Comediile Dlui I L Caragiale

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\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 O noapte
furtunoas\uc1 \u259 ?, Conul Leonida fa\uc1 \u539 ?\uc1 \u259 ? cu reac\uc1 \u539 ?
iunea, O scrisoare pierdut\uc1 \u259 ?, D-ale carnavalului - cine din cei ce se duc
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treia \uc1 \u537 ?i c\uc1 \u226 ?\uc1 \u539 ?iva pe celelalte.}{\i0 \fs21 \kerning0
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Publicul primelor reprezent\uc1 \u259 ?ri a judecat altfel. Scrisoarea
pierdut\uc1 \u259 ? a avut un succes mare; \uc1 \u537 ?i Noaptea furtunoas\uc1
\u259 ? a avut succes; dar Conul Leonida, jucat pe o scen\uc1 \u259 ? de a doua
m\uc1 \u226 ?n\uc1 \u259 ?, nu a pl\uc1 \u259 ?cut; \uc1 \u537 ?i D-ale
carnavalului a fost fluierat\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich
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e grea mai ales acolo unde lipse\uc1 \u537 ?te \uc1 \u238 ?nc\uc1 \u259 ? tradi\uc1
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at\uc1 \u226 ?t mai de trebuin\uc1 \u539 ?\uc1 \u259 ?.}{\i0 \fs21 \kerning0
\uc1 \u536 ?i mai \uc1 \u238 ?nt\uc1 \u226 ?i s\uc1 \u259 ? c\uc1 \u259 ?ut\uc1
\u259 ?m a ne \uc1 \u238 ?n\uc1 \u539 ?elege asupra p\uc1 \u259 ?r\uc1 \u539 ?ii
celei mai pu\uc1 \u539 ?in contestate din meritul literar al d-lui Caragiale care
ne pare a fi urm\uc1 \u259 ?toarea:}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Lucrarea d-
lui Caragiale este original\uc1 \u259 ?; comediile sale pun pe scen\uc1 \u259 ?
c\uc1 \u226 ?teva tipuri din via\uc1 \u539 ?a noastr\uc1 \u259 ? social\uc1 \u259 ?
de ast\uc1 \u259 ?zi \uc1 \u537 ?i le dezvolt\uc1 \u259 ? cu semnele lor
caracteristice, cu deprinderile lor, cu expresiile lor, cu tot aparatul \uc1
\u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1 \u537 ?\uc1 \u259 ?rii lor \uc1 \u238 ?n
situa\uc1 \u539 ?iile anume alese de autor.}{\i0 \fs21 \kerning0 \dbch \af4
Stratul social pe care \uc1 \u238 ?l \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1
\u537 ?eaz\uc1 \u259 ? mai cu deosebire aceste comedii este luat de jos \uc1
\u537 ?i ne arat\uc1 \u259 ? aspectul unor sim\uc1 \u539 ?iminte omene\uc1 \u537 ?
ti, de altminteri acelea\uc1 \u537 ?i la toat\uc1 \u259 ? lumea, manifestate
\uc1 \u238 ?ns\uc1 \u259 ? aici cu o not\uc1 \u259 ? specific\uc1 \u259 ?, adec\uc1
\u259 ? sub formele unei spoieli de civiliza\uc1 \u539 ?ie occidental\uc1 \u259 ?,
strecurat\uc1 \u259 ? \uc1 \u238 ?n mod precipitat p\uc1 \u226 ?n\uc1 \u259 ?
\uc1 \u238 ?n acel strat \uc1 \u537 ?i transformat\uc1 \u259 ? aici \uc1 \u238 ?
ntr-o adev\uc1 \u259 ?rat\uc1 \u259 ? caricatur\uc1 \u259 ? a culturei moderne.}
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\fi0 \li0 \ri0 \sb0 \sa0 \sbauto0 \saauto0 \widctlpar \keep0 \keepn0 \noline0
\aspalpha \aspnum \adjustright \lin0 \rin0 \cbpat18 \itap0 \fs24 \kerning0
\langfenp2052 \cf8 \caps0 Conul Leonida cite\uc1 \u537 ?te jurnale, explic\uc1
\u259 ? nevestei sale esen\uc1 \u539 ?a republicei cum o pricepe el, valoarea lui
"Galibardi" \uc1 \u537 ?i teoria halucina\uc1 \u539 ?iilor. Jup\uc1 \u226 ?n
Dumitrache, cherestegiul, caut\uc1 \u259 ? s\uc1 \u259 ? \uc1 \u238 ?n\uc1 \u539 ?
eleag\uc1 \u259 ? \uc1 \u238 ?n convorbiri cu ipistatul Nae Ipingescu ce este
"sufragiul universal", este p\uc1 \u259 ?truns de demnitatea gardei civice \uc1
\u537 ?i prime\uc1 \u537 ?te de la Ric\uc1 \u259 ? Venturiano deslu\uc1 \u537 ?iri
asupra suveranit\uc1 \u259 ?\uc1 \u539 ?ii poporului; iar cocoana Veta \uc1
\u238 ?\uc1 \u537 ?i c\uc1 \u226 ?nt\uc1 \u259 ? amorul "\uc1 \u238 ?ntr-un moment
de fericire \uc1 \u537 ?i printr-o perl\uc1 \u259 ? de iubire". Candidatul de la
percep\uc1 \u539 ?ie vrea s\uc1 \u259 ? scape de dureri dup\uc1 \u259 ? sistemul
lui Mattei; Mi\uc1 \u539 ?a Baston jur\uc1 \u259 ? pe statua libert\uc1 \u259 ?\uc1
\u539 ?ii din Ploie\uc1 \u537 ?ti \uc1 \u537 ?i ipistatul Carnavalului pune un
"potrabac" cu muzic\uc1 \u259 ? la "lot\uc1 \u259 ?rie". Ziaristul Nae Ca\uc1 \u539
?avencu \uc1 \u537 ?i advocatul Farfuridi fac discursuri electorale asupra
progresului economic \uc1 \u537 ?i revizuirii constitu\uc1 \u539 ?ionale;
Dandanache \uc1 \u238 ?\uc1 \u537 ?i sus\uc1 \u539 ?ine dreptul la deput\uc1
\u259 ?\uc1 \u539 ?ie prin tradi\uc1 \u539 ?ia de la "patruz\uc1 \u537 ?opt", iar
poli\uc1 \u539 ?aiul Ghi\uc1 \u539 ?\uc1 \u259 ? este un element principal pentru
alegerea "curat constitu\uc1 \u539 ?ional\uc1 \u259 ?". Adev\uc1 \u259 ?ratul om
onest este simplul "Cet\uc1 \u259 ?\uc1 \u539 ?ean" aleg\uc1 \u259 ?tor, care este
totdeauna "turmentat".}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\expndtw0 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0
\par }\pard \plain \s15 \ql \fi0 \li0 \ri0 \sb0 \sa0 \sbauto0 \saauto0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Printre
aceste figuri, cu straniul lor vestm\uc1 \u226 ?nt de aparen\uc1 \u539 ?a unei
culturi superioare, se agit\uc1 \u259 ? pornirile \uc1 \u537 ?i pasiunile omene\uc1
\u537 ?ti, de\uc1 \u537 ?ert\uc1 \u259 ?ciunea, iubirea, goana dup\uc1 \u259 ?
c\uc1 \u226 ?\uc1 \u537 ?tig \uc1 \u537 ?i mai ales exploatarea celor m\uc1 \u259 ?
rgini\uc1 \u539 ?i, cu ajutorul frazelor declamatorii ne\uc1 \u238 ?n\uc1 \u539 ?
elese - unul din semnele caracteristice ale epocei noastre.}{\i0 \fs21 \kerning0
"Ce lume, ce lume!" zice prefectul Tip\uc1 \u259 ?tescu, \uc1 \u537 ?i a\uc1
\u537 ?a zicem \uc1 \u537 ?i noi c\uc1 \u226 ?nd prindem de veste c\uc1 \u259 ?
este \uc1 \u238 ?nadev\uc1 \u259 ?r o parte a lumii reale ce ni se desf\uc1
\u259 ?\uc1 \u537 ?ur\uc1 \u259 ? astfel \uc1 \u238 ?naintea ochilor.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 \uc1 \u206 ?n acest caleidoscop de figuri, \uc1 \u238 ?
nl\uc1 \u259 ?n\uc1 \u539 ?uite \uc1 \u238 ?n vorbele \uc1 \u537 ?i faptele lor
spre efecte de scen\uc1 \u259 ? cu mult\uc1 \u259 ? cuno\uc1 \u537 ?tin\uc1
\u539 ?\uc1 \u259 ? a artei dramatice, d. Caragiale ne arat\uc1 \u259 ? realitatea
din partea ei comic\uc1 \u259 ?. Dar u\uc1 \u537 ?or se poate \uc1 \u238 ?ntrevedea
prin aceast\uc1 \u259 ? realitate elementul mai ad\uc1 \u226 ?nc \uc1 \u537 ?i
serios, care este nedezlipit de via\uc1 \u539 ?a omeneasc\uc1 \u259 ? \uc1 \u238 ?n
toat\uc1 \u259 ? \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1 \u537 ?area ei, precum
\uc1 \u238 ?n genere \uc1 \u238 ?nd\uc1 \u259 ?r\uc1 \u259 ?tul oric\uc1 \u259 ?rei
comedii se ascunde o tragedie.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\expnd0 \expndtw0 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 L\uc1
\u259 ?s\uc1 \u226 ?nd acum la o parte, \uc1 \u238 ?n aceast\uc1 \u259 ? privire
mai general\uc1 \u259 ? asupra lucr\uc1 \u259 ?rilor d-lui Caragiale, \uc1 \u238 ?
ntreb\uc1 \u259 ?rile de o ordine secundar\uc1 \u259 ?, dac\uc1 \u259 ? de exemplu
unele situa\uc1 \u539 ?ii \uc1 \u537 ?i expresii nu sunt exagerate din punct de
vedere al chiar realit\uc1 \u259 ?\uc1 \u539 ?ii ce vor s\uc1 \u259 ?
reproduc\uc1 \u259 ?, dac\uc1 \u259 ? \uc1 \u238 ?n diferitele piese nu
este un fel de monotonie a figurilor \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?
i\uc1 \u537 ?ate sau cel pu\uc1 \u539 ?in a modului \uc1 \u238 ?nf\uc1
\u259 ?\uc1 \u539 ?i\uc1 \u537 ?\uc1 \u259 ?rii lor, o lips\uc1 \u259 ?, aproape
des\uc1 \u259 ?v\uc1 \u226 ?r\uc1 \u537 ?it\uc1 \u259 ?, a p\uc1 \u259 ?r\uc1 \u539
?ilor mai bune ale naturei omene\uc1 \u537 ?ti \uc1 \u537 ?.c.l., \uc1 \u537 ?i
m\uc1 \u259 ?rginindu-ne la relevarea meritului necontestabil al comediilor
autorului nostru, putem constata \uc1 \u537 ?i recunoa\uc1 \u537 ?te acest merit
\uc1 \u238 ?n scoaterea \uc1 \u537 ?i \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?
i\uc1 \u537 ?area plin\uc1 \u259 ? de spirit a tipurilor \uc1 \u537 ?i situa\uc1
\u539 ?iilor din chiar miezul unei p\uc1 \u259 ?r\uc1 \u539 ?i a vie\uc1 \u539 ?ii
noastre sociale, f\uc1 \u259 ?r\uc1 \u259 ? imitare sau \uc1 \u238 ?mprumutare din
literaturi str\uc1 \u259 ?ine.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 \uc1 \u536 ?
i oare acesta este pu\uc1 \u539 ?in lucru? Oare nu este aici un adev\uc1 \u259 ?rat
\uc1 \u238 ?nceput de literatur\uc1 \u259 ? dramatic\uc1 \u259 ? na\uc1 \u539 ?
ional\uc1 \u259 ?, independent\uc1 \u259 ?, tr\uc1 \u259 ?ind din propriile sale
puteri, \uc1 \u238 ?n \uc1 \u238 ?n\uc1 \u539 ?elesul aceleia\uc1 \u537 ? mi\uc1
\u537 ?c\uc1 \u259 ?ri intelectuale s\uc1 \u259 ?n\uc1 \u259 ?toase, \uc1 \u238 ?n
care sunt \uc1 \u537 ?i Novelele lui Slavici, \uc1 \u537 ?i Amintirile lui
Creang\uc1 \u259 ?, \uc1 \u537 ?i Copiile de pe natur\uc1 \u259 ? ale lui Negruzzi,
\uc1 \u537 ?i Poeziile lui Eminescu - mi\uc1 \u537 ?care de\uc1 \u537 ?teapt\uc1
\u259 ? \uc1 \u238 ?n literatura noastr\uc1 \u259 ? prin acea culegere de poezii
populare prin care Alecsandri a \uc1 \u238 ?ndreptat spiritul tinerimii de
ast\uc1 \u259 ?zi spre izvorul ve\uc1 \u537 ?nic al tuturor inspira\uc1 \u539 ?
iilor adev\uc1 \u259 ?rate; sim\uc1 \u539 ?irile reale ale poporului \uc1 \u238 ?n
care tr\uc1 \u259 ?im, \uc1 \u537 ?i care sim\uc1 \u539 ?iri numai \uc1 \u238 ?
ntruc\uc1 \u226 ?t sunt oglindite prin art\uc1 \u259 ? \uc1 \u238 ?n aceast\uc1
\u259 ? realitate a lor devin o parte integrant\uc1 \u259 ? a omenirii exprimat\uc1
\u259 ? \uc1 \u238 ?n forma literar\uc1 \u259 ??}{\i0 \fs21 \kerning0 \dbch \af4
Privit\uc1 \u259 ? din acest punct de vedere, lucrarea d-lui Caragiale se \uc1
\u238 ?nvedereaz\uc1 \u259 ? cu \uc1 \u238 ?nsemn\uc1 \u259 ?tatea ei \uc1 \u537 ?i
se arat\uc1 \u259 ? a fi, \uc1 \u238 ?n afar\uc1 \u259 ? de orce comparare,
superioar\uc1 \u259 ? acelor piese me\uc1 \u537 ?te\uc1 \u537 ?ugite din atmosfere
str\uc1 \u259 ?ine, care caut\uc1 \u259 ? \uc1 \u238 ?n zadar s\uc1 \u259 ? se
intereseze la peripe\uc1 \u539 ?iile unor marchizi \uc1 \u537 ?i a unor dame cu
camelii, pentru a c\uc1 \u259 ?ror \uc1 \u238 ?n\uc1 \u539 ?elegere lipse\uc1 \u537
?te \uc1 \u537 ?i publicului \uc1 \u537 ?i actorilor no\uc1 \u537 ?tri orice
element mai apropiat.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Dar
dac\uc1 \u259 ? poate ni se admite de mul\uc1 \u539 ?i cititori aceast\uc1 \u259 ?
parte a meritului d-lui Caragiale, este \uc1 \u238 ?ns\uc1 \u259 ? o imputare ce o
auzim f\uc1 \u259 ?c\uc1 \u226 ?ndu-se adeseori \uc1 \u238 ?n contr\uc1 \u259 ?-
i \uc1 \u537 ?i care, tocmai fiindc\uc1 \u259 ? este a\uc1 \u537 ?a de des
repetat\uc1 \u259 ?, merit\uc1 \u259 ? o mai de aproape cercetare.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 \uc1 \u536 ?i fiindc\uc1 \u259 ? zicem c\uc1 \u259 ?
merit\uc1 \u259 ? o mai de aproape cercetare, se \uc1 \u238 ?n\uc1 \u539 ?elege de
la sine c\uc1 \u259 ? nu poate fi vorba de insinuarea ce nu s-a sfiit a se
produce \uc1 \u537 ?i \uc1 \u238 ?n unele organe de publicitate, c\uc1 \u259 ?
adec\uc1 \u259 ? comediile d-lui Caragiale urm\uc1 \u259 ?resc scopuri politice
\uc1 \u537 ?i vor s\uc1 \u259 ?-\uc1 \u537 ?i bat\uc1 \u259 ? anume joc de unele
apuc\uc1 \u259 ?turi ale partidului liberal, \uc1 \u537 ?i c\uc1 \u259 ? prin
urmare ar trebui oprite de pe scena teatrului din ordinul guvernului de ast\uc1
\u259 ?zi (pe atunci ministerul I. C. Br\uc1 \u259 ?tianu).}{\i0 \fs21 \kerning0
\expndtw0 \chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 O
asemenea imputare este prea pu\uc1 \u539 ?in serioas\uc1 \u259 ? pentru a fi
discutat\uc1 \u259 ?, \uc1 \u537 ?i avem numai interesul s\uc1 \u259 ? dovedim
c\uc1 \u259 ? s-a adus \uc1 \u238 ?n adev\uc1 \u259 ?r prin publicitate.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 Citim pe a doua pagin\uc1 \u259 ? a unui ziar liberal din
Bucure\uc1 \u537 ?ti, de la 13 aprilie 1885, despre comedia D-ale carnavalului:}
\langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 \par }\pard \plain \qj \li210
\ri0 \sa0 \saauto0 \widctlpar \keep0 \keepn0 \noline0 \aspalpha \aspnum
\adjustright \lin210 \rin0 \itap0 \fs21 \kerning2 \dbch \af2 \hich \af0 \loch \af0
{\i0 \fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2 \expnd0 \expndtw0
\chcbpat18 \cf8 \caps0 \uc1 \u536 ?i ce pies\uc1 \u259 ?! O stupiditate
murdar\uc1 \u259 ?, culeas\uc1 \u259 ? din locurile unde se arunc\uc1 \u259 ?
gunoiul. Femei de strad\uc1 \u259 ? de cea mai joas\uc1 \u259 ? spe\uc1 \u539 ?\uc1
\u259 ?, b\uc1 \u259 ?rbieri \uc1 \u537 ?i ipista\uc1 \u539 ?i, \uc1 \u238 ?n gura
c\uc1 \u259 ?rora se pun cuvinte insufl\uc1 \u259 ?toare pentru mi\uc1 \u537 ?c\uc1
\u259 ?ri ca cea de la 11 fevruarie, pentru libertate \uc1 \u537 ?i egalitate, cari
sunt baza organiza\uc1 \u539 ?iunii noastre politice.}{\fs24 \kerning2 \loch
\af2 \hich \af2 \dbch \f2 \par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0
\itap0 \fs21 \kerning2 \dbch \af2 \hich \af0 \loch \af0 {\i0 \fs24 \kerning2
\loch \af2 \hich \af2 \dbch \f2 \expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 Palma
primit\uc1 \u259 ? de la public, care a fluierat, nu ne mul\uc1 \u539 ?ume\uc1
\u537 ?te; e de datoria ministrului instruc\uc1 \u539 ?iunii s\uc1 \u259 ? puie
\uc1 \u238 ?n vederea direc\uc1 \u539 ?iunii ce caragialiad\uc1 \u259 ? a f\uc1
\u259 ?cut, \uc1 \u537 ?i pe acest temei s-o schimbe, ca incapabil\uc1 \u259 ? \uc1
\u537 ?i nedemn\uc1 \u259 ?. Voiam un teatru na\uc1 \u539 ?ional, nu o ga\uc1 \u537
?c\uc1 \u259 ? de opozi\uc1 \u539 ?ie nedemn\uc1 \u259 ?, \uc1 \u238 ?n care se
insult\uc1 \u259 ? poporul \uc1 \u537 ?i institu\uc1 \u539 ?iile \uc1
\u539 ?\uc1 \u259 ?rii.}{\fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2
\par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0 \widctlpar \keep0 \keepn0 \noline0
\aspalpha \aspnum \adjustright \lin210 \rin0 \itap0 \fs21 \kerning2 \dbch \af2
\hich \af0 \loch \af0 {\i0 \fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2
\expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 Cerem cu insisten\uc1 \u539 ?\uc1 \u259 ?
ministrului instruc\uc1 \u539 ?iunii s\uc1 \u259 ? intervie.}{\fs24 \kerning2 \loch
\af2 \hich \af2 \dbch \f2 \par }\pard \plain \s15 \ql \fi0 \li0 \ri0 \sb0 \sa0
\expndtw0 \chcbpat18
\lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 \uc1 \u536 ?i foaia
acelor tineri, foarte tineri, din capital\uc1 \u259 ?, care \uc1 \u238 ?\uc1
\u537 ?i \uc1 \u238 ?nchipuiesc c\uc1 \u259 ? sunt sociali\uc1 \u537 ?ti, se gr\uc1
\u259 ?be\uc1 \u537 ?te a doua zi s\uc1 \u259 ? \uc1 \u539 ?in\uc1 \u259 ? isonul
ziarului citat mai sus \uc1 \u537 ?i scrie pe pagina \uc1 \u238 ?nt\uc1 \u226 ?i a
num\uc1 \u259 ?rului de la 14 aprilie 1885:}{\i0 \fs21 \kerning0 \dbch \af4
\langfenp2052 \cf8 \caps0 \par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0
\itap0 \fs21 \kerning2 \dbch \af2 \hich \af0 \loch \af0 {\i0 \fs24 \kerning2
\loch \af2 \hich \af2 \dbch \f2 \expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 Ziarul ***
public\uc1 \u259 ? \uc1 \u238 ?n num\uc1 \u259 ?rul s\uc1 \u259 ?u de ieri
dou\uc1 \u259 ? articole foarte drepte la adresa direc\uc1 \u539 ?iunii teatrelor,
prin care critic\uc1 \u259 ? drumul pe care a apucat \uc1 \u537 ?i supunerea pe
care o arat\uc1 \u259 ? unei oarecare g\uc1 \u259 ?\uc1 \u537 ?ti literare din
Bucure\uc1 \u537 ?ti.}{\fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2
\par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0 \widctlpar \keep0 \keepn0 \noline0
\aspalpha \aspnum \adjustright \lin210 \rin0 \itap0 \fs21 \kerning2 \dbch \af2
\hich \af0 \loch \af0 {\i0 \fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2
\expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 Avis celor \uc1 \u238 ?n drept a lecui
r\uc1 \u259 ?ul.}{\fs24 \kerning2 \loch \af2 \hich \af2 \dbch \f2 \par }\pard
\plain \s15 \ql \fi0 \li0 \ri0 \sb0 \sa0 \sbauto0 \saauto0 \widctlpar \keep0
\keepn0 \noline0 \aspalpha \aspnum \adjustright \lin0 \rin0 \cbpat18 \itap0
\fs24 \kerning0 \lang1033 \langnp1033 \langfe2052 \langfenp2052 {\i0 \fs21
\kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0 \chcbpat18 \lang1033
\langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Adec\uc1 \u259 ?, cum am zice,
poli\uc1 \u539 ?ia \uc1 \u238 ?n contra literaturei! Cenzura guvernamental\uc1
\u259 ? \uc1 \u238 ?n contra spiritului comediilor! Destituirea comitetului teatral
\uc1 \u537 ?i poate pedepsirea autorului!}{\i0 \fs21 \kerning0 \dbch \af4 \hich
Cum se repet\uc1 \u259 ? toate \uc1 \u238 ?n lume, de\uc1 \u537 ?i mutatis
mutandis! \uc1 \u536 ?i \uc1 \u238 ?n Fran\uc1 \u539 ?a secolului trecut, la sf\uc1
\u226 ?r\uc1 \u537 ?itul terorismului, Ducancel pusese \uc1 \u238 ?n scen\uc1 \u259
? "l'int\uc1 \u233 ?rieur des comit\uc1 \u233 ?s revolutionnaires", unde \uc1 \u238
?\uc1 \u537 ?i b\uc1 \u259 ?tea joc de radicalii terori\uc1 \u537 ?ti \uc1 \u537 ?i
"insulta institu\uc1 \u539 ?iunile \uc1 \u539 ?\uc1 \u259 ?rii", \uc1 \u537 ?i
atunci foaia radical\uc1 \u259 ? L'ami des lois ceruse pedepsirea autorului, care
n'expierait point par mille morts tout le mal qu'il a fait a la libert\uc1
\u233 ?".}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 Numai c\uc1 \u259 ? vremurile s-au schimbat, \uc1 \u537 ?
i s-au cam schimbat \uc1 \u537 ?i oamenii. Radicalii terori\uc1 \u537 ?ti din
Fran\uc1 \u539 ?a de atunci \uc1 \u238 ?\uc1 \u537 ?i executau dorin\uc1 \u539 ?ele
lor prin s\uc1 \u226 ?nge, \uc1 \u537 ?i \uc1 \u238 ?n contra lor a trebuit
s\uc1 \u259 ? opereze ghilotina; radicalii no\uc1 \u537 ?tri de ast\uc1 \u259 ?
zi \uc1 \u238 ?\uc1 \u537 ?i arat\uc1 \u259 ? dorin\uc1 \u539 ?ele dumnealor prin
cerneal\uc1 \u259 ?, \uc1 \u537 ?i \uc1 \u238 ?n contra lor e destul s\uc1 \u259 ?
opereze o foaie de h\uc1 \u226 ?rtie sug\uc1 \u259 ?toare.}{\i0 \fs21 \kerning0
C\uc1 \u259 ?ci pentru orice om cu mintea s\uc1 \u259 ?n\uc1 \u259 ?toas\uc1
\u259 ? este evident c\uc1 \u259 ? o comedie nu are nimic a face cu politica de
partid; autorul \uc1 \u238 ?\uc1 \u537 ?i ia persoanele sale din societatea
contimporan\uc1 \u259 ? cum este, pune \uc1 \u238 ?n eviden\uc1 \u539 ?\uc1 \u259 ?
partea comic\uc1 \u259 ? a\uc1 \u537 ?a cum o g\uc1 \u259 ?se\uc1 \u537 ?te,
\uc1 \u537 ?i acela\uc1 \u537 ? Caragiale, care ast\uc1 \u259 ?zi \uc1
\u238 ?\uc1 \u537 ?i bate joc de fraza demagogic\uc1 \u259 ?, \uc1 \u537 ?i-ar fi
b\uc1 \u259 ?tut joc ieri de i\uc1 \u537 ?lic \uc1 \u537 ?i tombater\uc1 \u259 ?
\uc1 \u537 ?i \uc1 \u238 ?\uc1 \u537 ?i va bate joc m\uc1 \u226 ?ine de fraza
reac\uc1 \u539 ?ionar\uc1 \u259 ?, \uc1 \u537 ?i \uc1 \u238 ?n toate aceste cazuri
va fi \uc1 \u238 ?n dreptul s\uc1 \u259 ?u literar incontestabil.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 A\uc1 \u537 ?adar, nu la asemenea imput\uc1 \u259 ?ri
nechibzuite ne putem opri. E \uc1 \u238 ?ns\uc1 \u259 ? o alt\uc1 \u259 ? imputare
mai serioas\uc1 \u259 ? ce se face autorului nostru, \uc1 \u537 ?i pe aceasta ne
credem datori s\uc1 \u259 ? o cercet\uc1 \u259 ?m mai de aproape.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 Comediile d-lui Caragiale, se zice, sunt triviale \uc1
\u537 ?i imorale; tipurile sunt toate alese dintre oameni sau vi\uc1 \u539 ?
io\uc1 \u537 ?i, sau pro\uc1 \u537 ?ti; situa\uc1 \u539 ?iile sunt adeseori
scabroase; amorul e totdeauna nelegiuit; \uc1 \u537 ?i \uc1 \u238 ?nc\uc1 \u259 ?
aceste figuri \uc1 \u537 ?i situa\uc1 \u539 ?ii se prezint\uc1 \u259 ? \uc1 \u238 ?
ntr-un mod firesc, parc\uc1 \u259 ? s-ar \uc1 \u238 ?n\uc1 \u539 ?elege de la sine
c\uc1 \u259 ? nu poate fi altfel; nic\uc1 \u259 ?iri nu se vede pedepsirea celor
r\uc1 \u259 ?i \uc1 \u537 ?i r\uc1 \u259 ?spl\uc1 \u259 ?tirea celor buni.}{\i0
\fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0 \lang1033
\langfenp2052 \cf8 \caps0 Pentru cei ce cunosc multele discu\uc1 \u539 ?ii
de\uc1 \u537 ?teptate \uc1 \u537 ?i \uc1 \u238 ?n literatura altor \uc1 \u539 ?\uc1
\u259 ?ri asupra acestor \uc1 \u238 ?ntreb\uc1 \u259 ?ri, ne-am putea m\uc1 \u259 ?
rgini s\uc1 \u259 ? r\uc1 \u259 ?spundem: exist\uc1 \u259 ? aceste tipuri \uc1
\u238 ?n lumea noastr\uc1 \u259 ?? sunt adev\uc1 \u259 ?rate aceste situa\uc1 \u539
?ii? Dac\uc1 \u259 ? sunt, atunci de ce la autorul dramatic trebuie s\uc1 \u259 ?
cerem numai ca s\uc1 \u259 ? ni le prezinte \uc1 \u238 ?n mod artistic; iar
valoarea lor moral\uc1 \u259 ? este afar\uc1 \u259 ? din chestie. Nici \uc1 \u238 ?
n comediile lui Aristofan, nici \uc1 \u238 ?n Mariage de Figaro, nici \uc1 \u238 ?n
Sganarelle, nici \uc1 \u238 ?n sute de comedii cunoscute \uc1 \u537 ?i recunoscute
nu e vorba de o asemenea moral\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4
Dar acest r\uc1 \u259 ?spuns, \uc1 \u238 ?ndestul\uc1 \u259 ?tor poate acolo unde
sunt tradi\uc1 \u539 ?ii literare, nu este \uc1 \u238 ?ndestul\uc1 \u259 ?tor la
noi, \uc1 \u537 ?i de aceea ne cerem voie s\uc1 \u259 ? motiv\uc1 \u259 ?m ceva mai
pe larg p\uc1 \u259 ?rerea noastr\uc1 \u259 ? asupra
punctului \uc1 \u238 ?n discu\uc1 \u539 ?ie.}{\i0 \fs21 \kerning0 \dbch \af4 \hich
Dac\uc1 \u259 ? ni se pune \uc1 \u238 ?ntrebare: arta \uc1 \u238 ?n genere \uc1
\u537 ?i \uc1 \u238 ?n special arta dramatic\uc1 \u259 ? are sau nu are \uc1
\u537 ?i o misiune moral\uc1 \u259 ?? contribuie ea la educarea \uc1 \u537 ?i
\uc1 \u238 ?n\uc1 \u259 ?l\uc1 \u539 ?area poporului? Noi r\uc1 \u259 ?spundem
f\uc1 \u259 ?r\uc1 \u259 ? \uc1 \u537 ?ov\uc1 \u259 ?ire: da, arta a avut totdeauna
o \uc1 \u238 ?nalt\uc1 \u259 ? misiune moral\uc1 \u259 ?, \uc1 \u537 ?i orce
adev\uc1 \u259 ?rat\uc1 \u259 ? oper\uc1 \u259 ? artistic\uc1 \u259 ? o \uc1
\u238 ?ndepline\uc1 \u537 ?te.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Va s\uc1
\u259 ? zic\uc1 \u259 ?, asupra acestui punct nu suntem dezbina\uc1 \u539 ?i.}
\langfenp2052 \cf8 \caps0 R\uc1 \u259 ?m\uc1 \u226 ?ne numai s\uc1 \u259 ? ne
\uc1 \u238 ?n\uc1 \u539 ?elegem \uc1 \u238 ?n ce consist\uc1 \u259 ?, \uc1 \u238 ?n
ce poate consista acea influen\uc1 \u539 ?\uc1 \u259 ? moral\uc1 \u259 ? a lucr\uc1
\u259 ?rilor de art\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4
i aici trebuie s\uc1 \u259 ? stabilim mai \uc1 \u238 ?nt\uc1 \u226 ?i un punct de
plecare elementar: influen\uc1 \u539 ?a moral\uc1 \u259 ? a unei lucr\uc1 \u259 ?ri
literare nu poate s\uc1 \u259 ? fie alta dec\uc1 \u226 ?t influen\uc1 \u539 ?a
moral\uc1 \u259 ? a artei \uc1 \u238 ?n genere. Dac\uc1 \u259 ? arta \uc1 \u238 ?n
genere are un element esen\uc1 \u539 ?ial moralizator, acela\uc1 \u537 ? element va
trebui s\uc1 \u259 ?-l g\uc1 \u259 ?sim \uc1 \u537 ?i \uc1 \u238 ?n orce art\uc1
\u259 ? deosebit\uc1 \u259 ?, prin urmare \uc1 \u537 ?i \uc1 \u238 ?n arta
dramatic\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Ar fi o
confuzie, care ar \uc1 \u238 ?mpiedica de la \uc1 \u238 ?nceput orce dreapt\uc1
\u259 ? \uc1 \u238 ?n\uc1 \u539 ?elegere a lucrului, dac\uc1 \u259 ? ne-am \uc1
\u238 ?nchipui c\uc1 \u259 ? poezia, fie liric\uc1 \u259 ?, fie epic\uc1 \u259 ?,
fie dramatic\uc1 \u259 ?, are alt\uc1 \u259 ? esen\uc1 \u539 ?\uc1 \u259 ?
moral\uc1 \u259 ? dec\uc1 \u226 ?t arta \uc1 \u238 ?n genere. Poate s\uc1 \u259 ? o
aib\uc1 \u259 ? \uc1 \u238 ?ntr-un grad mai mare sau mai mic, dar nu poate s\uc1
\u259 ? o aib\uc1 \u259 ? de o alt\uc1 \u259 ? natur\uc1 \u259 ? \uc1 \u537 ?i nu
trebuie s\uc1 \u259 ? ceri poeziei o alt\uc1 \u259 ? influen\uc1 \u539 ?\uc1
\u259 ? moral\uc1 \u259 ? dec\uc1 \u226 ?t o ceri muzicei, sculpturei, arhitecturei
\uc1 \u537 ?i picturei. C\uc1 \u259 ?ci \uc1 \u238 ?nt\uc1 \u226 ?mplarea c\uc1
\u259 ? poezia \uc1 \u238 ?ntrebuin\uc1 \u539 ?eaz\uc1 \u259 ? acela\uc1 \u537 ?
organ de comunicare sau acela\uc1 \u537 ? material brut ca \uc1 \u537 ?i codicele
penal \uc1 \u537 ?i catehismul de moral\uc1 \u259 ?, adic\uc1 \u259 ? cuvintele,
nu-i poate schimba esen\uc1 \u539 ?a ei de art\uc1 \u259 ?, precum nu se poate
confunda arta sculpturei cu meseria pavajului, de\uc1 \u537 ?i am\uc1 \u226 ?
ndou\uc1 \u259 ? \uc1 \u238 ?ntrebuin\uc1 \u539 ?eaz\uc1 \u259 ? materialul
piatr\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Aceea\uc1
\u537 ? influen\uc1 \u539 ?\uc1 \u259 ? asupra \uc1 \u238 ?n\uc1 \u259 ?l\uc1 \u539
?\uc1 \u259 ?rii morale a individului ce o po\uc1 \u539 ?i a\uc1 \u537 ?tepta din
producerea sim\uc1 \u539 ?im\uc1 \u226 ?ntului estetic la auzirea unei simfonii de
Beethoven \uc1 \u537 ?i la privirea statuei lui Apollo din Belvedere sau a Venerii
de Medicis, aceea\uc1 \u537 ?, \uc1 \u537 ?i nu alta, trebuie s\uc1 \u259 ? o a\uc1
\u537 ?tep\uc1 \u539 ?i de la citirea unei poezii sau de la asistarea la o
reprezentare dramatic\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch
\f4 \expnd0 \expndtw0 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Este destul
s\uc1 \u259 ? aducem aceast\uc1 \u259 ? considerare general\uc1 \u259 ? \uc1
\u238 ?n cercetarea noastr\uc1 \u259 ? de fa\uc1 \u539 ?\uc1 \u259 ?, pentru ca
orce inteligen\uc1 \u539 ?\uc1 \u259 ? neprev\uc1 \u259 ?zut\uc1 \u259 ? s\uc1
\u259 ? fie \uc1 \u238 ?ndat\uc1 \u259 ? convins\uc1 \u259 ? despre temeiul ei
elementar; \uc1 \u537 ?i nici c\uc1 \u259 ? a fost vreundeva \uc1 \u238 ?ndoial\uc1
\u259 ? serioas\uc1 \u259 ? asupra acestui punct.}{\i0 \fs21 \kerning0 \dbch
\af4 \hich \af4 \loch \f4 \expnd0 \expndtw0 \lang1033 \langnp1033 \langfe2052
\expndtw0 \chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 De
aici c\uc1 \u226 ?\uc1 \u537 ?tig\uc1 \u259 ?m \uc1 \u238 ?ns\uc1 \u259 ? prima
m\uc1 \u259 ?sur\uc1 \u259 ? mai potrivit\uc1 \u259 ? pentru judecarea \uc1 \u238 ?
ntregei \uc1 \u238 ?ntreb\uc1 \u259 ?ri.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Venera
aflat\uc1 \u259 ? la Milo este jum\uc1 \u259 ?tate nud\uc1 \u259 ?; cea de Medicis
este nud\uc1 \u259 ? de tot. Am\uc1 \u226 ?ndou\uc1 \u259 ? sunt expuse vederii
tuturor \uc1 \u238 ?n muzeele din Paris \uc1 \u537 ?i din Floren\uc1 \u539 ?\uc1
\u259 ?, \uc1 \u537 ?i cine g\uc1 \u259 ?se\uc1 \u537 ?te c\uc1 \u259 ? sunt
imorale?}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 \uc1 \u206 ?n ce consist\uc1 \u259 ? dar moralitatea
artei?}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\hich \af4
\loch \f4 \expnd0 \expndtw0 \chcbpat18 \lang1033 \langnp1033 \langfe2052
\langfenp2052 \cf8 \caps0 Orce emo\uc1 \u539 ?iune estetic\uc1 \u259 ?, fie
de\uc1 \u537 ?teptat\uc1 \u259 ? prin sculptur\uc1 \u259 ?, fie prin poezie, fie
prin celelalte arte, face pe omul st\uc1 \u259 ?p\uc1 \u226 ?nit de ea, pe c\uc1
\u226 ?t\uc1 \u259 ? vreme este st\uc1 \u259 ?p\uc1 \u226 ?nit, s\uc1 \u259 ? se
uite pe sine ca persoan\uc1 \u259 ? \uc1 \u537 ?i s\uc1 \u259 ? se \uc1 \u238 ?
nal\uc1 \u539 ?e \uc1 \u238 ?n lumea fic\uc1 \u539 ?iunii ideale.}{\i0 \fs21
\langfenp2052 \cf8 \caps0 Dac\uc1 \u259 ? izvorul a tot ce este r\uc1 \u259 ?u este
egoismul \uc1 \u537 ?i egoismul exagerat, atunci o stare sufleteasc\uc1 \u259 ?
\uc1 \u238 ?n care egoismul este nimicit pentru moment, fiindc\uc1 \u259 ?
interesele individuale sunt uitate, este o combatere indirect\uc1 \u259 ? a
r\uc1 \u259 ?ului, \uc1 \u537 ?i astfel o \uc1 \u238 ?n\uc1 \u259 ?l\uc1 \u539 ?are
moral\uc1 \u259 ?. \uc1 \u536 ?i cu c\uc1 \u226 ?t cineva va fi mai capabil prin
dispozi\uc1 \u539 ?ia sa natural\uc1 \u259 ? sau prin educa\uc1 \u539 ?ie a avea
asemenea momente de emo\uc1 \u539 ?iune impersonal\uc1 \u259 ?, cu at\uc1 \u226 ?t
va fi mai \uc1 \u238 ?nt\uc1 \u259 ?rit\uc1 \u259 ? \uc1 \u238 ?n el partea cea
bun\uc1 \u259 ? a naturei omene\uc1 \u537 ?ti.}{\i0 \fs21 \kerning0 \dbch \af4
Aceasta este cu at\uc1 \u226 ?t mai important \uc1 \u238 ?n zilele noastre cu c\uc1
\u226 ?t sim\uc1 \u539 ?im\uc1 \u226 ?ntul religios, care mai nainte \uc1 \u238 ?
ndeplinea misiunea de a \uc1 \u238 ?n\uc1 \u259 ?l\uc1 \u539 ?a spiritele deasupra
intereselor egoismului zilnic, dispare din ce \uc1 \u238 ?n ce mai mult din clasele
culte \uc1 \u537 ?i trebuie \uc1 \u238 ?nlocuit cu alte emo\uc1 \u539 ?iuni
impersonale.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 \uc1 \u206 ?n\uc1 \u259 ?l\uc1 \u539 ?area impersonal\uc1
\u259 ? este \uc1 \u238 ?ns\uc1 \u259 ? o condi\uc1 \u539 ?ie a\uc1 \u537 ?a de
absolut\uc1 \u259 ? a oric\uc1 \u259 ?rei impresii artistice, \uc1 \u238 ?nc\uc1
\u226 ?t tot ce o \uc1 \u238 ?mpiedic\uc1 \u259 ? \uc1 \u537 ?i o abate este un
du\uc1 \u537 ?man al artei, \uc1 \u238 ?ndeosebi al poeziei \uc1 \u537 ?i al artei
dramatice. De aceea, poeziile cu inten\uc1 \u539 ?ii politice actuale, odele la
zile solemne, compozi\uc1 \u539 ?iile teatrale pentru glorific\uc1 \u259 ?ri
dinastice etc. sunt o simulare a artei, dar nu art\uc1 \u259 ? adev\uc1 \u259 ?
rat\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Esen\uc1
\u539 ?a acesteia este de a fi o fic\uc1 \u539 ?iune, care scoate pe omul
impresionabil \uc1 \u238 ?n afar\uc1 \u259 ? \uc1 \u537 ?i mai presus de interesele
lumii zilnice, oric\uc1 \u226 ?t de mari ar fi \uc1 \u238 ?n alte priviri.}{\i0
\langfenp2052 \cf8 \caps0 Chiar patriotismul, cel mai important sim\uc1 \u539 ?
im\uc1 \u226 ?nt pentru cet\uc1 \u259 ?\uc1 \u539 ?eanul unui stat \uc1 \u238 ?n
ac\uc1 \u539 ?iunile sale de cet\uc1 \u259 ?\uc1 \u539 ?ean, nu are ce c\uc1
\u259 ?uta \uc1 \u238 ?n art\uc1 \u259 ? ca patriotism ad-hoc, c\uc1 \u259 ?ci orce
amintire real\uc1 \u259 ? de interes practic nimice\uc1 \u537 ?te emo\uc1 \u539 ?
iunea estetic\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Exist\uc1
\u259 ? \uc1 \u238 ?n toate dramele lui Corneille un singur vers de patriotism
francez? Este \uc1 \u238 ?n Racine vreo declamare na\uc1 \u539 ?ional\uc1 \u259 ??
Este \uc1 \u238 ?n Moliere? Este \uc1 \u238 ?n Shakespeare? Este \uc1 \u238 ?n
Goethe?}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 \uc1 \u536 ?i dac\uc1 \u259 ? nu le are Corneille \uc1
\u537 ?i Goethe, s\uc1 \u259 ? ne \uc1 \u238 ?nve\uc1 \u539 ?e domnul X, Y, din
Bucure\uc1 \u537 ?ti ca s\uc1 \u259 ? le avem noi?}{\i0 \fs21 \kerning0 \dbch
Subiectul poate s\uc1 \u259 ? fie luat din realitatea poporului, dar tratarea nu
poate s\uc1 \u259 ? fie dec\uc1 \u226 ?t ideal-artistic\uc1 \u259 ?, f\uc1 \u259 ?
r\uc1 \u259 ? nici o preocupare practic\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch
Prin urmare, o pies\uc1 \u259 ? de teatru cu direct\uc1 \u259 ? tenden\uc1
\u539 ?\uc1 \u259 ? moral\uc1 \u259 ?, adec\uc1 \u259 ? cu punerea inten\uc1
\u539 ?ionat\uc1 \u259 ? a unor \uc1 \u238 ?nv\uc1 \u259 ?\uc1 \u539 ?\uc1 \u259 ?
turi morale \uc1 \u238 ?n gura unei persoane spre a le propaga \uc1 \u238 ?n public
ca \uc1 \u238 ?nv\uc1 \u259 ?\uc1 \u539 ?\uc1 \u259 ?turi, este imoral\uc1
\u259 ? \uc1 \u238 ?n \uc1 \u238 ?n\uc1 \u539 ?elesul artei, fiindc\uc1 \u259 ?
arunc\uc1 \u259 ? pe spectatori din emo\uc1 \u539 ?iunea impersonal\uc1 \u259 ? a
fic\uc1 \u539 ?iunii artistice \uc1 \u238 ?n lumea real\uc1 \u259 ? cu cerin\uc1
\u539 ?ele ei, \uc1 \u537 ?i prin chiar aceasta \uc1 \u238 ?i coboar\uc1 \u259 ?
\uc1 \u238 ?n sfera zilnic\uc1 \u259 ? a egoismului, unde atunci - cu toat\uc1
\u259 ? \uc1 \u238 ?nv\uc1 \u259 ?\uc1 \u539 ?\uc1 \u259 ?tura de pe scen\uc1 \u259
? - interesele ordinare c\uc1 \u226 ?\uc1 \u537 ?tig\uc1 \u259 ? preponderen\uc1
\u539 ?\uc1 \u259 ?. C\uc1 \u259 ?ci numai o puternic\uc1 \u259 ? emo\uc1 \u539 ?
iune impersonal\uc1 \u259 ? poate face pe om s\uc1 \u259 ? se uite pe sine \uc1
\u537 ?i s\uc1 \u259 ? aib\uc1 \u259 ?, prin urmare, o stare sufleteasc\uc1 \u259 ?
inaccesibil\uc1 \u259 ? egoismului, care este r\uc1 \u259 ?d\uc1 \u259 ?cina
orc\uc1 \u259 ?rui r\uc1 \u259 ?u.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch
{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
A\uc1 \u537 ?adar, arta dramatic\uc1 \u259 ? are s\uc1 \u259 ? expun\uc1 \u259 ?
conflictele, fie tragice, fie comice, \uc1 \u238 ?ntre sim\uc1 \u539 ?irile \uc1
\u537 ?i ac\uc1 \u539 ?iunile omene\uc1 \u537 ?ti cu at\uc1 \u226 ?ta obiectivitate
curat\uc1 \u259 ?, \uc1 \u238 ?nc\uc1 \u226 ?t pe de o parte s\uc1 \u259 ? se
poat\uc1 \u259 ? emo\uc1 \u539 ?iona prin o fic\uc1 \u539 ?iune a realit\uc1
\u259 ?\uc1 \u539 ?ii, iar pe de alta s\uc1 \u259 ? se \uc1 \u238 ?nal\uc1 \u539 ?e
\uc1 \u238 ?ntr-o lume impersonal\uc1 \u259 ?. Nici fraza de moral\uc1 \u259 ?
practic\uc1 \u259 ?, nici inten\uc1 \u539 ?ionata pedepsire a celui r\uc1 \u259 ?
u \uc1 \u537 ?i r\uc1 \u259 ?spl\uc1 \u259 ?tire a celui bun nu se \uc1 \u539 ?in
de art\uc1 \u259 ?, ci sunt de-a dreptul contrare.}{\i0 \fs21 \kerning0 \dbch
C\uc1 \u226 ?t este de adev\uc1 \u259 ?rat, aceasta se poate constata din
examinarea multora din dramele cele mai renumite, care au \uc1 \u238 ?nc\uc1
\u226 ?ntat \uc1 \u537 ?i \uc1 \u238 ?nc\uc1 \u226 ?nt\uc1 \u259 ? lumea
spectatorilor.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Ce
tenden\uc1 \u539 ?\uc1 \u259 ? de moral\uc1 \u259 ? practic\uc1 \u259 ? este
\uc1 \u238 ?n Othello? Othello este gelos; \uc1 \u238 ?n gelozia sa sugrum\uc1
\u259 ? pe Desdemona. Ce a p\uc1 \u259 ?c\uc1 \u259 ?tuit Desdemona de este
a\uc1 \u537 ?a de crunt lovit\uc1 \u259 ?? Care este r\uc1 \u259 ?splata
nevinov\uc1 \u259 ?\uc1 \u539 ?iei ei?}{\i0 \fs21 \kerning0 \dbch \af4 \hich
Ofelia iube\uc1 \u537 ?te pe Hamlet. Face vreun r\uc1 \u259 ?u cu aceasta? Ea r\uc1
\u259 ?m\uc1 \u226 ?ne virtuoas\uc1 \u259 ? \uc1 \u537 ?i supus\uc1 \u259 ?,
\uc1 \u238 ?ns\uc1 \u259 ? \uc1 \u238 ?nnebune\uc1 \u537 ?te din cauza lui, \uc1
\u537 ?i de cea mai puternic\uc1 \u259 ? emo\uc1 \u539 ?iune este scena \uc1
\u238 ?n care ni se \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1 \u537 ?eaz\uc1
\u259 ? nebunia ei. Ce \uc1 \u238 ?nv\uc1 \u259 ?\uc1 \u539 ?\uc1 \u259 ?tur\uc1
\u259 ? de moral\uc1 \u259 ? practic\uc1 \u259 ? putem scoate de aici?}{\i0
\langfenp2052 \cf8 \caps0 Falstaff este un berbant be\uc1 \u539 ?iv, care r\uc1
\u226 ?de totdeauna, face glume indecente \uc1 \u537 ?i ne face s\uc1 \u259 ? r\uc1
\u226 ?dem \uc1 \u537 ?i noi. Cine a condamnat vreodat\uc1 \u259 ? aceast\uc1 \u259
? figur\uc1 \u259 ? a lui Shakespeare?}{\i0 \fs21 \kerning0 \dbch \af4 \hich
Alceste-Mizantropul este omul cel mai virtuos, dar ceilal\uc1 \u539 ?i \uc1
\u238 ?\uc1 \u537 ?i bat joc de el, Celimena \uc1 \u238 ?l p\uc1 \u259 ?r\uc1 \u259
?se\uc1 \u537 ?te \uc1 \u537 ?i el r\uc1 \u259 ?m\uc1 \u226 ?ne singurul
nefericit \uc1 \u238 ?n pies\uc1 \u259 ?. Unde e moralitatea?}{\i0 \fs21
\langfenp2052 \cf8 \caps0 Sunt de ajuns aceste exemple, care de altminteri s-ar
putea \uc1 \u238 ?nmul\uc1 \u539 ?i cu sutele, pentru ca s\uc1 \u259 ? \uc1 \u238 ?
n\uc1 \u539 ?elegem c\uc1 \u226 ?t ar fi de gre\uc1 \u537 ?it\uc1 \u259 ? la
operele de art\uc1 \u259 ? cerin\uc1 \u539 ?a unei morale \uc1 \u238 ?n \uc1
\u238 ?n\uc1 \u539 ?elesul practic al cuv\uc1 \u226 ?ntului; \uc1 \u537 ?i nu putem
\uc1 \u238 ?nt\uc1 \u259 ?ri mai bine aceast\uc1 \u259 ? expunere dec\uc1 \u226 ?t
f\uc1 \u259 ?c\uc1 \u226 ?ndu-i oarecum contraprob\uc1 \u259 ? \uc1 \u537 ?i ar\uc1
\u259 ?t\uc1 \u226 ?nd unde ajungem cu opinia ceailalt\uc1 \u259 ?, c\uc1 \u259 ?
adec\uc1 \u259 ? piesa de teatru s\uc1 \u259 ? aib\uc1 \u259 ? o inten\uc1 \u539 ?
ie moral\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4
ntre pu\uc1 \u539 ?inele traduceri din Shakespeare ce le avem \uc1 \u238 ?n rom\uc1
\u226 ?ne\uc1 \u537 ?te, cea mai veche este a lui Toma Bagdat, publicat\uc1 \u259 ?
la Bucure\uc1 \u537 ?ti, \uc1 \u238 ?n 1848 din "Tipografia lui Josef Kopainig". Ea
cuprinde Romeo \uc1 \u537 ?i Julieta \uc1 \u537 ?i Othello.}{\i0 \fs21 \kerning0
\expndtw0 \chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 D.
Bagdat era de p\uc1 \u259 ?rerea celor ce a\uc1 \u537 ?teapt\uc1 \u259 ? de la
comediile d-lui Caragiale mai mult\uc1 \u259 ? moralitate, \uc1 \u537 ?i de aceea a
\uc1 \u238 ?nso\uc1 \u539 ?it traducerea d-sale cu o "consecuen\uc1 \u539 ?\uc1
\u259 ? moral\uc1 \u259 ?" dup\uc1 \u259 ? fiecare tragedie. Iac\uc1 \u259 ? la ce
rezultat ajunge d. Bagdat din acest punct de vedere \uc1 \u238 ?n privin\uc1
\u539 ?a lui Othello (p. 214, 215):}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4
\caps0 \par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0 \widctlpar \keep0
\keepn0 \noline0 \aspalpha \aspnum \adjustright \lin210 \rin0 \itap0 \fs21
\kerning2 \dbch \af2 \hich \af0 \loch \af0 {\i0 \fs24 \kerning2 \loch \af2 \hich
\af2 \dbch \f2 \expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 Aceast\uc1 \u259 ? tragedie
cuprinde \uc1 \u238 ?n sine moralul: \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1
\u537 ?\uc1 \u226 ?ndu-ne primejdiile amorului peste m\uc1 \u259 ?sur\uc1 \u259 ?,
ale ambi\uc1 \u539 ?iei din care ies mai multe \uc1 \u537 ?i mari r\uc1 \u259 ?
ut\uc1 \u259 ?\uc1 \u539 ?i \uc1 \u537 ?i ale descrederii ce trebuie s\uc1 \u259 ?
avem \uc1 \u238 ?n femei. Ale amorului, \uc1 \u238 ?nt\uc1 \u226 ?i pentru c\uc1
\u259 ? dac\uc1 \u259 ? Desdemona era mai p\uc1 \u259 ?zit\uc1 \u259 ? \uc1 \u537 ?
i se l\uc1 \u259 ?sa dup\uc1 \u259 ? alegerea p\uc1 \u259 ?rin\uc1 \u539 ?ilor
s\uc1 \u259 ?i, nu p\uc1 \u259 ?timea astfel de nenorocire, \uc1 \u537 ?i al doilea
c\uc1 \u259 ? dac\uc1 \u259 ? Roderigo n-ar fi fost at\uc1 \u226 ?t de uimit
dup\uc1 \u259 ? Desdemona, n-ar fi \uc1 \u238 ?ndemnat pe Jago spurcatul s\uc1
\u259 ? surpe amorul maurului cu vene\uc1 \u539 ?ianca ce iubea el. Din ambi\uc1
\u539 ?ie pentru c\uc1 \u259 ? Jago insuflat de Roderigo c\uc1 \u259 ? generalul
nu-l \uc1 \u238 ?nal\uc1 \u539 ?\uc1 \u259 ? ca pe Cassio, pe care \uc1 \u238 ?l
favorizeaz\uc1 \u259 ? mult, s\uc1 \u259 ? mijloceasc\uc1 \u259 ? s\uc1 \u259 ?-l
surpe, ajunse p\uc1 \u226 ?n\uc1 \u259 ? \uc1 \u238 ?n minutul cel mai dup\uc1
\u259 ? urm\uc1 \u259 ? al \uc1 \u238 ?nfiin\uc1 \u539 ?\uc1 \u259 ?rii planului
s\uc1 \u259 ?u. Din descrederea ce trebuie s\uc1 \u259 ? avem \uc1 \u238 ?n femei,
pentru c\uc1 \u259 ? Jago,
\uc1 \u238 ?ncredin\uc1 \u539 ?\uc1 \u226 ?nd taina so\uc1 \u539 ?iei sale, fu
descoperit de d\uc1 \u226 ?nsa, care dimpreun\uc1 \u259 ? cu st\uc1 \u259 ?p\uc1
\u226 ?na sa \uc1 \u537 ?i cu st\uc1 \u259 ?p\uc1 \u226 ?nul s\uc1 \u259 ?u fu
prada ambi\uc1 \u539 ?iosului, nelegiuitului, cruntului \uc1 \u537 ?i
preaspurcatului acestuia, care r\uc1 \u259 ?mase a se munci \uc1 \u238 ?n veci pe
lumea aceasta \uc1 \u537 ?i pe cealalt\uc1 \u259 ?.}{\fs24 \kerning2 \loch \af2
\hich \af2 \dbch \f2 \par }\pard \plain \qj \li210 \ri0 \sa0 \saauto0 \widctlpar
\keep0 \keepn0 \noline0 \aspalpha \aspnum \adjustright \lin210 \rin0 \itap0
\fs21 \kerning2 \dbch \af2 \hich \af0 \loch \af0 {\i0 \fs24 \kerning2 \loch \af2
\hich \af2 \dbch \f2 \expnd0 \expndtw0 \chcbpat18 \cf8 \caps0 "Dintr-aceste
pute\uc1 \u539 ?i lua o bun\uc1 \u259 ? \uc1 \u537 ?i frumoas\uc1 \u259 ?
lec\uc1 \u539 ?ie de moral, \uc1 \u238 ?n care poetul englez scrie cu at\uc1
\u226 ?ta foc pentru binele omenirii."}{\fs24 \kerning2 \loch \af2 \hich \af2 \dbch
\f2 \par }\pard \plain \s15 \ql \fi0 \li0 \ri0 \sb0 \sa0 \sbauto0 \saauto0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0
"Consecuen\uc1 \u539 ?a moral\uc1 \u259 ?" a d-lui Bagdat ne scute\uc1 \u537 ?te de
a mai ad\uc1 \u259 ?uga ceva \uc1 \u238 ?n contra unor asemenea consecven\uc1 \u539
?e.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 Revenind acum la comediile d-lui Caragiale, vom zice:
singura moralitate ce se poate cere de la ele este \uc1 \u238 ?nf\uc1
\u259 ?\uc1 \u539 ?i\uc1 \u537 ?area unor tipuri, sim\uc1 \u539 ?iminte \uc1
\u537 ?i situa\uc1 \u539 ?ii \uc1 \u238 ?n adev\uc1 \u259 ?r omene\uc1 \u537 ?ti,
cari prin expunerea lor artistic\uc1 \u259 ? s\uc1 \u259 ? ne poat\uc1 \u259 ?
transporta \uc1 \u238 ?n lumea \uc1 \u238 ?nchipuit\uc1 \u259 ? de autor \uc1 \u537
?i s\uc1 \u259 ? ne fac\uc1 \u259 ?, prin de\uc1 \u537 ?teptarea unor emo\uc1 \u539
?iuni puternice, \uc1 \u238 ?n cazul de fa\uc1 \u539 ?\uc1 \u259 ? a unei veselii,
s\uc1 \u259 ? ne uit\uc1 \u259 ?m pe noi \uc1 \u238 ?n\uc1 \u537 ?ine \uc1 \u238 ?n
interesele personale \uc1 \u537 ?i s\uc1 \u259 ? ne \uc1 \u238 ?n\uc1 \u259 ?
l\uc1 \u539 ?\uc1 \u259 ?m la o privire curat obiectiv\uc1 \u259 ? a operei
produse.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\langfenp2052 \cf8 \caps0 Aceasta trebuie s\uc1 \u259 ? o cerem de la autor. De la
noi, spectatorii, trebuie s\uc1 \u259 ? cerem ca \uc1 \u238 ?naintea unei opere de
art\uc1 \u259 ? s\uc1 \u259 ? ne prezent\uc1 \u259 ?m dispu\uc1 \u537 ?i,
nepreveni\uc1 \u539 ?i, f\uc1 \u259 ?r\uc1 \u259 ? inten\uc1 \u539 ?ii str\uc1
\u259 ?ine artei. C\uc1 \u259 ?ci dac\uc1 \u259 ? artistul nu este totdeauna
capabil de a lucra, ci trebuie s\uc1 \u259 ? fie inspirat, nici spectacolul nu este
\uc1 \u238 ?n fiece moment capabil de a primi o impresie estetic\uc1 \u259 ?; poate
unii nu sunt capabili niciodat\uc1 \u259 ?; \uc1 \u537 ?i cine la o pies\uc1
\u259 ? de teatru nu-\uc1 \u537 ?i poate uita grijile sale personale, sau
leg\uc1 \u259 ?turile sale de partid politic, sau catehismul s\uc1 \u259 ?u de
moral\uc1 \u259 ? conven\uc1 \u539 ?ional\uc1 \u259 ?, acela s\uc1 \u259 ? nu se
mai amestece \uc1 \u238 ?n ale artei.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Dac\uc1
\u259 ? ne-am putut \uc1 \u238 ?n\uc1 \u539 ?elege cu cetitorii no\uc1 \u537 ?tri
p\uc1 \u259 ?n\uc1 \u259 ? aici, u\uc1 \u537 ?or va fi s\uc1 \u259 ? ne \uc1
\u238 ?n\uc1 \u539 ?elegem asupra "trivialit\uc1 \u259 ?\uc1 \u539 ?ii" ce se mai
imput\uc1 \u259 ?.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Orce
concep\uc1 \u539 ?ie artistic\uc1 \u259 ? este \uc1 \u238 ?n esen\uc1 \u539 ?a ei
ideal\uc1 \u259 ?, c\uc1 \u259 ?ci ne prezent\uc1 \u259 ? reflexul unei lumi
\uc1 \u238 ?nchipuite. Prin chiar aceasta ne produce caracteristica impresie
personal\uc1 \u259 ?. Tipurile \uc1 \u238 ?nf\uc1 \u259 ?\uc1 \u539 ?i\uc1 \u537 ?
ate \uc1 \u238 ?n comediile d-lui Caragiale trebuie s\uc1 \u259 ? vorbeasc\uc1
\u259 ? cum vorbesc, c\uc1 \u259 ?ci numai astfel ne pot men\uc1 \u539 ?ine \uc1
\u238 ?n iluzia realit\uc1 \u259 ?\uc1 \u539 ?ii \uc1 \u238 ?n care ne
transport\uc1 \u259 ?. Men\uc1 \u539 ?inerea acestei iluzii este singurul element
hot\uc1 \u259 ?r\uc1 \u226 ?tor, \uc1 \u537 ?i un limbagiu academic \uc1 \u238 ?n
gura lui Nae Ipingescu ar nimici toat\uc1 \u259 ? lucrarea; pe c\uc1 \u226 ?nd \uc1
\u238 ?n gura lui Ramiro din eleganta Sara la curte a d-lui Ioan Cerchez este
foarte potrivit.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 Murillo a
zugr\uc1 \u259 ?vit madone, dar a zugr\uc1 \u259 ?vit \uc1 \u537 ?i copii
murdari \uc1 \u537 ?i zdren\uc1 \u539 ?uro\uc1 \u537 ?i, care m\uc1 \u259 ?n\uc1
\u226 ?nc\uc1 \u259 ? pepene. Poate zice cineva c\uc1 \u259 ? madonele lui Murillo
se \uc1 \u539 ?in de adev\uc1 \u259 ?rata pictur\uc1 \u259 ?, iar acei copii
zdren\uc1 \u539 ?uro\uc1 \u537 ?i ar fi prea triviali pentru art\uc1 \u259 ??}
\langfenp2052 \cf8 \caps0 \uc1 \u206 ?n faimosul Salon Carr\uc1 \u233 ? din Louvre
la Paris, unde este a\uc1 \u537 ?ezat\uc1 \u259 ? la un loc chintesen\uc1 \u539 ?a
picturei frumoase, se vede, al\uc1 \u259 ?turea cu Sf\uc1 \u226 ?nta familie a lui
Rafael, Femeia hidropic\uc1 \u259 ? a lui Gerard Dow, dinaintea c\uc1 \u259 ?reia
st\uc1 \u259 ? doctorul, examin\uc1 \u226 ?ndu-i lichidul \uc1 \u238 ?ntr-o
sticl\uc1 \u259 ?. A contestat vreodat\uc1 \u259 ? cineva acestui tablou al lui Dow
marea lui valoare artistic\uc1 \u259 ??}{\i0 \fs21 \kerning0 \dbch \af4 \hich
Aici concep\uc1 \u539 ?ia artistului inspirat este unica m\uc1 \u259 ?sur\uc1 \u259
? a convenien\uc1 \u539 ?ei, \uc1 \u537 ?i \uc1 \u238 ?n lumea artei adev\uc1 \u259
?rate nici nu poate fi vorba de trivial. "Trivial" este o impresie relativ\uc1
\u259 ? din lumea de toate zilele, ca \uc1 \u537 ?i decent \uc1 \u537 ?i indecent.}
\langfenp2052 \cf8 \caps0 Dac\uc1 \u259 ? pseudoartistul r\uc1 \u259 ?m\uc1 \u226 ?
ne el \uc1 \u238 ?nsu\uc1 \u537 ?i \uc1 \u238 ?n aceast\uc1 \u259 ? culme de
r\uc1 \u226 ?nd, dac\uc1 \u259 ? el
\uc1 \u238 ?nsu\uc1 \u537 ? nu este cuprins de inspira\uc1 \u539 ?ia
impersonal\uc1 \u259 ?, \uc1 \u537 ?i prin urmare nu ne poate transporta nici pe
noi \uc1 \u238 ?n lumea curat\uc1 \u259 ? a fic\uc1 \u539 ?iunilor, atunci se
\uc1 \u238 ?n\uc1 \u539 ?elege c\uc1 \u259 ? lucrarea sa poate s\uc1 \u259 ? fie
trivial\uc1 \u259 ?, indecent\uc1 \u259 ?, lasciv\uc1 \u259 ?, dup\uc1 \u259 ?
cum \uc1 \u238 ?i este felul \uc1 \u537 ?i \uc1 \u539 ?inta. Dar aceasta nu
at\uc1 \u226 ?rn\uc1 \u259 ? nici de la obiect, nici de la expresii, ci de la chiar
genul inspir\uc1 \u259 ?rii sale; \uc1 \u537 ?i atunci o \uc1 \u238 ?mp\uc1 \u259 ?
r\uc1 \u259 ?teas\uc1 \u259 ? cu expresii academice, manierate, dup\uc1 \u259 ?
gustul trec\uc1 \u259 ?tor al unui public trec\uc1 \u259 ?tor, poate s\uc1 \u259 ?
fie \uc1 \u238 ?n adev\uc1 \u259 ?r trivial\uc1 \u259 ?, pe c\uc1 \u226 ?nd
so\uc1 \u539 ?ia cherestegiului Dumitrache nu este.}{\i0 \fs21 \kerning0 \dbch \af4
\line }{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch \f4 \expnd0 \expndtw0
\chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0
Termin\uc1 \u226 ?nd aceast\uc1 \u259 ? \uc1 \u238 ?ncercare de \uc1 \u238 ?
n\uc1 \u539 ?elegere, ne aducem aminte de cuvintele cu care am \uc1 \u238 ?nceput-
o: \uc1 \u238 ?n materie de gust literar, discu\uc1 \u539 ?ia e totdeauna grea,
\uc1 \u537 ?i tocmai \uc1 \u238 ?n fa\uc1 \u539 ?a acestei greut\uc1 \u259 ?\uc1
\u539 ?i am trebuit s\uc1 \u259 ? ne m\uc1 \u259 ?rginim la simpla tragere a liniei
de hotar \uc1 \u238 ?ntre ceea ce este art\uc1 \u259 ? \uc1 \u537 ?i se poate cere
de la art\uc1 \u259 ? \uc1 \u537 ?i \uc1 \u238 ?ntre ceea ce nu este art\uc1
\u259 ? \uc1 \u537 ?i nu i se poate cere.}{\i0 \fs21 \kerning0 \dbch \af4 \hich
\expndtw0 \chcbpat18 \lang1033 \langnp1033 \langfe2052 \langfenp2052 \cf8 \caps0 O
dat\uc1 \u259 ? hotarul a\uc1 \u537 ?ezat, nu mai \uc1 \u238 ?ncape \uc1 \u238 ?
ndoial\uc1 \u259 ? c\uc1 \u259 ? se pot face multe deosebiri \uc1 \u537 ?i \uc1
\u238 ?nl\uc1 \u259 ?untrul terenului artei; numai s\uc1 \u259 ? se
recunoasc\uc1 \u259 ? mai \uc1 \u238 ?nt\uc1 \u226 ?i c\uc1 \u259 ? ne afl\uc1
\u259 ?m pe teren de art\uc1 \u259 ?. Valoarea va fi mai mare sau mai mic\uc1 \u259
? dup\uc1 \u259 ? \uc1 \u238 ?nsemn\uc1 \u259 ?tatea mai mare sau mai mic\uc1 \u259
? a caracterelor prezentate, a conflictului, a situa\uc1 \u539 ?iilor. \uc1 \u536 ?
i \uc1 \u238 ?n aceast\uc1 \u259 ? privin\uc1 \u539 ?\uc1 \u259 ? am sim\uc1
\u539 ?it \uc1 \u537 ?i noi, ca toat\uc1 \u259 ? lumea, diferen\uc1 \u539 ?a de
valoare \uc1 \u238 ?n diferitele comedii ale d-lui Caragiale; \uc1 \u537 ?i noi
credem, de exemplu, c\uc1 \u259 ? O scrisoare pierdut\uc1 \u259 ? este
superioar\uc1 \u259 ? farsei D-ale carnavalului.}{\i0 \fs21 \kerning0 \dbch \af4
Dar nu vedem pentru moment nici o trebuin\uc1 \u539 ?\uc1 \u259 ? de a st\uc1 \u259
?rui asupra acestui punct. Cu at\uc1 \u226 ?t mai pu\uc1 \u539 ?in, cu c\uc1
\u226 ?t atunci s-ar da ultimei piese a d-lui Caragiale o \uc1 \u238 ?nsemn\uc1
\u259 ?tate la care nu aspir\uc1 \u259 ?. D-ale carnavalului este o simpl\uc1 \u259
? fars\uc1 \u259 ? de carnaval, precum se \uc1 \u537 ?i nume\uc1 \u537 ?te,
vesel\uc1 \u259 ? \uc1 \u537 ?i f\uc1 \u259 ?r\uc1 \u259 ? preten\uc1 \u539 ?ii,
\uc1 \u537 ?i un public neprevenit nu-i poate cere alta dec\uc1 \u226 ?t un moment
de bun\uc1 \u259 ? petrecere.}{\i0 \fs21 \kerning0 \dbch \af4 \hich \af4 \loch
ns\uc1 \u259 ? \uc1 \u238 ?n aceste limite mai modeste \uc1 \u537 ?i aceast\uc1
\u259 ? lucrare r\uc1 \u259 ?m\uc1 \u226 ?ne o lucrare de merit. C\uc1 \u259 ?ci
literatura adev\uc1 \u259 ?rat\uc1 \u259 ?, cu feluritele ei produceri, se poate
asem\uc1 \u259 ?na unei p\uc1 \u259 ?duri naturale cu feluritele ei plante. Sunt
\uc1 \u537 ?i copaci mari \uc1 \u238 ?n p\uc1 \u259 ?dure, este \uc1 \u537 ?i
tufi\uc1 \u537 ?, sunt \uc1 \u537 ?i flori, sunt \uc1 \u537 ?i simple fire de
iarb\uc1 \u259 ?. Toate \uc1 \u238 ?mpreun\uc1 \u259 ? alc\uc1 \u259 ?tuiesc
p\uc1 \u259 ?durea, fiecare \uc1 \u238 ?n felul s\uc1 \u259 ?u tr\uc1 \u259 ?ie\uc1
\u537 ?te \uc1 \u537 ?i \uc1 \u238 ?nvesele\uc1 \u537 ?te ochiul privitorului;
numai s\uc1 \u259 ? fie plant\uc1 \u259 ? adev\uc1 \u259 ?rat\uc1 \u259 ?, cu r\uc1
\u259 ?d\uc1 \u259 ?cina ei \uc1 \u238 ?n p\uc1 \u259 ?m\uc1 \u226 ?nt s\uc1
\u259 ?n\uc1 \u259 ?tos, iar nu imita\uc1 \u539 ?ie de tinichea vopsit\uc1 \u259 ?,
cum se pune pe unele case din ora\uc1 \u537 ?.}{\i0 \fs21 \kerning0 \dbch \af4
Comediile d-lui Caragiale, dup\uc1 \u259 ? p\uc1 \u259 ?rerea noastr\uc1 \u259 ?,
sunt plante adev\uc1 \u259 ?rate, fie tufi\uc1 \u537 ?, fie fire de iarb\uc1
\u259 ?, \uc1 \u537 ?i dac\uc1 \u259 ? au via\uc1 \u539 ?a lor organic\uc1 \u259 ?,
vor avea \uc1 \u537 ?i puterea de a trai.}{\i0 \fs21 \kerning0 \dbch \af4 \hich
\cf8 \caps0 \par }\pard \plain \ql \li0 \ri0 \lisb0 \lisa0 \widctlpar \aspalpha
\aspnum \adjustright \lin0 \rin0 \itap0 \fs21 \kerning2 \dbch \af2 \hich \af0 \loch
\af0 {\fs21 \kerning2 \dbch \af2 \hich \af0 \loch \f0 \par }}

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