{"id":13529,"date":"2024-05-24T08:54:51","date_gmt":"2024-05-24T06:54:51","guid":{"rendered":"https:\/\/unatc.ro\/devunatc\/o-panorama-teatrologica-a-temelor-recurente-in-sonetele-shakespeariene\/"},"modified":"2024-05-24T08:54:51","modified_gmt":"2024-05-24T06:54:51","slug":"o-panorama-teatrologica-a-temelor-recurente-in-sonetele-shakespeariene","status":"publish","type":"post","link":"https:\/\/unatc.ro\/devunatc\/o-panorama-teatrologica-a-temelor-recurente-in-sonetele-shakespeariene\/","title":{"rendered":"O panoram\u0103 teatrologic\u0103 a temelor recurente \u00a0\u00een sonetele shakespeariene\u00a0","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"
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Cu excep\u021bia posibil\u0103 a lui Hamlet, volumul de 154 de sonete publicat postum \u00een 1609 a fost supus studiului \u0219i analizelor literare cel mai intens precum nicio alt\u0103 lucrare a lui Shakespeare. Controversele \u0219i specula\u021biile au existat de atunci \u0219i continu\u0103 s\u0103 existe p\u00e2n\u0103 ast\u0103zi. A existat totu\u0219i un efort continuu de a identifica persoanele c\u0103rora le-au fost adresate, precum \u0219i de a g\u0103si alt\u0103 ordine fa\u0163\u0103 de cum au fost publicate. Nu putem fi siguri dac\u0103 inten\u021bia autorului a fost vreodat\u0103 aceea de a fi publicate. Shakespeare dorea ca cititorul s\u0103 il cread\u0103. \u00cen poezia sa, Sakespeare a reu\u0219it s\u0103 capteze esen\u021bialul uman \u015fi s\u0103 \u00eel pun\u0103 \u00eentr-o form\u0103 fix\u0103 \u2013 intregul corp al sonetelor constituie o celebrare a naturii umane \u00een toat\u0103 complexitatea ei;\u00a0 toate emo\u021biile, fricile, aspira\u021biile \u0219i anxiet\u0103\u021bile pe care le experiment\u0103m pe parcursul vie\u021bii sunt prezente \u00een sonetele shakespeariene sub toate nuan\u021bele lor. \u00cen ce masur\u0103 sunt personale? \u00cen ce masura sunt \u201eexerci\u021bii tehnice\u201d <\/sup>(a\u015fa cum le denume\u015fte Sidney Lee)? Ceea ce m\u0103 preocup\u0103 este rela\u021bia lor cu via\u0163a \u00eens\u0103\u015fi. Majoritatea acestor sonete au fost dedicate unui b\u0103rbat t\u00e2n\u0103r, motiv principal pentru specula\u021bii \u00een leg\u0103tur\u0103 cu sexualitatea autorului. Consider prea pu\u021bin relevant\u0103 identitatea respectivei persoane \u00een compara\u021bie cu m\u0103re\u021bia operei pe care poetul a lasat-o posterit\u0103\u021bii.\u00a0<\/p>\n

Majoritatea sonetelor sunt scrise sub forma unor poeme de dragoste. La o analiz\u0103 aprofundat\u0103 descoperim, \u00eens\u0103, c\u0103 Shakespeare \u00ee\u0219i exprima opiniile despre lume, credin\u021bele religioase, fricile asupra timpului, filosofiile despre via\u021b\u0103, rela\u021bia cu natura, aspira\u0163ia la imortalitate \u0219i, \u00eentr-o mare masur\u0103, admira\u0163ia fa\u0163\u0103\u00a0 de frumuse\u021bea reprezentat\u0103 de tinere\u021bea obiectului iubirii sale. Iubire ce a fost catalogat\u0103 de-a lungul timpului \u00een doar dou\u0103 mari posibilit\u0103\u0163i de interpretare: iubirea nobil\u0103, bun\u0103, o iubire care \u00eennobileaz\u0103 \u0219i una asociat\u0103 cu partea animalic\u0103 a omului, cu dorin\u0163a sexual\u0103 brut\u0103, care conduce la disperare. Complexitatea fiin\u021bei umane nu se poate rezuma, \u00eens\u0103, la dou\u0103 categorii. Dragostea este at\u00e2t materie c\u00e2t este \u015fi spirit, este \u00een acela\u015fi timp activ\u0103 \u015fi contemplativ\u0103, cuprinde \u00eentreaga mi\u015fcare a universului. Shakespeare con\u0163ine \u00een sonetele sale ambele ipostaze ale fiin\u0163\u0103rii: feminitate \u015fi masculinitate,\u00a0 voin\u0163\u0103 \u015fi emo\u0163ie.<\/p>\n

Din primele sonete ne putem da seama de c\u00e2teva din temele principale: frica cea mai mare a lui Shakespeare \u0219i inamicul suprem este timpul, distrugatorul lumilor, erodator, neiert\u0103tor. Scurtimea frumuse\u021bii \u0219i puterea consumatoare a timpului sunt teme recurente \u00een lucr\u0103rile lui Shakespeare. Poetul \u00eencearc\u0103 s\u0103 \u00eenving\u0103 acest inamic pe tot parcursul sonetelor. La \u00eenceputul lor observam obsesia continu\u0103 pentru reproducere, prin care putem \u00eenvinge timpul \u0219i cap\u0103ta nemurire. Charis <\/em>\u2013 obliga\u021bia de a da \u00eenapoi darul pe care l-ai primit de la natura. Nimic nu este mai important pentru Shakespeare dec\u00e2t convingerea c\u0103 un om are o obliga\u021bie fa\u021b\u0103 de natur\u0103, c\u0103 el este administrator \u0219i nu proprietar al calit\u0103\u021bilor sale.\u00a0<\/p>\n

Aceast\u0103 frumuse\u021be particular\u0103 a unui t\u00e2n\u0103r este efervescent\u0103 \u0219i astfel ajunge s\u0103 reprezinte importan\u021ba momentului ireversibil. Trebuie s\u0103 fie salvat\u0103 din curgerea timpului \u0219i f\u0103cut\u0103 etern\u0103. Este o frumuse\u021be estetic\u0103 \u2013 Tema t\u00e2n\u0103rului frumos ca inspira\u021bie despre care Shakespeare poate scrie \u00eentotdeauna tocmai datorit\u0103 tuturor posibilit\u0103\u021bilor pe care tineretea i le ofer\u0103 p\u00e2n\u0103 \u00een punctul \u00een care ajunge sa \u00eei fie muz\u0103. Frumuse\u021bea este o posibilitate intern\u0103, un simbol al artei. Frumuse\u021bea t\u00e2n\u0103rului este pretutindeni prezent\u0103 \u00een mod puternic, constant \u00een ochii poetului, dar natura \u00eens\u0103\u0219i a prieteniei este poten\u021bial instabil\u0103, \u0219i \u00een jurul acestei incertitudini Shakespeare concepe tensiunile care determin\u0103 ritmul sonetelor.<\/p>\n

Una din temele principale este prietenia adev\u0103rat\u0103.\u00a0 \u00cen aceast\u0103 prietenie idealizat\u0103 Shakespeare g\u0103se\u0219te \u0219i dragostea cea mai pur\u0103 \u2013 Separarea dintre sex \u0219i iubire este esen\u021bial\u0103 \u00een aceast\u0103 viziune deoarece, a\u0219a cum insistau scrierile filosofice derivate din Platon, pl\u0103cerea fizic\u0103 este o barier\u0103 \u00een calea iubirii ideale. Prietenia este supus\u0103 multor teste pe parcursul sonetelor \u0219i trece prin diverse stadii. Shakespeare scrie despre confortul pe care-l g\u0103se\u0219ti \u00eentr-un prieten, despre pl\u0103cerea \u015fi nevoia de a avea o persoana c\u0103reia s\u0103 i te po\u0163i\u00a0 dest\u0103inui \u0219i care s\u0103 te \u00een\u0163eleag\u0103. Rela\u021bia de prietenie descris\u0103 \u00een sonete este una de inegalitate din dou\u0103 puncte de vedere: diferen\u0163a de v\u00e2rst\u0103 \u0219i diferen\u0163a statutului social. Considerat\u0103 ca o rela\u021bie fictiv\u0103, \u00eens\u0103, avantajul s\u0103u fa\u021b\u0103 de ideal are mult poten\u021bial pentru poet, deoarece inegalitatea dintre prieteni creeaz\u0103 distan\u021ba \u0219i tensiunea necesar\u0103. Shakespeare a c\u00e2\u0219tigat aici ceea ce a pierdut c\u00e2nd a respins tema iubirii conven\u021bionale. Acum, de la \u00eenceputul secven\u021bei, iubirea ideal\u0103 este obiectificat\u0103 \u00een persoana t\u00e2n\u0103rului frumos \u0219i virtuos. Dragostea apare sub diverse forme: dorul care noaptea \u0163ine \u00eendr\u0103gostitul treaz, bucuria de a te \u00eentoarce la persoana iubit\u0103, dragostea incert\u0103, care duce la gelozie \u0219i c\u00e2teodat\u0103 chiar la un tip de competi\u021bie (aluzie la \u201epoetul rival\u201d) \u0219i puterea iubirii de a schimba percep\u021bia, ne\u00eencrederea \u00een propriile sim\u021buri \u2013 ochiul vede doar binele \u0219i justific\u0103 r\u0103ul. Aici putem identifica ideea unui r\u0103u necesar din care se poate na\u0219te ceva bun. Deoarece o virtute izolat\u0103 nu este niciodat\u0103 complet\u0103 \u0219i deoarece omenirea este faimoas\u0103 pentru susceptibilitatea sa la r\u0103u, omul shakespearian se confrunt\u0103 cu o dilema perpetu\u0103 \u2013 poate atinge maturitatea spiritului numai \u00een pericolul de a fi infectat. Totu\u0219i, infec\u021bia nu trebuie s\u0103 fie fatal\u0103. Cunoa\u0219terea binelui este c\u00e2\u0219tigat\u0103 prin suferin\u021b\u0103 \u0219i p\u0103cat \u2013 experien\u0163ial.\u00a0<\/p>\n

\u00cen partea a doua a sonetelor (127-152) vedem cealalt\u0103 latura a iubirii, cea care \u00eendep\u0103rteaz\u0103 omul \u0219i spiritul de la un scop mai \u00eenalt, cea a c\u0103rei finalitate aproape mereu este distrug\u0103toare. Iubirea sexual\u0103, carnal\u0103, implic\u0103 \u00een egal\u0103 m\u0103sur\u0103 natura \u0219i spiritul, prin urmare, este reprezentativ\u0103 \u00een mod ideal pentru condi\u021bia noastr\u0103 uman\u0103. Shakespeare ne pune \u00een fa\u0163\u0103 toate contradic\u021biile pe care omul le con\u021bine: eul slab care dore\u0219te s\u0103 fie puternic este fl\u0103m\u00e2nd. Eul singuratic dore\u0219te s\u0103 fie ata\u0219at. \u00cen contradic\u021bie, spiritul dore\u0219te s\u0103 fie liber, s\u0103 nu fie la mila apetitului natural. De asemenea, dore\u0219te s\u0103 fie important, \u0219i acest lucru intr\u0103 \u00een conflict cu dorin\u021ba sa de libertate. Dorin\u021ba spiritului intr\u0103 \u00een conflict cu cerin\u021ba naturii, pofta intr\u0103 \u00een conflict cu invidia. Exist\u0103 \u00eentotdeauna \u00eencercarea inevitabil nereu\u0219it\u0103 de a le separa. Po\u021bi dori o persoan\u0103 ur\u00e2t\u0103 \u0219i iubi pe cineva \u00een care nu ai \u00eencredere. Motivele sunt \u00eentotdeauna inadecvate. Iubirea este descoperirea a ceea ce \u00eenseamn\u0103 \u201eeu exist\u201d. Aici vedem diferen\u021ba dintre esen\u021b\u0103 \u0219i existen\u021b\u0103. Dragostea reprezint\u0103 un interes intens \u00een existen\u021ba altei persoane. Sonetul 129 trateaz\u0103 acest aspect. Sonetul-cheie define\u0219te tema central\u0103 a P\u0103r\u021bii a II-a ca fiind pofta, lumineaz\u0103 aranjamentul sonetelor \u0219i serve\u0219te ca un punct critic de referin\u021b\u0103 atunci c\u00e2nd se investigheaz\u0103 antitezele de baz\u0103 dintre P\u0103r\u021bile I \u0219i II.\u00a0<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00cen reprezentarea nelini\u0219tii sale \u00een rela\u021bia adulter\u0103, Shakespeare se refer\u0103 repetat la faptul c\u0103 este jurat; adic\u0103 la \u00eenc\u0103lcarea jur\u0103m\u00e2nturilor sale, la negarea integrit\u0103\u021bii sale. Apare \u0219i problema geloziei \u0219i a triunghiului conjugal cu prec\u0103dere \u00een aceasta parte a sonetelor. Gelozia este o tem\u0103 proeminent\u0103 \u0219i un fenomen recurent \u00een sonete, rezult\u00e2nd \u00eentr-o varietate de situa\u021bii \u0219i manifest\u0103ri. Shakespeare consider\u0103 c\u0103 nu exist\u0103 accidente \u00een dragoste \u0219i ne face s\u0103 ne \u00eentrebam c\u00e2t de responsabil este cineva pentru propria-i nefericire. \u00cen raport cu viziunea despre lume, nefericirea este prezentat\u0103 \u00een sine ca un aspect comun al vie\u021bii. Pasiunea care domin\u0103 \u0219i tortureaz\u0103 este considerat\u0103 o manifestare a naturii umane. Viziunea asupra naturii umane nu este optimist\u0103; exist\u0103 \u00een acela\u0219i timp poten\u021biale incalculabile pentru bine \u0219i r\u0103u.<\/p>\n

Putem observa \u015fi caracterul dramatic \u015fi elemente teatrale \u00een compozi\u0163ia sonetelor. C\u00e2nd Shakespeare scrie un sonet nu este un scriitor ciudat \u0219i elaborat, sau un poet biografic pasionat, ci un dramaturg. El reu\u0219e\u0219te s\u0103 dezv\u0103luie sufletul \u00een ac\u0163iune, \u015fi \u00eel reprezint\u0103 pe om a\u0219a cum este, mai degrab\u0103 dec\u00e2t a\u0219a cum ar trebui s\u0103 fie. De fapt, niciun dramaturg nu-\u0219i poate permite s\u0103 se dedice \u00een \u00eentregime oric\u0103ruia dintre cele dou\u0103 principii, frumuse\u021bii formei sau adev\u0103rului caracterului \u0219i incidentului, f\u0103r\u0103 a pune \u00een pericol echilibrul operei sale. Astfel stilul sonetelor lui Shakespeare este unul dramatic si ferm. Vocea lui cap\u0103t\u0103 astfel tonul corifeului\u00a0 din tragedia greac\u0103, care \u00eel avertizeaz\u0103 pe protagonist \u00eempotriva r\u0103ului iminent, de\u0219i pledoaria lui poate fi de pu\u021bin folos. Sonetele lui Shakespeare se deplaseaz\u0103 \u00eentre dou\u0103 extreme \u2013 at\u00e2t metafizic, c\u00e2t \u0219i dramatic vorbind. Aceste extreme sunt reprezentate de \u201esonetul sor\u021bii\u201d \u0219i \u201esonetul caracterului\u201d, ambele av\u00e2nd paralela lor \u00een \u201etragedia destinului\u201d \u0219i \u00een \u201etragedia caracterului\u201d.\u00a0<\/p>\n

Utilizarea imaginilor este \u00een mod constant combinat\u0103 cu modelarea verbal\u0103 \u0219i subordonat\u0103 cre\u0103rii formei \u00eentregului \u0219i sus\u021bine sau este sus\u021binut\u0103 de ac\u021biunea unor elemente formale de alt tip. Acestea sunt calit\u0103\u021bi pe care Shakespeare le dezvolt\u0103 \u0219i le folose\u0219te cu o eficacitate dramatic\u0103 convins\u0103 \u00een structura versurilor sale. Multiplele imagini cresc una din cealalt\u0103, iar odat\u0103 cu ele g\u00e2ndul se \u00eenchide de la general la particular, de la lume \u0219i trecerea ei la iubirea de prieten pentru prieten. Dar de la \u00eendep\u0103rtatul spectator impersonal al stelelor am trecut la partizanismul activ, \u00een r\u0103zboiul \u00eempotriva Timpului. Aceasta este activitatea func\u021bional\u0103 a imaginii \u00een \u00eempingerea mi\u0219c\u0103rii g\u00e2ndului \u00eenainte, nu concentric, ci \u00eentr-o progresie mai complex\u0103.<\/p>\n

Arta, la fel ca iubirea, nu este o chestiune de datorie, nu poate servi unui scop practic. Implic\u0103 o st\u0103p\u00e2nire a emo\u021biei prin con\u0219tiin\u021b\u0103, \u0219i prin ea po\u021bi juca rolul de zeu \u0219i crea lumea \u00een propria ta accep\u0163iune. Arta este pur \u0219i simplu cea mai prudent\u0103 dintre ocupa\u021bii, deoarece toat\u0103 suferin\u021ba, cu excep\u021bia violen\u021bei fizice acute, devine un obiect de interes. Poezia de dragoste elisabetan\u0103 \u0219i-a g\u0103sit cea mai caracteristic\u0103 expresie \u00een sonet; o form\u0103 poetic\u0103 de 14 versuri popularizat\u0103 de Petrarca \u0219i adaptat\u0103 apoi de poe\u0163i precum Sir Philip Sidney, Edmund Spenser \u0219i William Shakespeare. Cel din urm\u0103 a adus for\u021b\u0103 \u0219i originalitate, transform\u00e2nd sonetul \u00een una dintre cele mai cunoscute formule poetice, relevante \u015fi ast\u0103zi, dup\u0103 secole de analiz\u0103 \u015fi interpretare.\u00a0\u00a0<\/p>\n

Eseu teoretic realizat de<\/p>\n

ANDREI PEIU<\/strong> (Teatrologie, licen\u021b\u0103 \u2013 Jurnalism Teatral, anul II)<\/p>\n

Bibliografie<\/strong>\u00a0<\/p>\n

Auden, W. H., Lectures on Shakespeare, Princeton University Press, USA, 2002\u00a0<\/p>\n

Bate, Jonathan, The romantics on Shakespeare, Penguin, 1992\u00a0<\/p>\n

Coleridge, Lectures on Shakespeare, Edinburgh University Press, 2016\u00a0<\/p>\n

Hubler, Robert, The essense of Shakespeare\u2019s Sonnets, Princeton University Press, USA, 1952\u00a0<\/p>\n

Landry Hilton, New essays on Shakespeare\u2019s Sonnets, AMS PRESS, New York, 1976\u00a0<\/p>\n

Moss, Joyce; Valestuk, Loraine, World literature and its times, Gale Group, USA, 2021 .<\/p>\n

Pequigney, Joseph, Such is my love \u2013 A study of Shakespeare\u2019s sonnets, The university of Chicago Press, USA, 1985\u00a0<\/p>\n

Shakespeare, William, Sonete \u2013 editie bilingva, Pandora, 2016\u00a0<\/p>\n

Shakespeare, William, The complete works, Clarendon press, Oxford 2005\u00a0<\/p>\n

Shakespeare, William, The Sonnets, Monarch Press \u2013 Simon & Schuster, New York, 1965\u00a0<\/p>\n

Simpson, Richard, An introduction to the philosophy of Shakespeare\u2019s Sonnets, London, 1868<\/p>\n<\/div>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Cu excep\u021bia posibil\u0103 a lui Hamlet, volumul de 154 de sonete publicat postum \u00een 1609 a fost supus studiului \u0219i…<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":167,"featured_media":13530,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[265],"tags":[],"erasmus_universities_programs":[],"class_list":["post-13529","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fringe-unatc"],"acf":{"alternative_page_title":"","page_contact_email":""},"yoast_head":"\nO panoram\u0103 teatrologic\u0103 a temelor recurente \u00a0\u00een sonetele shakespeariene\u00a0 - UNATC<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/unatc.ro\/devunatc\/o-panorama-teatrologica-a-temelor-recurente-in-sonetele-shakespeariene\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O panoram\u0103 teatrologic\u0103 a temelor recurente \u00a0\u00een sonetele shakespeariene\u00a0 - 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