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Camil Petrescu CAMIL PETRESCU. VIAŢA ŞI ACTIVITATEA SA. REALITĂŢI DE CULTURĂ ŞI CIVILIZAŢIE ROMÂNEASCĂ BOBOC MELANIA, 10.02.2016, VALCEA CAMIL PETRESCU (1894-1957) S-a născut la Bucureşti la spitalul Filantropia, la 9/22 aprilie 1894. Este fiul lui Camil, Petrescu (mort, se pare, înainte de naşterea scriitorului, funcţionar sau ofiţer, după alte versiuni, care nu apare niciodată în viaţa sau biografia scriitorului) şi al Anei Cheler. A fost crescut de familia subcomisarului de poliţie Tudor Popescu, din mahalaua Obor. Nu-şi va cunoaşte părinţii, mai ales că soţul doicii sale, Tudor Popescu, ii va înmâna abia în 1944, când scriitorul împlinea§te 50 de ani, câteva scrisori primite de doica de la mama sa în vara anului 1894, data după care nu s-a mai ştiut nimic despre aceasta. La 24 aprilie/7mai a fost botezat la Biserica Oboru Nou din Bucureşti. După gimnaziu, continuă studiile la colegiul "Sfântul Sava" şi la liceul "Gheorghe Lazăr" din Bucureşti, iar din 1913 urmează cursurile Facultăţii de filozofie şi litere de la Universitatea Bucureşti. Între ani 1906-1913 este ajutat de inspectorul de poliţie Episcopescu (în casa căruia doica Maria era angajată cu ziua la curăţenie şi venea însoţita de Camil) devine bursier la Liceul "Sf. Sava" (1906 -1909), apoi la"Gheorghe Lazăr", unde va infinita un cenaclu literar intitulat "Cercul nostru” împreuna cu alţi prieteni. Constantin Ionescu ne va relata într-un volum ce-şi va mai aminti din tinereţea scriitorului, din păcate, cu multe contradicţii. La 15 iunie 1915 a absolvit liceul "Gheorghe Lazăr " cu media 7,40. La 11 noiembrie - iulie 1916 urmează cursurile Facultăţii 1 de Filosofie şi Litere din Bucureşti, avându-i ca profesori, printre alţii, pe C. Radulescu-Motru, P. P. Negulescu, I. Rădulescu-Pogoneanu. „P. P. Negulescu, după spusele lui Tudor Vianu, "observase pe auditorul lui din primele bănci. După citirea fiecărei lucrări seminariale, Negulescu întreba: «Ce părere are dl. Camil Petrescu?» Dl. Camil Petrecu avea întotdeauna o părere neaşteptată, foarte originală, debitată cu precipitarea minţii lui rapide"1. Debutează în revista "Facla" (1914, 31 ianuarie 23 februarie), cu articolul "Femeile şi fetele de azi", sub pseudonimul Râul D. Pe baza de examen primeşte bursa de studii Hillel în vara 1914, care va înceta la 23 martie 1919. Paralel cu Facultatea 1915-1916, s-a înscris ca plutonier TR în regimentul 6 Mihai Viteazul, absolvă ,Şcoala de Ofiţeri cu gradul de sublocotenent. Între 1916 - 1918 participă la primul război mondial, iar experienţa trăită acum se regăseşte în romanul "Ultima noapte de dragoste, întâia noapte de război" (1930). Mai 1916 scrie prima variantă la piesa Jocul ielelor ("intr-o săptămâna, lucrând însetat zi şi noapte, intr-o camera mobilata de pe lângă Arsenal, care trebuia să ţie drama imperativului violent şi categoric al «dreptăţii sociale»")2.În iunie doua varnta la Jocul ielelor ("cu ea m-am încâlcit în jocul inextricabil al antinomiilor in aşa măsurii ca, întocmai ca ,şi eroul meu, n-am mai putut să mă desprind pentru tot restul vieţii de «jocul ielelor», întrevăzute in sferele albastre ale conştiinţei pure, care mi-a apărut încă de atunci ca «jocul ielelor»"). La 1 august este concentrat, apoi pe 16 august mobilizat în regi- mentul 22 infanterie ca sublocotenent, cu care va participa la război. Rănit, în septembrie, la Târgovişte, după care se reîntoarce pe front cu regimentul 41D 1 Florica Ichim, Camil Petrescu, TEATRU, edit. GRAMAR, Bucureşti 2002, p. 361 2 Ibidem, p.362 2 (divizia specială de rezistenţa,) la Racoasa, apoi, între 16 martie -24 iulie 1917 cu regimentul 16 infanterie Suceava, lupta la Caşin şi Oituz. La 24 iulie 1917 cade prizonier în mâna nemţilor după lupta decimatoare de la Cota 789, ajunge în captivitate în Ungaria, fiind eliberat la august. În 1918 -- 10 aprilie eliberat din prizonierat are mari dificultăţi pentru anularea actului de deces. În 1919 - 16/29 martie îşi ia licenţa in filosofie în faţa unei comisii for- mate din C. Radulescu-Motru, P. P. Negulescu şi I. Radulescu Pogoneanu cu lucrarile: „Figurile şi logistica - valoarea ,şi funcţiunea lor” (subiect de logica) şi „O indicare sumară a originilor filosofie lui Kant (subiect din Istoria şi enciclopedia filosofiei) ambele notate cu bila alba, acordându-i-se titlul Magna cum laudae.Profesor suplinitor la catedra de limba romana (1 ianuarie- 1 mai) la liceul "Gheorghe Lazăr" din Bucureşti. In aceeaşi perioadă scrie Act veneţian (prima varianta într-un act). Nu văzuse Veneţia aşa ca... "am făcut stăruitoare sforţări de imaginaţie studiind cu îndârjire reproduceri din Canaletto şi pictorii veneţieni, redactând apoi actul tot în trei zile, în vreo doua noţi". „jocul ielelor” intră în repetiţii la Teatrul Regina Maria al companiei Bulandra-Manolescu, dar nu se ajunge la premiera decât în 1965. După care Camil Petrecu pleacă la Timişoara. La 17 mai 1919,este redactor şef la Banatul, care devenise Banatul românesc, ziar de cultură din Lugoj, apoi din Timişoara (director: Avram Imbroane) până în 19 martie 1920 când demisionează, nefiind de acord cu politica dusă de directorul publicaţiei. Tot în 1919, devine profesor de limba română la un liceu cu profit real. În Banatul românesc semnează cu nume propriu, sub pseudonimele Cramatic, Milu & Can, Arcadius, Ciaslov. În anul 1920 ( 22 ianuarie-19 iunie ) la Timişoara Camil Petrescu publică în revista Limba Românească o seria de articole în număr de 13 de limbă, literatură şi artă românească. Între 16maişi 17aprilie 1921 înfiinţează şi 3 conduce, la Timişoara, ziarul Ţara ca „organ popular independent", de fapt, singurul ziar politic pe care 1-a condus. A apărut în doua serii (16 mai - 15 iunie 1920 şi 2 decembrie 1920-17 aprilie 1921), pentru că, nefiind susţinut de nici un partid, a întâmpinat mari dificultăţi materiale. Scriind majoritatea articolelor, a folosit şi pseudonime ca: Gramatic, Rep., Cronicar, Ciclop ş.a. În afara de dificultăţile materiale, directorul publicaţiei a mai avut de întâmpinat rigorile unei cenzuri foarte dure ce a făcut ca unele numere să apară mutilate. În iunie 1920 face o călătorie la Viena pentru tratament sau operaţie spre a-şi recâştiga auzul pierdut in timpul războiului, infirmitate ce-i va marca existenţa. La 30 octombrie 1920 îi apar in Sburătorul (director: Eugen Lovinescu) versuri din Ciclul morţii (in nr. 25 anul II), continuate in nr. 26, 27, 28, 32 şi 39 până în 5 februarie 1921. Odată cu primele versuri apare şi articolul lui Tudor Vianu. Un scriitor nou din care o propoziţiune, mărturiseşte Camil Petrescu, 1- ar fi urmărit toată viata. Vianu scria: "Natura inspiraţiei sale mi se pare a fi făcută din luciditate şi febră".3 În noiembrie-decembrie 1920 porneşte lupta pentru înfiinţarea unui sindicat al ziariştilor bănăţeni (la acea dată numai în Timişoara erau 12 ziare şi săptămânale) (Proiect nerealizat). La 17 decembtie ia cuvântul la Marea adunare populară organizată pentru recâştigarea Banatului trecător pierdut" în urma tratatelor semnate la sfârşitul războiului. El îndemna: "Bănăţeni de peste linia demarcaţională! Nu disperaţi! Fraţii voştri şi-au dat cuvântul că nu vor dezarma până când nedreptatea ce vi s-a făcut nu va fi reparată! "4. 3 Tudor Vianu Arta prozatorilor români, edit. Albatros , Bucureşti 1977, pag. 163 4 Florica Iachim, op. cit. pag. 364 4 La 30 martie 1921, îşi anunţă în Ţară hotărârea de a candida ca inde- pendent pentru mandatul de deputat în cercul Oraviţa şi porneşte campania electorală. A luptat fără sprijin şi a fost atacat fără menajamente, chiar de cei din opoziţie. A eşuat ("Deziluzia a fost pentru mine totală. De atunci am renunţat la politică"). Scrie o variantă definitivă pentru Teatrul Naţional în piesa: Suflete tari a cărei primă versiune dată de doi ani. În 1922 pe 4 ianuarie în Sburătorul literar încep să apară versurile din ciclul Luminiş pentru Kiksikem (nr. 19, 20, 21 din 1922). Pe 8 ianuarie, îi apare primul articol politic din Revista Vremii (director: G.Gafencu şi S. Şerbescu) unde va semna rubrici de "revista revistelor", "note şi comentarii", articole culturale şi altele de-a lungul anilor 1922, 1923, 1924 in calitate de redactor. Aici porneşte una din primele sale mari polemici (cu revista Viaţa românească). În iunie primeşte "Premiul Teatrului Naţional" (instituit de Al. Mavrodi). Colaborează (sporadic) la Contemporanul (director: Ion Vinea), până în 1923, cu articole, apoi, în octombrie 1926, cu versuri (Parabola completă). Debutul editorial se petrece cu un volum de „Versuri - Ideea. Ciclul morţii", în 1923. Pe 8 aprilie apare piesa „Act veneţian” în suplimentul literar al ziarului „Spre ziuă”. Viaţa lui Camil Petrescu continuă cu unele prelegeri teoretice despre teatru la "Cursul de artă dramatică" al actorului Al. Mihalescu. Apoi începe colaborarea la România (organ al partidului Naţional Român) cu articole politice, culturale semnate cu pseudonime ca Andrei Pietraru, A. P. ş.a. Colaborează şi la Adevărul (director: Constantin Graur), unde apar doar câteva articole, căci scriitorul nu "ţinea socoteală de linia ziarului", în schimb, directorul vroia să-1 sprijine financiar. 5 În 1924 editează şi conduce „Săptămâna muncii intelectuale şi artistice ce îşi propunea stabilirea caracteristicilor muncitorului intelectual, delimitarea creaţiei sale, precum şi organizarea muncitorilor intelectuali într-o confederaţie. La 12 iulie începe colaborarea aproape număr de număr la seria a doua a revistei Cuvântul liber (director: E. Filloti), până la dispariţia revistei (ianuarie 1926). Traduce Femeile savante de Moliere. Între anii 1924-1925, lucrează la piesa Danton, ce va avea premiera la 17 ani de la moartea autorului (Teatrul Naţional - 30 decembrie 1974 în regia lui Horea Popescu). La 19 aprilie 1925, începe să colaboreze cu un articol despre Eminescu (nr. 23 an 1) la Mişcarea literară (director: Liviu Rebreanu), revistă în care publică şi fragmente din Suflete tari.În mai apare tipărită piesa Suflete tari la editura "Casa şcoalelor". Între anii 1925-1927 - colaborează la Universul literar, condus la acea data de Perpessicius.
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