Nesf\u00e2r\u0219ite metamorfoze ale iubirii<\/p>\n
C\u00e2te feluri are dragostea?, ne putem \u00eentreba, pe bun\u0103 dreptate, atunci c\u00e2nd ne desf\u0103t\u0103m citind poezie erotic\u0103. De zeci de ori mai multe dec\u00e2t num\u0103rul femeilor din toate timpurile, pentru c\u0103 fiecare dintre acestea iube\u0219te altfel \u0219i \u00een variet\u0103\u021bi multiple. B\u0103rba\u021bii sunt, este adev\u0103rat, mai profunzi, mai statornici, dar mai limita\u021bi, de\u0219i modelul mitic al seduc\u0103torului este unul masculin, Don Juan, av\u00e2nd \u0219i o variant\u0103 cu biografie real\u0103, Casanova.
\nAbsorbit\u0103 de un v\u00e2rtej al sentimentelor, recurg\u00e2nd la un imaginar bogat, Sabina Lisievici scrie poezia jocului iubirii, a tr\u0103irilor \u0219i a pozelor, a stringen\u021bei \u0219i a capriciilor. Este \u0219i patetic\u0103, \u0219i ironic\u0103, \u0219i tandr\u0103, \u0219i decep\u021bionat\u0103, \u0219i efuziv\u0103. Oscileaz\u0103 \u00eentre un iubit real \u0219i altul imaginar, ideal. Cum \u0219tim, dragostea este asimilat\u0103 misterului feminin. Ea \u00eens\u0103\u0219i enigmatic\u0103, indefinibil\u0103, poate reprima excesele, prin tenta\u021bia de a armoniza\/ umaniza partenerii: \u201eTu nu o s\u0103 m\u0103 iube\u0219ti niciodat\u0103\/ Cu euforia aman\u021bilor\/ Din primele nop\u021bi cu so\u021biile altora.\/ Tu m\u0103 vei iubi cuminte, curat\/ Pe aceea\u0219i linie melodic\u0103 simpl\u0103, \/ F\u0103r\u0103 ova\u021bii la scene deschise.\/ M\u0103 vei iubi a\u0219a, \/ P\u00e2n\u0103 c\u00e2nd ochii t\u0103i\/ Nu vor mai lic\u0103ri la ideea\/ De c\u00e2t de s\u0103lbatic\/ M-ai fi putut iubi.\u201d (N-o s\u0103 m\u0103 iube\u0219ti). Alt\u0103dat\u0103, pentru c\u0103 sunt preferate atitudinile contradictorii, ferme, poeta pretinde o schimbare total\u0103, o renovare: \u201eAdun\u0103 toate gloan\u021bele r\u0103zboaielor\/ \u0218i tope\u0219te-le \u00eentr-o\/ Form\u0103 de inim\u0103\/ Pe care arunc-o \u00een\/ Golul \u0103sta de piept.\/ Iar cea pe care abia ai smuls-o, \/ D\u0103-o unui c\u00e2ine fl\u0103m\u00e2nd\/ De pe strada ta\/ F\u0103r\u0103 felinare\/ E second-hand!\u201d\u00a0(Second Hand). Iubita este \u00eengrijorat\u0103 \u0219i de nestatornicia soartei: \u201eO femeie \u00eendr\u0103gostit\u0103\/ \u00ce\u0219i poart\u0103 fricile\/ \u00cen s\u00e2n, \u00een p\u00e2ntec\/ Pe bra\u021be…\/ Aievea.\u201d (Fobie). C\u00e2nd este fericit\u0103, sufletul s\u0103u este invadat de fragran\u021b\u0103, de zambile \u0219i de \u201ePomi \u00eenmuia\u021bi \u00een flori\/ De zarz\u0103r\u201d (Prim\u0103var\u0103). Elegia desp\u0103r\u021birii provoc\u0103 suferin\u021be l\u0103untrice, regrete de ne\u0219ters. Chiar timpul \u00eencremene\u0219te: \u201eA \u00eencetat s\u0103 mai bat\u0103.\/ Sunt prins\u0103 \u00eentre ultimul s\u0103rut \u0219i sunetul\/ U\u0219ii sc\u00e2r\u021b\u00e2ind a \u00eenchis.\u201d (Ceasul).
\nPoeta nu de\u021bine o re\u021bet\u0103 de via\u021b\u0103, plute\u0219te \u00eentr-o deriv\u0103 existen\u021bial\u0103, accept\u0103 ideea c\u0103 existen\u021ba este de\u0219ert\u0103ciune, iluzie, supus\u0103 unei eterne re\u00eentoarceri. Chiar iubirea urmeaz\u0103 c\u0103i umblate de c\u00e2nd lumea. \u00cenceputurile sunt \u00eenfocate, iar sf\u00e2r\u0219iturile au aspect hibernal. Iubirea se \u00eent\u00e2mpl\u0103 fie prin tr\u0103irea intens\u0103 a clipei, fie \u00een amintirile fericite, recrudescente. Femeia \u00eens\u0103 se dovede\u0219te posesiv\u0103, vrea exclusivitate, suprema\u021bie: \u201eC\u00e2nd m\u0103 vei vedea\/ Purt\u00e2nd pulovere largi \u0219i lungi\/ Prin cas\u0103\/ S\u0103 \u0219tii c\u0103 atunci mi-e cel mai iarn\u0103\/ De tine.\/ M\u0103 str\u00e2ngi \u0219i m\u0103 \u00eende\u0219i\/ \u00cen co\u0219ciugul acela de metal\/ Ce \u021bi-l nume\u0219ti inim\u0103\/ Pentru mine teritoriul \u0103la sec\/ E declarat cucerit \u0219i \u00eenvins\/ Nu mai am ce s\u0103-\u021bi mai iau\/ Ai ochii avizi \u0219i goi\/ Barba lung\u0103 s\u0103-\u021bi morm\u0103i\/ Blestemele \u00een ea, \/ Pe tine nu te mai scap\u0103\/ Nici moartea de amintirea mea.\u201d (Frig). O senzualitate discret\u0103, sfioas\u0103, nu lipse\u0219te, pentru c\u0103 Sabina Lisievici \u00ee\u0219i asum\u0103 calineriile, mofturile, melodramatismul, crizele, a\u0219tept\u0103rile, \u0219ov\u0103ielile, ispitirile, volupt\u0103\u021bile, dezn\u0103dejdile tuturor femeilor.
\nCu toate reiter\u0103rile, cu toat\u0103 intensitatea st\u0103rilor, poezia este senin\u0103, confesiv\u0103, sentimentele fiind proiectate \u00een peisaj, \u00een anotimpuri, \u00een nisipul \u0219i valurile m\u0103rii, \u00een farul solitar ispitind sinuciga\u0219ii, \u00een genunea infernului. Exist\u0103 o permanent\u0103 oscila\u021bie \u00eentre bucurie \u0219i melancolie, \u00een func\u021bie de evolu\u021bia afectiv\u0103 a autoarei. C\u00e2nd apar ezit\u0103ri, lumea devine pustie: \u201eE strada noastr\u0103 \u0219i-au mai r\u0103mas\/ Doar\/ Greierii r\u0103gu\u0219i\u021bi din ea, felinare ce\/ Palid p\u00e2lp\u00e2ie\/ Ziduri mu\u0219cate de vreme\/ \u0218i amintiri \u00een rochii lungi \u0219i albe\/ Ce joac\u0103 \u00een t\u0103cere, \/ Despletite, \/ \u0218otron.\u201d (Strada b\u0103tr\u00e2n\u0103 de amintit). Suferin\u021bele produse de pierderea iubitului sunt resim\u021bite mai ales \u00een memorie, \u00een preumbl\u0103ri nostalgice prin locurile colindate alt\u0103dat\u0103, \u00een monologuri desf\u0103\u0219urate \u00een fa\u021ba oglinzii: \u201eCum s\u0103 uit\/ O via\u021b\u0103 \u00eenh\u0103mat\u0103 la dor\u201d. Alteori, brav\u00e2nd, declar\u0103 desprinderea de toate leg\u0103turile \u00eenrobitoare. Pentru a redob\u00e2ndi iubirea, nu exclude niciun mijloc, inclusiv desc\u00e2ntecul. \u00cen anumite momente, v\u00e2rsta o face s\u0103 se simt\u0103 \u00eemplinit\u0103: \u201eAnul acesta sunt femeia\/ Ce o visa\u021bi c\u00e2nd era\u021bi mici\/ Str\u0103lucesc f\u0103r\u0103 soare\/ Cu o cunun\u0103 de flori de c\u00e2mp\/ \u0218i salb\u0103 de visare.\/ Anul acesta sunt cea mai femeie!\/ Sunt fierbinte ca un\/ Trandafir \u00een fl\u0103c\u0103ri \u0219i\/ Credul\u0103 ca un soldat pe c\u00e2mpul\/ De lupt\u0103.\/ Dup\u0103 28 de piese de puzzle\/ Aruncate atent \u00een mine\u201d (Linia fierbinte). Imediat, \u00eens\u0103, apare descump\u0103nirea: \u201eSunt at\u00e2t de singur\u0103\/ C\u0103 nici mie nu-mi\/ Vorbesc\u201d (America). Dar, pentru lament\u0103rile, fr\u0103m\u00e2nt\u0103rile, nelini\u0219tile f\u0103r\u0103 sf\u00e2r\u0219it, leacul \u00eel constituie chiar natura feminin\u0103, tinere\u021bea \u0219i \u00eenchipuirea nesf\u00e2r\u0219it\u0103: \u201eSunt binecuv\u00e2ntat\u0103 de\/ Tinere\u021bea febril\u0103\/ \u0218i minunea de a putea face\/ Dragoste cu tine\/ De fiecare dat\u0103 c\u00e2nd \u00eenchid ochii\/ F\u0103r\u0103 ca nimeni s\u0103 \u0219tie\u201d (Vals pentru Venus).
\nCartea Sabinei Lisievici este monotematic\u0103, prezent\u00e2nd agoniile \u0219i desf\u0103t\u0103rile unei iubiri pierdute, rec\u00e2\u0219tigate, iar pierdute, precum \u0219i st\u0103rile contradictorii prin care trece o t\u00e2n\u0103r\u0103 femeie, \u00eemp\u0103r\u021bite \u00eentre realitate, reverie, reflec\u021bie. Face acest lucru cu decen\u021b\u0103, cu o simplitate rafinat\u0103, cu o stilistic\u0103 minimal\u0103, ca pe nota\u021biile unui jurnal al vie\u021bii afective.<\/p>\n
PAUL ARETZU<\/p>","protected":false},"excerpt":{"rendered":"
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