will represent the last level of the allegory. The significance given by Valeriu Anania to this allegory seems uncertain itself, contradictory, ambiguous. The author sets the meaning of the resurrection polemically, its nature and status being in a way foreign for the profane mortal and rather incomprehensible for a rational analysis. This is why, even the author’s first approach of the unusual phenomenon is that of denial and rejection of its miraculous nature. The ontological status of the actants is that of resurrected to die, their long expectation in a diffuse uncertainty being explained through the unconscious but inherent resting for the revealing of the Final Judgement. In this vision, the island is rather an inner landscape, previously known and even independent in its direct perception as fragment of reality. The island is thus an archaic, archetypal form, a rather imaginary shape of the mind than a fragment of the contingent reality. It is an allegory in itself or, at least, a symbolic element of a greater allegory. The novel uses all the devices and techniques of the literary genre of apocalypse: the artistic ambiguity, the fantastic, the hyperbole. The entire story of the novel is built around an essential question: “Who am I? (…) that never-ending question without an answer, which started by belonging to one individual and ended by belonging to everybody.” (9) Living the nostalgia of the primordial irreversibly lost, and also the chimera of recovering it in the present, the characters of the novel will find a primordial, mythical identity, which they will strive to revive by reiterating the hypostases and events of Hawaiian mythology, a factual moolelo. It is worth considering the case in which they discover their authentic archetype, and thus, will be given the identity redemption and the ontological peace. If all philosophy of name is reduced to a simple pseudonymity, to a substitution of proper names, as the relation nomen-cognomen seems to be constructed in the novel, then, the identity of the protagonists will never get a significant ontological essence, but will linger towards a shallow mystification or self-delusion. Longing to be someone special, the protagonists constantly sense the fact that they risk to become nobody. Paradoxically, through the formula “I is another” ” (10), Rimbaud and Julia Kristeva theorize the destiny of the Romanian writer’s foreigners in Kipukua: estranged and aware of their own estrangement, they strive not to become themselves but another, who no longer really represents them, and thus, they tear themselves, they consume themselves in neurosis and in a lack of existential authenticity. III. 2. In the volume of short-stories and novelettes Amintirile peregrinului apter (The Memories of an Apterous Peregrine) (1990) the relationship nuances between the narrator, an apterous peregrine and history is a suggestion of the relation the actant has with diachrony, and implicitly, with temporality: similarly to the anonymous narrator from the previous novel (and similarly to some protagonists of the author’s dramaturgy), the apterous peregrine shows himself to be atemporal, his incursion into temporality, in phenomenology, being of an existence foreign to the specificity of his entity. Ultimately, the narrator is a fragment of the absolute ontic, of an ultimate trans-human entity, descended into contingency in order to redeem humanity through some realities suspended in darkness. By writing his own memoirs, the peregrine understands the nature of his own uncertain and darkened nature for centuries, until the moment of creation. Thus, literature, through the creative process of elaboration becomes an authority that ensures more than the therapeutics of the creating individual, even his own soteriology. Hence, the hermeneutic approach draws near the revealing of the complex nature of the protagonist, of the absolute identity of the apterous peregrine: the author projects himself into the inside of the memories of the apterous peregrine, giving the narrator the status of a wandering angel on earth. Thus, the apterous peregrine recommends himself as the supreme expression of the sublimation of personal solitude, elevated to angelic doubling. Thus, we propose a possible speculative interpretation, sustained with arguments, in which the apterous angel, reduced to a semi-human status, aspires, unconsciously and subliminally to achieve a paradoxical nature and identity, not a previous angelic one, but one just as necessary for the completion of the ontological experience i.e. the human one. The apterous peregrine struggle, all along the diegesis, not to become an angel again, but to acquire humanness. Valeriu Annaia’s apterous peregrine is in a transitory stage, an extremely tense one and still unclear, i.e. that of sharing “the life of embodied spirit”, of getting access to the initiating completing experience of “corporal limit”. This road, which started long ago, even in illo tempore, and which comes from the generative matrix of the ontical primordiality, from the absolutely primordial monad, is a road of the ontological and metaphysical experience of the angel, who is meant to know the status of humanness, the “humanising”, so that he should draw near divinity authentically and completely. (1) Liviu Petrescu, Pământ şi cer, in the volume Valeriu Anania, Poeme alese. With foreword by Liviu Petrescu, Editura Dacia, Cluj-Napoca, 1998, p. 6. (2) Pr. Ioan Pintea, Reflecţii inegale, in the volume Logos Arhiepiscopului Bartolomeu al Clujului la împlinirea vârstei de 80 de ani, coordinated by : Archid. Ştefan Iloaie, cultural counselor, Cluj-Napoca. Editura Renaşterea, 2001, p. 196. (3) Valeriu Anania, Rotonda plopilor aprinşi, 2nd edition, Bucureşti. Editura Florile Dalbe, p. 14. (4) Idem, Poezia religioasă română modernă. Mari poeţi de inspiraţie creştină, I-II, in „Altarul Banatului”, III, no. 4-6, 1992, p. 14-28, no. 7-9, pp. 33-51 and in „Studii teologice”, year XLVI, no. 1-3, 1994, pp. 3-34, reproduced in Valeriu Anania, Din spumele mării. Pagini despre religie şi cultură. Coordination and foreword by Sandu Frunză, Cluj-Napoca, Editura Dacia, 1995, p. 157. (5) Idem, V. Voiculescu sau liniştea supremă a iubirii, in „Revista de istorie şi teorie literară”, year 33, January-March 1985, reproduced in Valeriu Anania, Din spumele mării. Pagini despre religie şi cultură, quoted edition, p. 191. (6) Jean Chevalier, Alain Gheerbrant, Dicţionar de simboluri. Mituri, vise, obiceiuri, gesturi, forme, figuri, culori, numere, Volumul 2, E-O, Bucureşti. Editura Artemis, p. 237. (7) According to Constatin Cubleşan, Curs introductiv de estetică generală, Alba Iulia. Editura Aeternitas, 2002, p. 88. (8) Ioan Pintea, Dialog cu scriitorul Valeriu Anania, in „Steaua”, XXXVII, no. 12, December 1987, pp. 22-25; republished (under the title De vorbă cu Ioan Pintea) in Valeriu Anania, Din spumele mării. Pagini despre religie şi cultură, quoted edition, pp. 206-207. (9) Valeriu Anania, Opera literară, Străinii din Kipukua. Foreword by Aurel Sasu. Chronology: Ştefan Iloaie, Cluj-Napoca. Editura Limes, 2003, pp. 59-60. (10) Julia Kristeva, Străini pentru noi înşine, in „Secolul 21”, Alteritate, edited by Uniunea Scriitorilor din România and Fundaţia Culturală Secolul 21, 1-7/2002, 442-448, p. 278. Lucian Bâgiu, 2006, Műhlbach, Transilvania
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