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Beethoven, Goethe si Imparateasa | ![]() | ![]() | ![]() |
Ce citim |
Scris de Ninel Ganea |
Luni, 11 Iulie 2011 10:47 |
Intamplarile reale, insa, nu sunt cu nimic mai prejos de imaginatia romancierilor, iar unele dintre acestea arunca o lumina edificatoare asupra vremurilor care au trecut si a celor ce urmau sa vina. In anul 1812, la Teplice, pe atunci parte a Imperiului Habsburgic, astazi un centru spa din Cehia, a avut loc o intalnire memorabila intre doi dintre cei mai importanti creatori ai ultimelor sute de ani, dar in acelasi timp reprezentanti a doua lumi diferte: Beethoven si Goethe (poza). Poetul, inca un om al vechiului regim, desi cu escapade literare romantice considerabile, era o vedeta literara, innobilat, mandria intregii Germanii, dar isi stia locul cuvenit in ordinea lumii aristocratice. In schimb muzicianul avea in el toata furia romanticului dornic sa rastoarne lumea cu susul in jos doar pe baza capriciului poetic sau a geniului, indiferent ce ar putea sa insemne asta. In opinia lui Beethoven, artistul ar trebui sa fie un arbitru al moralei publice, deoarece vorbeste pentru “umanitatea suferinda”, prilej pentru prietenul sau, Bettina von Armin, sa spuna ca Beethoven “il trateaza pe Dumnezeu ca un egal”. “Music is a greater revelation than the whole of wisdom and philosophy... I know well that God is nearer to me in my art than to others, I consort with him without fear, I have always recognized and understood him”, afirma muzicianul intr-un pasaj la care ar putea subscrie probabil orice adolescent contemporan. Intalnirea dintre cei doi a constituit un bun prilej pentru compozitor sa ii expuna lui Goethe viziunea sa despre conditia creatorului in raport cu elitele naturale: “I told them they might be able to hang a decoration round a men’s neck but that this did not make them any better than the next man. They could make a privy councilor or a minister but they could not make a Goethe or a Beethoven. Therefore they must be taught to respect what they cannot make and are far from being themselves - it does them good”. Plimbarea celor doi prin parcul din Teplice a fost, la un moment dat, intrerupta de aparitia imparatesei, insotita de un intreg alai care se indrepta spre artisti. Beethoven nu putea rata prilejul de a-si demonstra virtutile practice ale teoriei sale, asa ca l-a instruit pe Goethe: “Now keep your arm linked in mine, they must make way for us, not us for them”. Poetul si-a dat seama ca situatia ar fi teribil de caraghioasa, asa ca si-a retras mana, s-a dat la o parte pentru a le face loc curtenilor, iar apoi si-a scos palaria in semn de respect pentru imparateasa si nobili. Beethoven nu a avut asemenea scrupule, ba dimpotriva. Si-a impreunat mainile si a trecut exact prin mijlocul grupului de nobili, doar miscandu-si putin palaria. In pofida figurii facute, aristocratii l-au salutat cu foarte multa simpatie pe noul star muzical al lumii germanice. Dupa ce a depasit alaiul imperial, compozitorul l-a asteptat pe Goethe, care era cu 20 de ani mai in varsta decat el, si l-a mustrat ca nu s-a supus indicatiilor sale: “I have waited for you because I honor and revere you as you deserve. But you have to much honour to those there”. Imparateasa nu a pus la suflet mojicia lui Beethoven, iar la scurt timp de la incident i-a trimis un cadou, care a magulit foarte tare orgoliul muzicianului. Goethe nu a fost la fel de intelegator. Poetul nu i-a mai raspuns la scrisori si nu s-au mai intalnit niciodata dupa acest eveniment. Intamplarea este semnificativa din mai multe motive. Din punct de vedere cultural, cred ca arata perfect diferentele dintre omul Vechiului Regim si artistul romantic, “the unacknowledged legislator of the world” (Schelley), omul modern prin excelenta . Primul creeaza in interiorul unei ordini ale carei reguli naturale nu le pune niciodata in discutie. Romanticul isi trage toata puterea artistica din contestarea radicala a oricarei viziuni ce presupune un autocontrol si o reforma constanta a sinelui. Nu e, de altfel, o intamplare ca mai toate capodoperele genului au in prim plan figuri revolutionare: Prometeu, Satana, Don Juan, etc. Odata distrusa aceasta viziune clasica asupra lumii dispare si “geniul creator” incapabil sa mai construiasca pe ruinele lumii. Ultimii zeci de ani pot depune marturie inclusiv despre disparitia ideii de literatura, nu doar a celei de calitate. Irving Babbitt, fara doar si poate cel mai inteligent critic al romantismului, rezuma astfel comparatia dintre omul modern si cel al Vechiului Regim: romanticul va incerca in permanenta sa-i reformeze pe ceilalti, in timp ce pentru clasic preocuparea principala este de a se reforma pe sine. (In aceasta cheie poate ar trebui sa fie citite si numeroasele batalii purtate de umanitaristii vremurilor noastre: de la razboiul contra saraciei, contra drogurilor, contra discriminarii pana la razboiul contra terorismului). Nu in ultimul rand, intamplarea de la Teplice are o insemnatate si pentru filozofia politica, deoarece arata felul in care regii se raportau la supusi, adica fara nici un fel de teama. Astazi liderii alesi democratic de catre popor se inconjoara de armate de bodyguarzi, iar plimbarile publice sunt aranjate dinainte de catre serviciile speciale si au doar aparenta intamplarii. Frica de oameni este prevalenta.
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