STUDII EMINESCOLOGICE Vol. 18

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STUDII EMINESCOLOGICE Vol. 18 STUDII EMINESCOLOGICE 18 Volumul Studii eminescologice este publicaţia anuală a Bibliotecii Judeţene „Mihai Eminescu” Botoşani. Apare în colaborare cu Catedra de Literatură Comparată şi Estetică a Universităţii „Alexandru Ioan Cuza” din Iaşi. Fondatorul seriei: Ioan Constantinescu Volumul Studii eminescologice apare o dată pe an, cuprinzând lucrările susţinute la Simpozionul Naţional „Eminescu: Carte – Cultură – Civilizaţie”, care se desfăşoară anual la Botoşani, sub coordonarea Corneliei Viziteu, director al Bibliotecii Judeţene „Mihai Eminescu” Botoşani, şi a prof. univ. dr. Viorica S. Constantinescu, şefa Catedrei de Literatură Comparată şi Estetică de la Facultatea de Litere a Universităţii „Al. I. Cuza” Iaşi. STUDII EMINESCOLOGICE 18 Coordonatori: Viorica S. CONSTANTINESCU Cornelia VIZITEU Lucia CIFOR Livia IACOB CLUSIUM 2016 Lector: Corina MĂRGINEANU Coperta: Lucian ANDREI EDITURA „CLUSIUM” Director: Corina Mărgineanu•Taşcu ROMÂNIA, 400174 CLUJ•NAPOCA, str. Stephan Ludwig Roth, nr. 11 tel. +40•264•596940 e•mail: [email protected] © Editura CLUSIUM, 2016 ISSN 1454•9115 Cuprins Literatură comparată La chevauchée fantastique chez Mihai Eminescu et Aloysius Bertrand / Gisèle VANHESE ............................................................... 9 Efigia creatorului în poemul ovidian Metamorphoses şi în poezia eminesciană / Iulian HRUŞCĂ ................................................................ 29 Lexicologie poetică Metaforologie cosmică eminesciană: semnele poetice sferă şi rotire / Andreea MIRONESCU ..................................................... 39 Spaţii arhitectonice eminesciene şi semnificaţiile lor alegorice: domă şi templu / Doris MIRONESCU .......................................................... 51 Hermeneutică literară Relectura unor elemente gnostice în poemul Luceafărul / Rodica MARIAN .............................................................. 65 Istorie literară Ideea de monarhie în publicistica eminesciană. Carol I, între aşteptări şi (dez)iluzii / Adrian JICU ..................................................................... 85 Eminescu şi premisele unui naţionalism cultural / Gabriela ŞANDRU ......................................................... 103 Eminescu şi vocaţia criticii / Sebastian DRĂGULĂNESCU ......................................... 113 6 STUDII EMINESCOLOGICE Poetica traducerii Confesiune, fuziune şi difuziune. Traducerea poeziilor eminesciene în limba spaniolă / Lavinia IENCEANU ....................................................... 123 Anexa poemelor traduse ................................................... 140 Recenzii Note pe marginea unei noi cărţi consacrate mitului cultural Mihai Eminescu / Lucia CIFOR .................................................................. 159 Chipul marmorean al Ofeliei. Veronica Micle într-un studiu recent / Livia IACOB .................................................................. 168 Mihai Eminescu: Bibliografie selectivă (2015) / Camelia STUMBEA, Elena BONDOR, Irina PORUMBARU ........................................................ 173 Literatură comparată La chevauchée fantastique chez Mihai Eminescu et Aloysius Bertrand Gisèle VANHESE ([email protected]) Dans le prolongement de notre réflexion sur l’œuvre d’Eminescu et ses rapports avec l’imaginaire romantique européen, nous centrerons aujourd’hui notre attention sur le thème fascinant de la chevauchée fantastique. Chevauchée d’un homme ténébreux et spectral – le plus souvent un revenant ou un vampire – et d’une femme à la longue cheve- lure, le cheval et le couple se découpant sur un ciel stellaire illuminé par la lune. Vision qui traverse le Romantisme avec la Lenore de Bürger, „poème de pressentiment, de cauchemar et de légende”1. On en décèle des traces avec le Fiancé fantôme en Angleterre, en Allemagne, en France où La Fiancée du timbalier de Victor Hugo, Albertus de Gautier, Aurélia de Nerval en gardent un écho. Présence troublante qui hante aussi, au XXe siècle, Înviere de Lucian Blaga, Le Coup de grâce de Marguerite Yourcenar, Kush e solli Doruntinën? (Qui a ramené Doruntina?) d’Ismaïl Kadaré, Vera pa khtim (Un été sans retour) de Besnik Mustafaj, Dina de Felicia Mihali… Ce scénario mythique s’est manifesté par mutations ou par „irradiation”, en des traces fossilisées que l’exégèse ré- 1 Fernand Baldensperger, La Lénore de Bürger dans la littérature française, in Études d’histoire littéraire, I, Paris, 1907, p. 154. Le critique consacre aussi quelques pages aux transpositions picturales et musicales inspirées par le thème. 10 STUDII EMINESCOLOGICE vèle dans toute leur profondeur. Rappelons que pour Pierre Brunel, la méthodologie de la mythocritique s’articule selon trois „phénomènes” prépondérants: l’émergence, la flexibi- lité, l’irradiation. „La flexibilité conjuguée à l’émergence permettrait alors de repérer, écrit André Siganos, l’allusion dans sa ‘souplesse d’adaptation’ en même temps que dans sa ‘résistance’ à toute dévaluation en simple allégorie, maintenant une ‘présence autre’ dans le texte, présence irra- diante”2. Comme le souligne Pierre Brunel, l’irradiation du mythe (mais aussi du thème, de l’archétype ou du symbole) peut se manifester de manière „ténue” et même de manière implicite: la présence d’un élément mythique dans un texte sera considérée comme essentiellement signifiante. Bien plus, c’est à partir de lui que s’organisera l’analyse du texte. L’élément mythique, même s’il est ténu, même s’il est latent, doit avoir un pouvoir d’irradiation3. Nous voudrions nous interroger aujourd’hui sur la pré- sence irradiante de la chevauchée fantastique dans la poésie d’Eminescu, non seulement dans Strigoii (Les Spectres) où des critiques comme Caracostea et Todoran ont déjà relevé le thème légendaire, mais aussi dans un texte où il est latent, oblique, occulté. Nous pensons en particulier à O călărire în zori (Une chevauchée à l’aube). Pour mieux mettre en valeur l’originalité d’Eminescu, nous montrerons ses convergences et ses divergences avec le poème en prose Les Deux Anges d’Aloysius Bertrand dont le recueil Gaspard de la Nuit est considéré comme un véritable condensateur et révélateur de la plupart des mythes romantiques. Le substrat légendaire Dans Lenore, o problemă de literatură comparată şi folclor. Logodnicul strigoi, Dumitru Caracostea offre une 2 André Siganos, Le Minotaure et son mythe, Paris, P.U.F., 1993, p. 29. 3 Pierre Brunel, Mythocritique. Théorie et parcours, Paris, P.U.F., 1992, p. 82. L i t e r a t u r ă c o m p a r a t ă 11 synthèse remarquable de ce thème légendaire, l’analyse de ses différentes actualisations l’amenant à des conclusions toujours actuelles. Selon ce critique, la légende contient un noyau originaire remontant à la préhistoire et s’inscrit dans les croyances plus générales relatives aux rapports entre les vivants et les morts. La spécificité de ce noyau primordial serait issue d’un rêve érotique incestueux où une jeune fille craint d’être entraînée dans la tombe par un revenant et, vu que les relations de parenté sont essentielles pour la men- talité primitive et la psyché la plus profonde, ce mort serait son frère: Critica internă a mărturiilor, geografia motivului şi cuvintele primitive despre strigoi ne duc la acest rezultat: existenţa unei primitive poveşti-coşmar în care fratele strigoi caută să tîrască la mormînt pe sora lui. Ceva din atmosfera visului incestuos plutea în jurul acestui coşmar primitiv4. La légende s’est alors propagée et durant son chemi- nement à travers l’espace et le temps, deux variantes seraient apparues. Dans le Nord de l’Europe et en Occident, le revenant devient le fiancé pour ne pas enfreindre le tabou de l’inceste dont certaines versions conservent encore des traces mais euphémisées. C’est la variante du Fiancé fantôme qui a été reprise par Bürger dans sa célèbre ballade Lenore. Au Sud – en particulier dans les Balkans – le rapport primitif est conservé; le revenant reste le frère mais le motif de la malédiction maternelle et celui du serment justifiant son retour du règne de l’au-delà atténuent celui de sa passion incestueuse. Selon Caracostea, le motif du cheval fantôme et de la cavalcade – connu comme le Voyage du mort (Călă- 4 Dumitru Caracostea, Lenore, o problemă de literatură comparată şi folklor, in Poezia tradiţională română, Ediţie critică de Dumitru Şandru. Prefaţă de Ovid Bîrlea, Bucureşti, Ed. pentru Literatură, 1969, p. 325: „La critique interne des attestations, la géographie du motif et les mots primitifs relatifs au spectre nous amène à ce résultat: l’existence d’un récit- cauchemar primitif où le frère revenant cherche à entraîner sa sœur dans la tombe. Quelque chose du rêve incestueux flotte autour de ce cauchemar primitif”. 12 STUDII EMINESCOLOGICE toria mortului) – se serait ajouté au noyau primitif. Il se serait développé sous l’influence d’une coutume (le rapt de la fiancée5) dont l’origine remonte à la nuit des temps et dont l’Antiquité a conservé des traces avec l’enlèvement de Persé- phone et celui d’Hélène. La légende primitive va s’adapter aux diverses mentalités qu’elle rencontrera dans sa diffusion (qui aurait été facilitée par la circulation des marchands selon Gheorghe Vrabie6). Elle s’effectue selon deux voies privilégiées: d’abord la transmission populaire orale et ensuite la reprise dans la littérature cultivée, sous l’influence de la première. Les deux types peuvent par ailleurs s’influencer réciproque- ment. La légende a été transcrite pour la première fois en Angleterre par Percy. Ses Reliques of ancient english poetry de 1765
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