Psihologismul oniric si erotic - gib I. Mihaescu

Psihologismul oniric si erotic -  Gib I. Mihaescu

La Gib I. Mihaescu (1894-1935), inclinatia literara pentru exces, imaginatia enormitatii si a grotescului apar ca o manifestare compensativa a fapturii lui umane. "Era un om absent si lipsit de vigoare." (Oscar Han)

Productia unui deceniu a avut parte de o  selectie autocritica, in cele doua volume antume, La "Grandiflora", 1928, Vedenia, 1929.

Proza scurta, cu referentialitate taraneasca, este precara deopotriva ca text si realizare, dupa cum putem urmari intr-o tarzie editie de Nuvele regasite, 2003, unde apar si cateva povestiri rurale.

Unele dintre viitoarele sale romane trec prin stadiul de nuvela: Femeia de ciocolata (in "Gandirea", 1925), Rusoaica (in "Gandirea", 1930). Alte nuvele vor fi integrate in romanul Zilele si noptile unui student intarziat.

Proza aceasta este una de proiectii ale puterii sentimentale extreme si concrete, materializate la propriu prin competitie, gelozie, posesie.

Recurenta erotismului are doua ipostaze: in cazul cel mai rau ea este netransfigurata, triviala, iar in cazul cel mai bun  ea este remodelata si denaturata livresc (aici a fost identificata cu mare graba influenta rusa, dostoievskiana).

Aici, in plin obisnuit, nu apare fantasticul, ca la Eliade, ci fantasmaticul. Toata fiinta acestor fapturi se tulbura si halucineaza, stapanita psihic si moral de un cutremur visceral, senzorial, imaginativ.

Scriitorul este un fantezist ce pare un vizionar, atat in constructia subiectului, cat si in imaginatia expresiva.

Efectele de real si vizionarism provin din virtutea abil simulata de constructor in imprevizibil si insolit a prozatorului, fapt care a determinat etichetari precum "constructivism psihologic" (Cioculescu) sau "politism psihologic" (Streinu). Adecvata mi se pare formula retorism psihologic.

Virtualul domina realul, ceea ce face sa se modifice si sa se atenueze propensiunea spre actele extreme, de violenta afectiva sau de constiinta.

In cel dintai roman al lui Mihaescu, Bratul Andromedei, 1930, realitatea himerica este fragila si nu transformatoare, nu are puterea de a dizloca realitatea comuna a provinciei.

Domina anecdotica erotica: trei barbati in aparenta diferiti s-au angajat in competitie pentru o femeie fara mister. Lirismul ironic fractureaza salvator, pe ici-pe colo, naratiunea.

O intriga erotica de tip anecdotic se intoarce si in Femeia de ciocolata, 1933, unde doi barbati o vor de sotie pe o femeie, dar al doilea este silit sa se multumeasca a o avea doar ca amanta. Fixatia erosului se produce la limita dintre verosimilitate si proiectie fantezista si himerica. Naratiunea este lipsita de inventivitate si pare a urma sau a propune o reteta de trivialliteratur.

Zilele si noptile unui student intarziat, 1934, este mai ales romanul unui personaj, Mihnea Baiatu, un amoral, un mistificator impenitent. Subiectul, legat tot de anecdoticul comun, este aici mai bine pus in naratiune, prin echilibrul si acuitatea observatiei si analizei, a dramatismului si a comicului de caracter si de situatii, in sfarsit, prin oralitatea vie.

Analiza: Tesuturile - tesutul epitelial, tesutul conjunctiv, tesutul nervos Eseu: Structura genomului la procariote

Is on the skull which thou hast made.

Thou wilt not live us in the dust:

Thou madest man, he knows not why;

He thinks he was not made to die;

And thou hast made him: thou art just."

These words "trust" and "somehow" are repeated in the poem on several occasions always stressing the uncertain nature of good. ("Oh yes we trust that somehow good

Will be the final goal of ill",

"Yet if some voice that man could trust,

Should murmur from the narrow house " and so on) along with words such as "yet" and "but", they offer a key to the poem.

The doubt comes from the fact of death. Tennyson said that he would despair if he ever came truly to doubt God or Immortality, Yet Hallam's death and the anguished questrim as to where Hallam now was and whether they would meet again put an immense strain on these beliefs. Death in In Memoriam "keeps the key to all the creeds" for only after death will the truth be revealed though it may be the truth that all religion is untrue.

The poem's lyrics are separate from one another and most of them can be read as units more or less successfully; a lyric such as: "I envy not in any moods" (no 27) could be anthologized separately without huge loss. But undoubtedly the poem works best as a whole. It has a vague structure, passing through three years of mourning, showing us three Christmases and moving towards some sort of very tentative resolution. Above all, its emotional register pervades all its constituent parts, which would therefore lose something if cut off from it. When evolution is the topic (in lyrics 54-56 for instance) we are still aware that it is personal grief that has provoked these thoughts and that it is not only the answer to life's mysteries that is "Behind the veil, behind the veil", but the whereabouts of Tennyson's friend, too. A good comparison in this respect would be Shakespeare's sonnets which can be read separately, but which are nonetheless a sequence.

Lyric 48, in which Tennyson describes his own method in the poem, asks us not to take his "short shallow- flights of song" too seriously as intellectual arguments; the "slender shade of doubt", he protests, has become "vassal onto love". But this is nonetheless the great poem of Victorian doubt as the poet himself recognizes when he proclaims, in an astute move, that "There lives more faith in honest doubt, Believe me, than in half the creeds".

In Memoriam is a great elegy, a great poem of doubt, and an excellent picture of Victorian frame of mind. Last but not least, it is also characterised by an extraordinary euphony and a masterly use of the rhythms in English.

In one of his dramatic monologues, Tennyson interprets the myth of Ulysses. Dante, Shakespeare, Joyce, and many others have recast the role of the legendary hero. Interpretations have varied, from Dante's condemnation of him to the circles of hell as a symbol of overreaching pride and ambition, to Tennyson's espousal of him as a symbol of the human desires for experience, physical prowess, courage, adventure, and knowledge.

You must establish the dramatic situation. Ulysses is now an elderly king as he addresses the people of Ithaca. He is about to set off again in quest of great adventures and plans to leave the management of the kingdom to his son Telemachus. To establish the character of the speaker, consider the following excerpts.

"I will drink/Life to the less"

Ulysses is in an active, vibrant human being who wants to experience as much as possible in life. He wants to move out into realms of the unknown in an effort to live life to the fullest and to increase the knowledge of all people.

"It little profits that an idle king

. mete and dole

Rusoiaca, 1933, este un roman matur, ca structura, tipologie, moduri de expunere, stil, roman in sensul propriu al conceptului, fictional si nu o travestire superficiala a referintei memorialistice ori diaristice.

Locul actiunii configureaza exoticul autohton, Basarabia de dinainte de a fi reluata de Rusia, acum bolsevica.

Citim aici un roman realist si idealist, cotidian si aventuros, cu personaje aflate intre doua lumi cu sisteme institutionale diferite.

Naratorul nu este autocentrat, ci deschis catre psihologia, ori mai curand psihoza, erotica a militarilor, naturi viscerale si himerice, care imagineaza femei spritualizate in bine ori in rau, exacerbate trupeste si misterioase sufleteste.

Rusoiaca ajunge o fixatie erotico-onirica, o sinteza a acestor femei, femeia ideala sau de vis, completa, complexa, dar incerta, despre care se emit numai supozitii.

Rusoaica este o utopie a idealitatii erotice.

Nimic nu-l mantuie, nimic nu-l alter-eaza in sensul acceptat, pe Ragaiac: realul, livrescul, miticul, religia. Epicureul din noroiosul targ basarabean este un sastisit, nerabdator sa se sihastreasca la granita ruseasca, unde spera sa evadeze din trivialul existentei. Visul ii va ramane himeric. Ragaiac este, fundamental, un inadaptat.

Ragaiac vede, in "vartejul fantasmagoriilor stupide", femeia livresca, homerica (Elena, Andromaca) sau mitica (Junona, Calipso, Pallas Athena, Diana - aceasta din urma, Diana, ii oblitereaza reveria, coborata in "realitatea goala" a "divinei" tigancuse Diana.

Ragaiac isi face din Rusoaica o iluzie, dar si o farsa.

Animat de un complex social si metafizic, tanarul avocat Mihai Aspru din Donna Alba, 1935, este barbatul inferior care ajunge sa recreeze o femeie deja superioara, printr-o tensiune progresiva a proiectiei sale utopice realizate. Ideea in care o proiecteaza capata o concretete fascinatorie. Un complexat social patrunde in lumea aristocratiei, pe care o idealizeaza prin aspiratie arivista. El pare a uza de orice pentru a o seduce pe Donna Alba, dar se comporta, in sfarsit, dupa 11 ani de asteptare, ca un om superior, iar aristocrata ii da satisfactia de a nu-i refuza inima. Fresca (si critica) sociala pregnanta prin evenimente si personaje, dar si "teatru" epic pasional si pasionant, in tema erotica, romanul se sustine prin distantarea auctoriala de intregul text.