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Revista Fundaţiilor Regale REVISTA FUNDAŢIILOR REGALE AXUL IX i IANUARIE 1942 Nr. 1 D. CARACOSTEA 3 NICHIFOR CRAINIC . 23 ION PILLAT 5° I. V. SPIRIDON 54 MIRCEA STREINUL . 57 GEORGE VOEVIDCA . Coloare şi sunet m'au ademenit . 68 GEORGE POPA 70 VIRGIL BIROU Ghiorghi Raţă se lămureşte cu revoluţia 71 OVID CALEDONIU . 125 ION FRUNZETTI .... Traduceri din Arthur Rimbaud . 127 AL. POPESCU-TELEGA . încercări de traduceri ale lui Don 132 TEXT E ŞI DOCUMENTE NUNZIO COPPOLA . Legăturile lui Vittorio Imbriani cu 159 COMENTARII CRITICE PERPESSICIUS Jurnal de lector (Kogălniceanu, II) . 177 PETRU P. IONESCU .... Două cărţi ale actualităţii (Ilariu Do- bridor: Decăderea dogmelor; Ştefan Ionescu: Delà Petru cel Mare la Stalin) 184 CRONICI SHELLEY, POETUL VÂNTURILOR ŞI AL DESCĂTUŞĂRILOR de Olga Caba; SIMBOLURI CREŞTINE LA GEORG TRAKL de Wolf von Aichel- hurg; CRONICA ARTISTICĂ de Adrian Maniu ; POETUL ION MOLDO- 1 VEANU de George Popa ACTE ŞI MĂRTURII DIN KAZHOIUJ, NOSTRU Din faptele de arme ale noilor cavaleri ai Ordinului Mihai Viteazul clasa IlI-a REVISTA REVISTELOR N O T E Revista «Transilvania» — G. Bacovia—Al. Marcu: «Dante»— Basarabia din 1858 într'o poezie — Poziţia biologică a României în spaţiul dunărean — Scriitorii noştri şi războiul actual — Utilitatea statisticei populaţiei — Editura Miron Neagu — Salonul oficial de Toamnă — Olimpiu Boitoş: «Activitatea lui Slavici la Tri­ buna»— Victor Tufescu: « Migraţiuni sezonale pentru lucru în Moldova de Nord » — Revista « Cercetări istorice » — Biblioteca « Tribuna Ardealului » N U M À R U L — 240 PAGINI — 40 LEI BIBLIOTECA UNIVERSITĂŢII CLUJ DONAŢIUNEA PROF. ALEX. LAPEDATU B.A.L.P 70 REVISTA ATIILOR REGALE 9 REVISTĂ LUNARĂ DE LITERATURĂ, ARTĂ ŞI CULTURĂ GENERALĂ COMITETUL DE DIRECŢIE» I. AL. BRĂTESCU-VOINEŞTI, D. GUŞTI, E. RACOVIŢĂ, C. RĂDULESCU-MOTRU, I. SIMIONESCU Redactor şefi CA MIL PETRESCU llllllllllIlllIJIiiJlliliiilIJiillilIliliW REDACŢIA ADMINISTRAŢIA DIRECTORATUL GENERAL AL FUNDAŢIILOR REGALE BUCUREŞTI III 89, BULEVARDUL LASCAR CATARGI, 89 TELEFON 2-40-70 MIIIIIIIIIIIIIIIIIIIIM ABONAMENTUL ANUAL LEI 480 PENTRU INSTITUŢII ŞI ÎNTREPRINDERI PARTICULARE LEI 2.000 EXEMPLARUL 40 LEI CONT CEC POŞTAL Nr. 1210 ABONAMENTELE SE POT FACE ŞI ACHITA PRIN ORICE OFICIU POŞTAL DIN ŢARĂ MANUSCRISELE NEPUBLICATE NU SE ÎNAPOIAZĂ EDITATĂ DE DIRECTORATUL GENERAL AL FUNDAŢIILOR CULTURALE REGALE REVISTA FUNDAŢIILOR REGALE ANUL IX, NR. I, IANUARIE 1942 BUCUREŞTI UNIUNEA FUNDAŢIILOR CULTURALE REGALE 39, Bulevardul lascar Catargi, 39 1942 EXPRESIVITATEA LIMBII ROMÂNE — ATMOSFERIZARE — "IOÛIÇ àpa forai ô (J^V àyaQttç 6»){HovpYàç ôvojtàf «v, ô Sè xaxôç ; P/ato» Deschizând prin lucrarea de faţă o cale de cercetări privi­ toare la limba română considerată ca stil supra-individual şi în sensul acesta ca modelator virtual al oricărei creaţiuni literare româneşti, este firesc ca acest fel de a vedea să pară multora subiectiv. Este într'adevăr ciudat să afirmi că limba în sine poate şi trebue să fie considerată ca operă de artă de o categorie specială. De aceea, când aduci fapte şi argumente, te întâmpină îndoieli principiale, în primul rând acelea cu privire la obiectivitatea afirmărilor. In ştiinţele spiritului însă, subiectivitatea, întrucât este adec­ vată domeniului de cercetat, s'a dovedit necesară şi rodnică, în măsura în care este o trăire adâncită şi controlată. Aici însă pân­ deşte o primejdie : desfacerea rezonanţei noastre de însuşi suportul ei obiectiv. Iată de ce este nevoie de un mic preambul teoretic pentru ca cititorul să poată dobândi elementele necesare judecării unor obiectiuni curente. Nu-mi plac luptele de cuvinte, mai ales cele pe teme ca su- biectiv-obiectiv. Ele au fost şi continuă să fie una din plăgile culturii româneşti. Dar pentrucă atât unii filologi cât şi unii istorici literari, ca să nu mai amintesc de critici, au luat de câţiva ani poziţie faţă de problemele ridicate de mine, să-mi fie îngăduit să arăt că însuşi înţelesul cuvântului subiectiv are feţe care cer să fie precizate. In chip obişnuit, la noi se afirmă că obiectiv este numai ceea ce există în afară de noi, iar subiectiv însemnează predominarea propriei rezonanţe. Şi una şi alta din aceste poziţii sunt extremiste şi streine lucrării de faţă. Dacă obiectiv însem­ nează luare de contact cu o realitate în afară de mine, atunci vederea acestui condei cu care scriu, ca şi trăirea unei poezii, sunt tot atât de obiective, ca orice operaţie curentă de control experi­ mental, de pildă a fizicienilor, când citesc locul de pe un cadran unde se opreşte acul aparatului de înregistrare. Dimpotrivă, nu pot numi obiectivă vocea internă a unui bolnav mintal, deoarece o astfel de nălucire nu corespunde nici unui obiect real. Privind condeiul sau frumuseţea unei poezii sub raportul actualizării în conştiinţă, ele sunt subiective, de oarece depind de procesul meu sufletesc, la fel ca şi citirea pe cadran a fizicia­ nului. Obişnuit, cei care învinuesc cercetările de expresivitate ca fiind subiective cred că în domeniul vieţii spirituale nu există mijloace de control analoage cu acelea pe care le ia fizicianul. Şi mai cred că a sublinia necesitatea mijloacelor de control este tot una cu a rumpe bariera dintre ştiinţele spiritului şi cele ale naturii. Evident, operaţia fizicianului e caracterizată prin măsu­ rile de control menite să înlăture tot ce ar face ca citirea să difere delà o înregistrare la alta şi delà o persoană la alta. In chipul acesta, se micşorează posibilităţile generatoare de erori. Astfel de îngrădiri se pot lua şi în domeniul ştiinţelor spiritului, conform naturii proprii a acestor ştiinţe. In chipul acesta, activitatea ling­ vistului devine şi ea obiectivă, deci controlabilă de oricine în împrejurările date. Aici însă apare o condiţie indispensabilă: cel care controlează să aibă simţul nuanţelor cercetate, căci se poate să-i lipsească. După cum colorile roşu şi verde nu sunt văzute de circa 5% din bărbaţi, tot astfel nu e greu lucru ca în privinţa expresivităţii limbii să existe un mare procent de oameni care n'o pot recepţiona, după cum nu pot gusta poezia. In domeniul receptivităţii estetice, să-mi fie îngăduit să lămu­ resc problema pusă aici printr'o experienţă personală. Pe vremuri, ocupându-mă de ceea ce pe atunci se numea problema educaţiei estetice, eram şi eu înclinat să cred că pre­ zenţa chiar şi a reproducerii unui tablou sau a unei statui ajunge să deştepte în spectator ceva din adâncul întruchipat în opera dată. De oarece eu trăiam valorile în reproduceri, mi se părea că ele prin ele însăşi trebue să aibă cu necesitate o funcţiune înălţătoare pentru toţi spectatorii. Iar când la aceştia constatam deficienţe în receptivitate, înclinam să cred că ele provin din faptul că spectatorii nu se aflau în faţa originalelor. Fericeam deci pe cei care, contemplând pânzele însăşi, trăiau o înălţare superioară celei pe care putea s'o deştepte o simplă reproducere. Când, mai târziu, mi-a fost dat să contemplu originalele, prin urmare realitatea nealterată prin reproducere, după ce mă adân­ ceam identificat cu lumea aceea de forme şi colori şi trăiam deplin, în limita receptivităţii mele, semnificaţia lor, mă aşezam alături pe o bancă, pentru a observa echivalenţa de înălţare în lumea spectatorilor ce se perindau. Am văzut îndurerat că nu e deajuns să trăieşti în preajma minunilor lumii şi să le vezi zilnic în deplina lor obiectivitate, căci prezenţa lor obiectivă, pentru a deveni vieaţă de artă, cere un suflet care, în acelaş timp, să transforme actul creaţiei artistice într'o împărtăşire adecvată. Cum să-1 fac pe spec­ tatorul care trece nepăsător în faţa unei minuni obiective de artă să se împărtăşească din ea? Simt nevoia să-i spun: uite linia aceasta, priveşte ce spune cutare sau cutare contrast de colori, vezi armonia mişcărilor; într'un cuvânt, ţine seama de toate datele pe care le vezi şi de optica necesară pentru a te împărtăşi din marea taină care-ţi stă în faţă. Dacă se poate, dând din sufletul tău suflet fiecărui detaliu. Delà înălţimea aceasta, ce minuscul pare jocul, la noi curent, de-a subiectiv-obiectiv. Se rupe bariera dintre pura obiectivitate şi pura subiectivitate şi nu mai poţi afirma că vederea la care te-ai înălţat este subiectivism. Pentrucă acesta face una cu un ansamblu în afară de tine, pe care îl poţi învedera funcţional, Ia nevoie până în ultimele nervuri, oricui ar dori un control. Se poate tăgădui în toată această receptivitate şi identificare dreptul factorului subiectiv, care el dă viaţă realităţii obiective ? Este deci nevoie de o operaţie asemănătoare celei de cataract, prin care spectatorul să vadă minunea care îi stă în faţă şi semnificaţia ei. Pentru noi deci problema este de a semnaliza trăsături obiec­ tive, care constitue un ansamblu de semnificaţii şi valori. In sensul acesta, cei care cred că subiectivitatea este tot una cu o nălucire, iar obiectivitatea este tot una cu inventariere de material şi de simple procente, vor rămâne străini de spiritul acestei lucrări, care revendică dreptul unei viziuni obiective, transsubstanţiată în semnificaţii, la fel pentru limbă ca şi pentru literatură. Fiind vorba de o poziţie nouă, se cuvine să subliniez delà în­ ceput că rezultatele cer să fie privite cu acea rodnică îndoială deşteptată de tot ce pare că nu aparţine încă bunurilor definitiv încorporate ştiinţei. Cu atât mai necesar e să precizăm delà început obiectul şi metoda, cu cât, pentru o disciplină începătoare, acestea sunt mai importante decât chiar rezultatele. In centrul preocupărilor stând limba românească privită ca o construcţie de artă, voi aminti mai întâi ce aspecte ne intere­ sează aici. După cum în desfăşurarea ei concretă limba noastră înfăţişază atâtea feţe câte faze istorice, straturi sociale şi îndelet­ niciri, tot astfel sub raportul estetic, există tot atâtea feţe câţi mari creatori s'au afirmat. Limba doinelor, a baladelor populare, a lui Budai-Deleanu, Alecsandri, Eminescu, Slavici, Creangă, Caragiale, ca să mă mărginesc numai la aceştia, reprezintă tot atâtea laturi ale expresiei, încât te întrebi dacă poate fi vorba de o expresivitate a limbii române, privită în generalitatea ei, sau dacă diversitatea nu ne constrânge numai Ia cercetarea individualizantă.
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