Colegiul National "Moise Nicoara" Arad

REFLECTIVE HYPOSTASES IN BLAGA’S LYRIC IMAGES

ADINA SOROHAN

                                                  „Lucian Blaga” National College, Sebeş, Alba

Motto: „Painting is silent poetry, and poetry is painting that speaks ”. (Plutarch)

 

 

The human being is perceived as fascinating due to its capacity to overcome human limitation, to trespass on forbidden lands which stimulate abyssal experiences. Withdrawing from the plain space into a world dominated by spirituality, the human being rediscovers its creative feature. The Present offers countless ways of escaping and stimulating the creativity. The workshop wants to promote a combining exercise of chromaticity, visual game and metaphorical experiences by means of configuring the art of two significant artists: Octavio Ocampo and Lucian Blaga.

The objectives are: to vary the methods of discerning literature and painting, to familiarize with characteristics of painting, to identify the subjectivity and expressiveness of the lyric text and painting, to peruse and assess the lyric text by applying the algorithm specific to arts.

The students working in four groups are given the following tasks:

Group I– aid materials: 1.the lyric text Don Quijote by Lucian Blaga                                                                              2. the painting  Visiones del Quijote by Octavio Ocampo

”Sancho, vezi tu cum ne duce
un noroc prin ţări de piatră ?
Caldă-i noaptea ca o vatră.
Şi-am trecut de rea răscruce.Sancho, vezi în zare semne,
stelele prin ţar-albastră
cum se ţin pe urma noastră,
stăruind să ne îndemne ?Ce zăreşti pe creste-nalte ?
Mori de vînt cu aripi albe ?
Ori sunt zmeii, năzdrăvanii ?
Ne aşteaptă – ce înfrîngeri ?
Sau sunt morile doar îngeri
ce-au căzut din cer prin Spanii ?” 

 

having to perform the following tasks: to identify the spatial and temporal coordinates which configure the compensatory universe of the two artists, to motivate their choice, to make a poster which integrates common elements of the two works, to write a reflective essay in which, taking into consideration the two artistic works, to aknowledge their feelings towards their own personality by picturing themselves as being Don Quijote.

 

Group II– aid materials: 1.the lyric text Ode to suffering by Lucian Blaga                                                                                   2. the painting  Calvary by Octavio Ocampo

”Atâţia dintre semeni nu prea ştiu
ce să înceapă-n zori cu suferinţa.
Ei nu-şi dau seama nici spre seară de prilejul
chemat să-nalţe mersul, cunoştinţa.Suferinţa poate fi întuneric, tăciune în inimă,
pe frunţi albastru ger,
pe coapsa ea poate fi pecete arsă cu fier,
în bulgăre de ţărână
o lacrimă sau sâmbure de cer.Nu mai calcă pe pământ
cine calcă-n suferinţă.
Ea schimbă la faţă argila, o schimbă în duh
ce poate fi pipăit, duios, cu ştiinţă.

Tată, carele eşti şi vei fi,
nu ne despoia, nu ne sărăci,
nu alunga de pe tărâmuri orice suferinţă.
Alungă pe aceea doar care destramă,
dar nu pe-aceea care întăreşte
fiinţa-ntru fiinţa.

Fă ca semenii noştri,
de la oameni la albine,
de la-nvingători la biruiţi,
de la-ncoronaţi la răstigniţi, să ia aminte
că există pretutindeni şi această suferinţă,
pâna astăzi şi de-acum înainte
singura legătură între noi şi tine.”

having to perform the following tasks: to stage a discussion with the theme suffering, having in view the way in which it is conceptualized in the two artistic works, to write a monologue in which they should justify the role they play in depicting the artistic view on suffering connecting the two works, to support the idea that the process of human pulverization may be spotted both at Octavio Ocampo and Lucian Blaga.

Group III– aid materials: 1.the lyric text The Oyster by Lucian Blaga                                                                             2. the painting  The visitor by Octavio Ocampo

C-un zâmbet îndrăzneţ privesc în mine
şi inima
mi-o prind în mână. Tremurând
îmi strâng comoara la ureche şi ascult.
Îmi pare
că ţin în mâni o scoică
în care
prelung şi neînţeles
răsună zvonul unei mări necunoscute.

O, voi ajunge, voi ajunge
vreodat’ pe malul
acelei mări, pe care azi
o simt,
dar nu o văd?”

having to perform the following tasks: to present the symbolics of the oyster from the perspective of the two artists and to complete the discourse with their own knowledge about the significance of this aquatic element in different mythologies, to set an introspective exercise by imagining themselves being placed in an oyster situated in the depth of aquatic immensity, to inform their group mates about the feeling induced by this experience through depicting the perceived sounds, visualized spaces, the movement they sensed, to build up a dialogue, some of them performing the voice of the sea, the others the voice of the artist, in which to show the internal convulsion of these two characters.

Group IV– aid materials: 1.the lyric text Ecstasy by Lucian Blaga                                                                       2. the painting  Ecstasy of the lilies by Octavio Ocampo

”O oră-ntre abis şi umbre
la răscruci de veac şi teamă,
o oră prelungită-n slavă
mi te-a dat, ca-n vis, în seamă.Promisă tu, în dar luată,
fii ureche şi ascultă:
puternic vine foc spre tine,
freamăt nou şi sete multă.Ah, bucură-te şi veghează,
tu, edenică-ntrupare!
Vrăjit un munte în amiază
se-apropie de-o floare.”

 

having to perform the following tasks: to explain the state of creative ecstasy having in view the two works, to give arguments in the context of a discourse for the fact that the role of the feminine grace is essential for triggering the creative act, to designate the significance of the lily, of the dream respectively, and to discover the common determinants of the two elements.

 

The perusal of the books will be completed by an assessment of the images and every receptor will perceive the universe in which it functions taking into consideration its unique value system. The students may be magnetized to “read” the artistic work by making themselves aware of the fact that their own approach is a valid one. The ingenious connections between Blaga’s lyrical creations and the fascinating paintings of Octavio Ocampo present teenagers with the possibility to express their knowledge and artistic talent. Discovering new ways of expressing their imagination gives them the freedom to perceive the transcendence and direct their vision to new knowledge horizons.

 

 

 

Recommended bibliography

 

Biedermann, Hans, Dictionary of symbolism, Bucharest, Saeculum, 2007;

Braga, Corin, Lucian Blaga. The Genesis of imaginary worlds, Iaşi, Institutul European, 1998;

 Braga, Corin, From archetype to anarchetype, Polirom Publishing house, Colecţia Plural M, Iaşi, 2006;

Evseev, Ivan, Dictionary of Cultural Symbols and Archetypes, Amarcord, 2001;

Fanache, V., Silent facets of eternity in Blaga’s lyric, Cluj-Napoca, Dacia Publishing house, 2003;

Gherbrant, Alain, şi Chevalier, Jean, Dictionary of symbols, Bucharest, Artemis, 1994;

Kernbach, Victor, Dictionary of general mythology, Bucharest, Albatros, 1995;

Lăzărescu,George,  Dictionary of mythology, Bucharest, Casa Editorială Odeon, 1992;

Stoichiță, Victor, Ieronim, The Creator and his shadow, Bucharest, Meridiane Publishing house, 1982;

Stoichiță, Victor, Ieronim,  The Don Quijote effect. Benchmarks for a hermeneutics of the European imagery, Bucharest, Humanitas Publishing house, 1995.

 

 

 

 

 

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