{"id":23343,"date":"2015-05-13T20:21:31","date_gmt":"2015-05-13T18:21:31","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=23343"},"modified":"2015-05-13T20:21:47","modified_gmt":"2015-05-13T18:21:47","slug":"londra-lui-mr-hyde","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/londra-lui-mr-hyde\/","title":{"rendered":"Londra lui Mr. Hyde"},"content":{"rendered":"

Robert Louis Stevenson, Straniul caz al doctorului Jekyll \u015fi al domnului Hyde<\/em>, traducere de Carmen Chirculescu,\u00a0 prefa\u0163\u0103 de Ion Hobana, Editura Minerva, Bucure\u015fti, 2004<\/strong><\/p><\/blockquote>\n

\u201eEvery single one of us <\/strong>
\nthe devil inside\u201c (INXS)<\/em><\/strong><\/p>\n

Prima \u00eent\u00e2lnire cu Hyde \u2013 pe care o reg\u0103sim \u00een prezentarea pe care o face Enfield avocatului lui Jekyll, Utterson \u2013 este preg\u0103tit\u0103 de descrierea sepulcral\u0103 a Londrei: \u201eStrad\u0103 dup\u0103 strad\u0103 \u2013 cu to\u0163i locuitorii ei dormind, strad\u0103 dup\u0103 strad\u0103 \u2013 fiecare luminat\u0103 ca pentru o procesiune \u015fi toate pustii precum o biseric\u0103 \u015fall lighted up as if for a procession and all as empty as a church\u0163…\u201c (JH 23-26). Zugr\u0103virea hipnotic\u0103 a marelui ora\u015f care pare s\u0103 se ad\u00e2nceasc\u0103 tot mai mult \u00een sine, trec\u00e2nd de grani\u0163a somnului REM, preg\u0103te\u015fte proiectarea unei scene de co\u015fmar: \u201eDintr-odat\u0103 v\u0103zui dou\u0103 siluete: una a unui b\u0103rbat scund care gonea orbe\u015fte \u00eenspre est \u015fi, cealalt\u0103, a unei feti\u0163e de vreo opt sau zece ani, care alerga c\u00e2t de repede putea de-a lungul unei str\u0103zi perpendiculare. Ei bine, domnule, la col\u0163 cei doi s-au izbit unul de cel\u0103lalt, dup\u0103 cum era de a\u015fteptat; dup\u0103 aceea \u00eens\u0103, a urmat partea detestabil\u0103: omul acela a c\u0103lcat lini\u015ftit \u00een picioare trupul copilei, de parc\u0103 n-ar fi fost nimic \u015fi a p\u0103r\u0103sit-o, apoi, tr\u00e2ntit\u0103 jos \u00een strad\u0103 \u015fi \u0163ip\u00e2nd\u201c (JH 23-26).
\nCine este acest b\u0103rbat misterios, indisolubil legat de respectabilul doctor Jekyll, care calc\u0103 \u00een picioare un copil, de parc\u0103 ar zdrobi un g\u00e2ndac sau un guzgan?
\nHyde este o combina\u0163ie special\u0103 de
\n(a) ne-om (\u201eNu ar\u0103ta a om…\u201c \u2013 JH 23-26; \u201eOmul \u0103sta mai c\u0103 nu pare o fiin\u0163\u0103 omeneasc\u0103\u201c \u2013 JH 43-44);
\n(b) demon (\u201eParc\u0103 ar fi fost \u00eensu\u015fi Satana\u201c \u2013 JH 23-26; Avea \u201epe obraz semn\u0103tura Satanei\u201c \u2013 JH 43-44);
\n(c) degenerat (\u201eAre ceva de troglodit\u201c JH 43-44; \u201eFurie de maimu\u0163\u0103\u201c JH 54-55, 155-156).
\nUn an dup\u0103 ce maltrateaz\u0103 feti\u0163a, o servitoare observ\u0103 cum Hyde omoar\u0103 \u00een b\u0103taie cu un baston un b\u0103tr\u00e2n. \u201eDomnul Hyde… \u00eel dobor\u00ee la p\u0103m\u00e2nt… \u00cen clipa urm\u0103toare… se porni a-\u015fi c\u0103lca victima \u00een picioare, ab\u0103t\u00e2nd asupr\u0103-i o grindin\u0103 de lovituri, sub care se auzeau oasele zdrobindu-se… (JH 54-55) Animalicul pare a fi tr\u0103s\u0103tura fundamental\u0103 a lui Hyde: el regreseaz\u0103 \u00een pre-umanitate, acces\u00e2nd violen\u0163a, naturale\u0163ea \u015fi libertatea absolut\u0103 a primatei. \u201e\u015ei chiar \u015fi azi un om p\u0103streaz\u0103 din maimu\u0163\u0103 mai mult ca o maimu\u0163\u0103 oarecare\u201c (Nietzsche). Nu e de mirare c\u0103 \u00een versiunea din 1931 a filmului Dr. Jekyll and Mr. Hyde, regizat\u0103 de Rouben Mamoulian, Hyde (interpretat de Fredric March) este \u00eenf\u0103\u0163i\u015fat printr-un ins care iese din sfera antropologic\u0103, asem\u0103n\u0103tor unui cimpanzeu.
\nPrimata reprezint\u0103 inferioritatea biologic\u0103 a omului, la fel cum umbra este inferioritatea sa psihologic\u0103. Maimu\u0163a, metafor\u0103 pentru un trecut lipsit de noble\u0163e, \u00een care sufletul animalic era angajat \u00een imediatul biologic \u015fi terestru, este fiin\u0163a uman\u0103 adormit\u0103. Altfel spus, maimu\u0163a simbolizeaz\u0103 somnul spiritului uman dar \u015fi aurora unei imediate\u0163i biologice sau triumful absolut al pulsiunii (pulsiune care este at\u00e2t de obturat\u0103 \u015fi de ponegrit\u0103 de civiliza\u0163ia uman\u0103). \u00cen noaptea Se-ului, sufletul de animal este liber (acea libertate originar\u0103, anarhic\u0103 \u015fi lipsit\u0103 de legit\u0103\u0163i care nu coincide cu responsabilitatea) s\u0103 experimenteze \u00een toat\u0103 plenitudinea principiul pl\u0103cerii. Hyde este o \u00eentrupare a func\u0163iei senza\u0163ie extravertite, n\u0103scut\u0103 din \u201eusc\u0103ciunea\u201c faustic\u0103 a \u201eunei vie\u0163i de studiu\u201c \u015fthe dryness of a life of study\u0163 (JH 132), reprimat\u0103 de un tip de g\u00e2ndire intuitiv introvertit.
\nTrebuie remarcat c\u0103 Londra este un adev\u0103rat personaj al nuvelei lui Stevenson. Londra lui Jack Spintec\u0103torul, a fl\u00e2neur-ului Dorian Gray (\u201eNici nu-\u015fi d\u0103dea seama \u00eencotro merge. Mai t\u00e2rziu \u015fi-a adus aminte c\u0103 a r\u0103t\u0103cit pe ni\u015fte str\u0103du\u0163e prost iluminate, pe l\u00e2ng\u0103 arcade p\u0103r\u0103ginite, \u00eenf\u0103\u015furate \u00een umbre tenebroase, pe l\u00e2ng\u0103 case din care izbucnea r\u0103ul\u201c \u2013 Dorian Gray), Londra lui Dracula (\u201eSunt at\u00e2t de ner\u0103bd\u0103tor s\u0103 str\u0103bat forfota str\u0103zilor grandioasei voastre capitale, s\u0103 m\u0103 pierd \u00een v\u00e2rtejul \u015fi \u00een \u00eembulzeala omeneasc\u0103, s\u0103 \u00eemp\u0103rt\u0103\u015fesc via\u0163a, schimb\u0103rile \u015fi chiar moartea, tot ce fac \u015fi simt ei\u201c) este \u2013 \u00een anii 1885-\u201995 \u2013 capitala lumii. Ora\u015ful-etalon al Imperiului, \u201egrandioasa capital\u0103\u201c, este \u00een acela\u015fi timp at\u00e2t axis mundi c\u00e2t \u015fi gura unui infern. \u201eDac\u0103 un copac cre\u015fte p\u00e2n\u0103 la cer, r\u0103d\u0103cinile lui ajung p\u00e2n\u0103 \u00een iad\u201c, \u00eel parafrazeaz\u0103 Jung pe Nietzsche. Londra nu este numai metropola par excellence a modernit\u0103\u0163ii ci \u015fi \u201ea place of fear and darkness, a labyrinthine hell\u201c (Dryden). Aceast\u0103 component\u0103 plutonic\u0103 o reg\u0103sim \u00een descrierea c\u0103l\u0103toriei lui Utterson \u00een Soho, \u00een c\u0103utarea locuin\u0163ei lui Hyde:
\n\u201eSe f\u0103cuse \u00eentre timp aproape ora 9 diminea\u0163a \u015fi se l\u0103sa \u00eent\u00e2ia cea\u0163\u0103 de toamn\u0103. Un imens z\u0103branic cafeniu cuprindea cerul, dar v\u00e2ntul b\u0103tea necontenit \u015fi punea pe fug\u0103 ce\u0163urile n\u0103v\u0103litoare astfel \u00eenc\u00e2t, pe c\u00e2nd tr\u0103sura \u00eenainta agale din strad\u0103 \u00een strad\u0103, domnul Utterson \u00ee\u015fi plimba ochii peste un num\u0103r uluitor de trepte \u015fi tonuri de penumbr\u0103: aici domnea \u00eentunericul ad\u00e2nc de sear\u0103 \u015fdark like the back-end of evening\u0163, luminat ca de o stranie v\u00e2lvoare; colo, pentru o clip\u0103, cea\u0163a se sp\u0103rgea pe de-a-ntregul \u015fi o raz\u0103 r\u0103t\u0103cit\u0103 de soare \u015fa haggard shaft of daylight\u0163 str\u0103pungea v\u00e2rtejurile de abur. Sinistrul cartier Soho, \u00eenf\u0103\u0163i\u015f\u00e2ndu-i-se \u00een aceste apari\u0163ii schimb\u0103toare, cu str\u0103zile-i noroioase \u015fi trec\u0103torii s\u0103i dubio\u015fi, jerpeli\u0163i, cu felinarele lui care nu se stinser\u0103 deloc sau fuseser\u0103 aprinse din nou pentru a combate aceast\u0103 funerar\u0103 invazie a beznei \u015fmournful re-invasion of darkness\u0163, p\u0103rea \u00een ochii avocatului asemenea unui ora\u015f n\u0103scut dintr-un co\u015fmar \u015fsome city in a nightmare\u0163\u201c (JH 57-58).
\n\u00cent\u00e2lnim hipnoticul \u201estreet to street\u201c, care semnaleaz\u0103 aceea\u015fi c\u0103dere \u00een trans\u0103 pe care am g\u0103sit-o \u00een descrierea lui Enfield de la \u00eenceput. Lumina nu pare s\u0103 disipeze nuan\u0163ele penumbrei; dimpotriv\u0103 razele \u201er\u0103t\u0103cite de soare\u201c par s\u0103 fie confiscate de diminea\u0163a \u00eentunecat\u0103, contur\u00e2nd o zi mai \u00eenfrico\u015f\u0103toare ca noaptea. Imanen\u0163a nop\u0163ii \u00een zi este, la fel ca imanen\u0163a mor\u0163ii \u00een via\u0163\u0103 (Cioran), mai \u00eenfrico\u015f\u0103toare dec\u00e2t \u2013 oric\u00e2t de terifianta \u2013 prezen\u0163\u0103 astronomic\u0103 a nop\u0163ii, care p\u00e2n\u0103 la urm\u0103 va alterna cu ziua binef\u0103c\u0103toare. Dar atunci c\u00e2nd noaptea se ive\u015fte \u00een inima zilei (a\u015fa cum nimicul \u00ee\u015fi face sim\u0163it\u0103 prezen\u0163a \u00een nucleul fiin\u0163ei), lumina este iremediabil p\u0103tat\u0103, soarele este irevocabil \u00eentunecat \u015fi diminea\u0163a va fi o personificare a st\u0103rii de nigredo. Imaginea ora\u015fului co\u015fmaresc pare inspirat\u0103 de The City of Dreadful Night, poemul lui James Thomson:
\n\u201eThe City is of Night; perchance of Death
\nBut certainly of Night; for never there
\nCan come the lucid morning\u2019s fragrant breath
\nAfter the dewy dawning\u2019s cold grey air:
\nThe moon and stars may shine with scorn or
\nThe sun has never visited that city,
\nFor it dissolveth in the daylight fair.
\nDissolveth like a\u00a0 of night away;
\nThough present in distempered gloom of thought
\nAnd deadly weariness of heart all day\u201c.<\/p>\n

Evident c\u0103 cei doi autori britanici se refer\u0103 la o noapte interioar\u0103, la \u201enoaptea \u00eentunecat\u0103 a sufletului\u201c \u015fnoche oscura\u0163 a Sf\u00e2ntului Ioan al Crucii. Dar noaptea citadin\u0103 sau mai degrab\u0103 \u201eOra\u015ful Nop\u0163ii\u201c reprezint\u0103 realizarea geografic\u0103 a nop\u0163ii personale, \u00eemplinirea spa\u0163ial\u0103 a infernului individual. Londra este ora\u015ful imanen\u0163ei mor\u0163ii \u00een via\u0163\u0103, necropola fantomatic\u0103 \u00een care to\u0163i suntem demoni \u00een co\u015fmarul cuiva sau \u201eumbre pe p\u00e2nza vremii\u201c. Lumina este neagr\u0103 \u00een capitala Imperiului (\u201eThe sun has never visited that city\u201c), dimine\u0163ile aduc\u00e2nd o duplicare a nop\u0163ii, o lumin\u0103 \u00eentunecat\u0103 mai \u00eensp\u0103im\u00e2nt\u0103toare ca bezna. Londra este unheimlich <stranie>, \u201etot ce trebuia s\u0103 r\u0103m\u00e2n\u0103 secret, ascuns, dar s-a manifestat\u201c (Freud).<\/p>\n","protected":false},"excerpt":{"rendered":"

Robert Louis Stevenson, Straniul caz al doctorului Jekyll \u015fi al domnului Hyde, traducere de Carmen Chirculescu,\u00a0 prefa\u0163\u0103 de Ion Hobana, Editura Minerva, Bucure\u015fti, 2004 \u201eEvery single one of us the devil inside\u201c (INXS) Prima \u00eent\u00e2lnire cu Hyde \u2013 pe care o reg\u0103sim \u00een prezentarea pe care o face Enfield avocatului lui Jekyll, Utterson \u2013 este… Cite\u0219te mai mult »Londra lui Mr. Hyde<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[17],"tags":[14215,14216,14217],"class_list":["post-23343","post","type-post","status-publish","format-standard","hentry","category-cultura-ideilor","tag-robert-louis-stevenson","tag-straniul-caz-al-doctorului-jekyll-si-al-domnului-hyde","tag-traducere-de-carmen-chirculescu"],"views":1054,"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23343","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/comments?post=23343"}],"version-history":[{"count":0,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23343\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=23343"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=23343"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=23343"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}