{"id":27249,"date":"2025-05-21T15:45:40","date_gmt":"2025-05-21T15:45:40","guid":{"rendered":"https:\/\/www.slineamt.ro\/apostolul\/?p=27249"},"modified":"2025-05-21T15:45:40","modified_gmt":"2025-05-21T15:45:40","slug":"dialog-peste-veacuri-dosoftei-eminescu-ii","status":"publish","type":"post","link":"https:\/\/www.slineamt.ro\/apostolul\/cronica-literara\/dialog-peste-veacuri-dosoftei-eminescu-ii\/","title":{"rendered":"Dialog peste veacuri: Dosoftei \u2013 Eminescu (II)"},"content":{"rendered":"
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Remarc\u0103m, din punct de vedere stilistic, la mitropolitul Dosoftei, originalit\u0103\u0163i aparte \u00een structura ritmic\u0103 a versurilor, elemente de pionierat chiar: haxasilabii trohaici, amfibrahi, dactili, anape\u015fti. \u201eNu este numai acest extraordinar efort tehnic, ci \u015fi o calitate deopotriv\u0103 de extraordinar\u0103 a scriiturii, pe o gam\u0103 care cuprinde suavul, grotescul, delicate\u0163ea, vigoarea, muzicalitatea, plasticitatea, solemnitatea, pamfletul, rug\u0103ciunea, hula, sfiosul, senten\u0163iosul, pl\u00e2ngerea ori bucuria1<\/sup>.<\/p>\n\n\n\n

\u00cen fragmentul rezervat Iudeii \u00een Memento mori<\/em> r\u0103sun\u0103 parc\u0103 vocea regelui David, \u00eenecat\u0103 de lacrimi, sf\u00e2\u015fiindu-\u015fi haina \u015fi zdrobindu-\u015fi harpa, anticip\u00e2nd ruina:<\/p>\n\n\n\n

\u201eDar venit-a judecata, \u015fi de s\u0103lcii pl\u00e2ng\u0103toare<\/p>\n\n\n\n

C\u00e2nt\u0103re\u0163ul \u00ee\u015fi anin\u0103 arfa lui tremur\u0103toare;<\/p>\n\n\n\n

\u00cen z\u0103dar ruga\u0163i peirea \u2013 muri se n\u0103ruie \u015fi cad!<\/p>\n\n\n\n

Cad \u015fi sc\u0103ri, \u015f-aurite arcuri, grinzi de cedru, por\u0163i de-aram\u0103,<\/p>\n\n\n\n

Soarele prive\u015fte galben peste-a mor\u0163ii lung\u0103 dram\u0103<\/p>\n\n\n\n

\u015ei s-ascunde \u00een nori ro\u015fii, de spectacol speriat.\u201d;<\/p>\n\n\n

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\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026……………………<\/p>\n\n\n\n

\u201eUnde-n codrii de aram\u0103 c\u00e2nt\u0103-n crengi arfe-at\u00e2rnate<\/p>\n\n\n\n

Zmeii-\u015fi fac din c\u00e2te-un munte uria\u015fele palate\u201d.<\/p>\n\n\n\n

Acelea\u015fi cuvinte ca \u015fi \u00een textul biblic al Psalmilor<\/em>:<\/p>\n\n\n\n

\u201eLa r\u00e2ul Babilonului, acolo am \u015fezut \u015fi am pl\u00e2ns, c\u00e2nd ne-am adus aminte de Sion. \u00cen s\u0103lcii, \u00een mijlocul lor, am at\u00e2rnat harpele noastre\u201d2<\/sup>.         <\/p>\n\n\n\n

Iar mitropolitul moldovean, sim\u0163ind ad\u00e2nc \u00een sufletul s\u0103u umilin\u0163a \u015fi durerea celor exila\u0163i, pl\u00e2ngerea celor \u00een nevoi trupe\u015fti sau suflete\u015fti, exclam\u0103 rom\u00e2ne\u015fte, \u00een glas de bucium:<\/p>\n\n\n\n

\u201eLa apa Vavilonului,<\/p>\n\n\n\n

Jelind de \u0162ara Domnului,<\/p>\n\n\n\n

Acolo \u015fezum \u015fi pl\u00e2ns\u0103m<\/p>\n\n\n\n

La voroav\u0103 ce ne str\u00e2ns\u0103m,<\/p>\n\n\n\n

\u015ei cu inem\u0103 amar\u0103,<\/p>\n\n\n\n

Prin Sion \u015fi pentru \u0163ar\u0103,<\/p>\n\n\n\n

Aduc\u00e2ndu-ne aminte,<\/p>\n\n\n\n

Pl\u00e2ngeam cu lacrimi herbinte.<\/p>\n\n\n\n

\u015ei bucine ferecate<\/p>\n\n\n\n

L\u0103sam prin s\u0103lci aninate\u201d.<\/p>\n\n\n

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Sesiz\u0103m vigoarea \u015fi culoarea lirismului s\u0103u, cu pasaje din care transpare frumuse\u0163ea vie\u0163ii patriarhale autohtone, cu sunet de bucium, cu p\u0103duri umbroase, cu bouri, cu cerbi \u015fi zimbri.<\/p>\n\n\n\n

Sim\u0163indu-se adesea p\u0103r\u0103sit \u015fi \u00eenconjurat de t\u0103cerea lui Dumnezeu, poetul, ca \u015fi regele psalmist, va c\u0103uta r\u0103spuns nelini\u015ftilor, mustr\u0103rilor, ne\u00een\u0163elegerilor, \u00een versuri de o tragic\u0103 frumuse\u0163e. Invoca\u0163ia c\u0103tre divinitate \u015fi configurarea sacrului a n\u0103scut poeme considerate de critica literar\u0103 adev\u0103ra\u0163i psalmi: Rug\u0103ciune, Colinde, colinde, \u00cenvierea, Dumnezeu \u015fi om<\/em>, \u015fi R\u0103sai asupra mea<\/em>.<\/p>\n\n\n\n

Ideatic vorbind, asemeni concep\u0163iei psalmistului David, Eminescu face o disociere clar\u0103 \u00eentre timpul uman limitat \u015fi timpul divin, unific\u00e2nd clipele \u00eentr-un unic moment.<\/p>\n\n\n\n

\u201eC\u0103 o mie de ani \u00eenaintea ochilor T\u0103i sunt ca ziua de ieri, care a trecut, \u015fi ca straja nop\u0163ii. Nimicnicie vor fi anii lor; diminea\u0163a ca iarba va trece\u201d3<\/sup>.<\/p>\n\n\n\n

Mitropolitul poet mediteaz\u0103 pe marginea mor\u0163ii:<\/p>\n\n\n\n

\u201eC-ai z\u00e2s s\u0103 s\u0103-ntoarc\u0103-n tin\u0103<\/p>\n\n\n\n

Tot omul de supt lumin\u0103.<\/p>\n\n\n\n

De i-ar fi via\u0163a de lung\u0103<\/p>\n\n\n\n

Ntr-o mie de ai s-agiung\u0103,<\/p>\n\n\n\n

Naintea Ta este scurt\u0103<\/p>\n\n\n\n

Ca cea zi de ieri trecut\u0103.<\/p>\n\n\n\n

\u015ei ca straja cea de noapte<\/p>\n\n\n\n

\u00cei sunt zilele lui toate.\u201d<\/p>\n\n\n\n

Concep\u0163ia potrivit c\u0103reia la Dumnezeu nu exist\u0103 nici trecut, nici viitor, ci prezent etern apare \u015fi \u00eentr-o variant\u0103 a poemului Cu m\u00e2ne zilele-\u0163i adaugi<\/em>, ca \u015fi \u00een alte poeme, sau \u00een nuvela S\u0103rmanul Dionis<\/em>: \u201eNu esist\u0103 nici timp, nici spa\u0163iu \u2013 ele sunt numai \u00een sufletul nostru. Trecut \u015fi viitor e \u00een sufletul meu, ca p\u0103durea \u00eentr-un s\u00e2mbure de ghind\u0103, \u015fi infinitul asemene, ca reflectarea cerului \u00eenstelat \u00eentr-un strop de rou\u0103\u201d. \u00cen Dumnezeu, trecutul \u015fi viitorul sunt concentrate \u00eentr-un prezent etern:<\/p>\n\n\n\n

\u201eCe-atribui\u0163i Dumnezeirii<\/p>\n\n\n\n

A g\u00e2ndurilor voastre chaos<\/p>\n\n\n\n

Tot ce se na\u015fte, fuge, piere<\/p>\n\n\n\n

E-n ochii Domnului repaos.<\/p>\n\n\n\n

\u015ei ce-n g\u00e2ndire odihne\u015fte<\/p>\n\n\n\n

E-n ochii Domnului mi\u015fcare<\/p>\n\n\n\n

\u00centre g\u00e2ndire \u015fi-ntre moarte<\/p>\n\n\n\n

Nu este vro asem\u0103nare\u201d4<\/sup>.<\/p>\n\n\n\n

\u201eAl\u0103turi de C\u00e2ntarea C\u00e2nt\u0103rilor<\/em>, Psalmii<\/em> \u00eemp\u0103ratului \u015fi proorocului David sunt poezie de nivel \u00eenalt, \u00een c\u00e2teva locuri de neegalat p\u00e2n\u0103 \u00een zilele noastre. \u015ei nu e deloc o \u00eent\u00e2mplare c\u0103 tocmai fragmentele cele mai frumoase ale originalului sunt \u015fi cele mai izbutite \u00een versiunea rom\u00e2neasc\u0103 a lui Dosoftei\u201d5<\/sup>. El a luptat asiduu cu toate dificult\u0103\u0163ile \u00eenceputului, pentru c\u0103 limba literar\u0103 nu fusese \u00eenc\u0103 pl\u0103smuit\u0103 pentru a se preta la ritmicitatea versului, iar mijloacele artistice nu fuseser\u0103 valorificate. A fost, desigur, un demers greu, dup\u0103 cum \u00eensu\u015fi m\u0103rturise\u015fte: \u201ecu mult\u0103 trud\u0103 \u015fi vriame \u00eendelungat\u0103\u201d, vreme de \u201ecinci ani cu foarte os\u00e2rdie mare\u201d.<\/p>\n\n\n\n

\u201eA str\u0103bate Psaltirea<\/em> echivaleaz\u0103 cu o c\u0103l\u0103torie printr-o \u0163ar\u0103 a minunilor poetice\u201d6<\/sup>. Tocmai de aceea, \u00een toate \u0163inuturile rom\u00e2ne\u015fti, p\u00e2n\u0103 ast\u0103zi, psalmii lui Dosoftei, \u201eca de pild\u0103 46 (\u201eLimbile s\u0103 salte\u201d), 48 (\u201eVeni\u0163i cu to\u0163ii dimpreun\u0103 s\u0103 ne facem voie bun\u0103\u201d), 94 (\u201eAuzi\u0163i acestea toate, neamuri, noroade \u015fi gloate\u201d), 98 (\u201eDomnu st\u0103tu crai \u00een \u0163ar\u0103\u201d) au p\u0103truns \u00een ciclul colindelor populare \u015fi se c\u00e2nt\u0103 de c\u0103tre copiii care poart\u0103 cu steaua, pe uli\u0163ele satelor \u015fi ora\u015felor, solia Na\u015fterii M\u00e2ntuitorului\u201d7<\/sup>.<\/p>\n\n\n\n

 \u00cen cultura \u015fi literatura rom\u00e2n\u0103 posteritatea va oferi peste veacuri, at\u00e2t sf\u00e2ntului c\u0103rturar Dosoftei, c\u00e2t \u015fi poetului martir Eminescu un loc binemeritat \u00een r\u00e2ndul \u00eenaintemerg\u0103torilor spre o limb\u0103 rom\u00e2n\u0103 literar\u0103, cinstindu-i prin reedit\u0103ri nenum\u0103rate \u015fi pomenindu-le cu sfial\u0103 \u015fi pio\u015fenie numele, ca pe cele ale unor veritabili ctitori.<\/p>\n\n\n\n

Dr. Emanuela ISTRATI MACOVEI<\/em><\/strong><\/p>\n\n\n\n

\u015ecoala Gimnazial\u0103 Domneasc\u0103, ora\u015ful T\u00e2rgu-Neam\u0163<\/em><\/strong><\/p>\n\n\n\n

1<\/sup> Nicolae Manolescu, Istoria critic\u0103 a literaturii rom\u00e2ne \u2013 5 secole de literatur\u0103<\/em>, Ed. Paralela 45, Pite\u0219ti, 2008, p. 33.<\/p>\n\n\n\n

2<\/sup> Psalmi<\/em> 136, 1-2.<\/p>\n\n\n\n

3<\/sup> Psalmi<\/em> 89, 4-5.<\/p>\n\n\n\n

4<\/sup> Mihai Eminescu, Opere, III<\/em>, p. 169.<\/p>\n\n\n\n

5<\/sup> I. Rotaru, Literatura rom\u00e2n\u0103 veche<\/em>, Ed. Didactic\u0103 \u0219i pedagogic\u0103, Buc., 1981, p.152.<\/p>\n\n\n\n

6<\/sup> Nicolae Manolescu, op. cit., p. 33.<\/p>\n\n\n\n

7<\/sup> N. Cartojan, Istoria Literaturii Rom\u00e2ne Vechi<\/em>, Ed. Minerva, Buc., 1980, p. 209.<\/p>\n","protected":false},"excerpt":{"rendered":"

Remarc\u0103m, din punct de vedere stilistic, la mitropolitul Dosoftei, originalit\u0103\u0163i aparte \u00een structura ritmic\u0103 a versurilor, elemente de pionierat chiar: haxasilabii trohaici, amfibrahi, dactili, anape\u015fti. \u201eNu este numai acest extraordinar efort tehnic, ci \u015fi o calitate deopotriv\u0103 de extraordinar\u0103 a…<\/p>\n

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