PARERGA
Nuveliştii mei—Beyle, Tolstoi, Matei Caragiale, Poe, James. Posibilitãţile estetice ale nuvelei.
Cititorii lui Poe—Baudelaire, Verne, Bloy, J. Renard, Barbu, moş Borges, R. Petrescu.
۞
E interesant cã Cervantes, critic al literaturii cavalereşti şi parodist al ei, considera valabile multe romane cavalereşti.
Troyes, Malory, ‚Amadis’, Martorell. Tolkien. A plonja.
۞
Un breton şi un scoţian; un englez; un latin; şi un fost irlandez.
۞
'a list of the ten funniest movies ever made. (We agreed on His Girl Friday, The In-Laws, Some Like It Hot, This Is Spinal Tap, and Tootsie.)’.
۞
Ca şi nepoata lui Dna. Bovary, Quijote nu e distrus de literaturã—ci, dimpotrivã, de literatura proastã.
۞
Diferenţa nu e depãşitã—ci ascunsã—diferenţa dintre oameni.
۞
Complementaritatea e de fapt formulatã polar, sau ierarhic—unora le ‚lipseşte’ numai ceea ce e secundar;--altora, numai ceea ce e principal.
۞
Animalele nu mint, n—au vanitate elaboratã, nu pozeazã, nu simuleazã generozitatea, altruismul, devotamentul.
۞
Dintr—un motiv sau altul, s—ar pãrea cã la catolici conteazã numai ceea ce ‚fac’, cum aratã, pe când la schismatici conteazã numai ceea ce cred, ‚abstract’, fãrã relaţie cu ceea ce fac sau sunt. Ca orice sofism, comparaţiile acestea defavorabile occidentalilor iau ĩn calcul elemente disparate—la unii, evidenţa a ceea ce sunt sau fac; la alţii, ceea ce cred.
Books are good company, in sad times and happy times, for books are people — people who have managed to stay alive by hiding between the covers of a book (E. B. White)
joi, 2 iulie 2009
JACKSON
JACKSON
Ĩmi amintesc cã a avut ĩn ’92 un concert ĩn România, la care a asistat şi candidatul Constantinescu; cã aveam o profesoarã de românã, aiuritã, care—l adula, exasperându—ne, iar fanatismul ei suna forţat, silnic şi cadra cu imaginea ei desuetã. Babei ĩi plãceau glazura, sloganurile. Ĩmi amintesc cã brusc a survenit scandalul oribil; cã Brando ĩi era prieten. Cã s—a cãsãtorit, etc.. Ca licean, am ascultat tot alte lucruri—de la E John, Vangelis şi Snow la death şi D Mode. Şi, odatã, distanţat, când lepãdasem situarea aceasta polemicã, ĩn contracurent, am constatat cât de talentat era Jackson, ce bunã muzicã scria. Coregrafia lui ĩmi e indiferentã; videoclipurile sunt, majoritatea, foarte bune, iar muzica e senzaţionalã.
Murphy ca faraon ....
Ceea ce era—n mãsurã sã repugne era glazura—mai indigestã ca la Lennon sau Elvis. Naturaleţe mult mai puţinã ....
Ĩmi amintesc cã a avut ĩn ’92 un concert ĩn România, la care a asistat şi candidatul Constantinescu; cã aveam o profesoarã de românã, aiuritã, care—l adula, exasperându—ne, iar fanatismul ei suna forţat, silnic şi cadra cu imaginea ei desuetã. Babei ĩi plãceau glazura, sloganurile. Ĩmi amintesc cã brusc a survenit scandalul oribil; cã Brando ĩi era prieten. Cã s—a cãsãtorit, etc.. Ca licean, am ascultat tot alte lucruri—de la E John, Vangelis şi Snow la death şi D Mode. Şi, odatã, distanţat, când lepãdasem situarea aceasta polemicã, ĩn contracurent, am constatat cât de talentat era Jackson, ce bunã muzicã scria. Coregrafia lui ĩmi e indiferentã; videoclipurile sunt, majoritatea, foarte bune, iar muzica e senzaţionalã.
Murphy ca faraon ....
Ceea ce era—n mãsurã sã repugne era glazura—mai indigestã ca la Lennon sau Elvis. Naturaleţe mult mai puţinã ....
Dintre povestirile lui Poe pe care ĩncã nu le ştiam, am citit SCARABEUL ... (--pe care Bloy o citea cu emoţie misticã) şi AMONTILLADO—preferând—o net pe cea de—a doua. Ar mai fi cel puţin MARIE ROGET şi SCRISOAREA ....
AMONTILLADO mi se pare destul de necaracteristicã pentru maniera lui Poe, şi lipsitã de orice prolixitate, cu efecte foarte energic utilizate—v. tichia cu zurgãlãi, etc..
AMONTILLADO este o povestire intuitã, vãzutã de Poe, pe când SCARABEUL ... este una gânditã, etc.. Literatura se face cu viziuni de artã, nu cu ingeniozitate criptograficã.
۞
Inchizitorii nu lucrau fãrã consimţãmântul puterii civile şi fãrã acordul societãţii respective; urmând moda anticatolicismului vremii sale, Poe a scris o istorisire despre beciurile Inchiziţiei. Sunt curios de cum ar fi azi primitã o relatare similarã despre ceea ce se—ntâmplã ĩntr—o clinicã de avorturi.
۞
Foarte interesant mi s—a pãrut MANUSCRISUL GÃSIT ÎNTR—O STICLÃ, tur de forţã şi tratare strãlucitã, mai ales pe mãsurã ce povestirea progreseazã cãtre final, a temei Polului—ale cãrei note sumbre câştigã prin expunerea succintã. Nota finalã, despre hãrţile lui Mercator, e la fel de interesantã ca povestirea ĩnsãşi.
۞
Recitesc RUE MORGUE—nu e cu nimic mai prejos decât mi—o aminteam—dupã 18 ½ ani. ICAR cu Montand, Gib, nevasta lui Delon, Renoir, Rosny, Courteline, ŢESTOASELE.
AMONTILLADO mi se pare destul de necaracteristicã pentru maniera lui Poe, şi lipsitã de orice prolixitate, cu efecte foarte energic utilizate—v. tichia cu zurgãlãi, etc..
AMONTILLADO este o povestire intuitã, vãzutã de Poe, pe când SCARABEUL ... este una gânditã, etc.. Literatura se face cu viziuni de artã, nu cu ingeniozitate criptograficã.
۞
Inchizitorii nu lucrau fãrã consimţãmântul puterii civile şi fãrã acordul societãţii respective; urmând moda anticatolicismului vremii sale, Poe a scris o istorisire despre beciurile Inchiziţiei. Sunt curios de cum ar fi azi primitã o relatare similarã despre ceea ce se—ntâmplã ĩntr—o clinicã de avorturi.
۞
Foarte interesant mi s—a pãrut MANUSCRISUL GÃSIT ÎNTR—O STICLÃ, tur de forţã şi tratare strãlucitã, mai ales pe mãsurã ce povestirea progreseazã cãtre final, a temei Polului—ale cãrei note sumbre câştigã prin expunerea succintã. Nota finalã, despre hãrţile lui Mercator, e la fel de interesantã ca povestirea ĩnsãşi.
۞
Recitesc RUE MORGUE—nu e cu nimic mai prejos decât mi—o aminteam—dupã 18 ½ ani. ICAR cu Montand, Gib, nevasta lui Delon, Renoir, Rosny, Courteline, ŢESTOASELE.
PARERGA
PARERGA
Episcopul Sigrist ĩşi ĩntreabã cititorii ce personaj literar şi—ar dori fiecare sã fie; eu m—am gândit imediat la Fabricio Del Dongo, dar ĩmi vine—n minte şi husarul lui Giono. Şi, dacã ar fi sã aleg un personaj SEMILEGENDAR devenit personaj literar, l—aş alege pe Cadoudal ....
۞
Lecţii despre Balzac, Tolstoi, Giono, Simenon, Turgheniev, Hardy, James, Trollope, Dna. Tey, Dra. Bowen, Claudel, câţiva modernişti anglo—americani,
۞
A—i citi mult romanele, nuvelele, piesele, eseurile, filozofia. Chixuri—unele nuvele; câteva piese; jurnalul.
۞
‚Volume I of the Science Fiction Hall of Fame including Weintraub's "Martian Odyssey" and Padgett's 'Mimsy were the borogoves.'
۞
‚I guess my favorite might be the maze of death...but yes high castle would be a better starter. I think the first one I read back in the day was eye in the sky as one of thoseace books with two books together’.
۞
Filogerman, antinazist, antibolşevic—mereu ĩn contracurent cu atitudinea politicã a ţãrii.
۞
Câteva rânduri despre Machen, şi Browne citat de Poe ĩmi redau gustul stilului. O idee despre stilul impecabil.
۞
4 x CD; 5 x H de B; 5 x Beyle; LNT—nuvele, romane; Scott; Burton şi Browne; thrillerurile eseistului englez vag chestertonian; 2 x JG; Dna. Y.; creaţie; Simenon, Dra. Bowen, Dna. Tey.
V. TH.
32 cãrţi (14+ 9+ 9).
‚Pym’, Giono, Sologub, ME, GM, a bascula, Doyle, Pãr. Teilhard, Tacit, Homer, plenitudine de viaţã, creaţie, emoţie şi adevãr, Beckford, Neculce, Stãnescu, Camil P., Gib, ME ,Patericul, [5+ 4+ 7 cãrţi.] –JG ca cetitor al autorilor lui moş B.—110/an& raţia—marţi.
4 x .... Alte cãrţi ....
Complementar.
Clinicã; vârsta; carierã.
Loara ...; moş JG; Episcopul; cetitori; ca Machen la JG ...; romane ca pentru copii.
Arta cea mai desãvârşitã.
Aer—şansã. Un scop. Epopeile antice. 3 x moş B. (--lista;--alţi autori;--cãrţile). Inegalabilul. Anticii; asiaticii; autohtonii; stilul savanţilor.
Adevãr; viu; istorie.
Moş B.:--autorii. A plonja.
Arta propriu—zisã, raft.
Ca la MT—cãrţi religioase—EG, etc.—filozofii. A nu trişa. Confruntare frontalã.
Romantism\ goticii—moş JG; ieşeanul; moş B.; RLS.
Chiar m.m. cãrţi ale unui autor—sau alternativ.
۞
Ceva misterios şi important.
۞
Mãcar aşa ....
۞
Ca MARGOT, ALICE şi v. II al MUŞCHETARILOR şi IONUŢ—cei doi Goncourt, alte jurnale, MacLean.
Ca la R. Petrescu.
۞
Motivele (estetice). Firesc. Crez. Artã. Creaţie. Ritm. Ca tezã.
۞
Poe, Beyle, Balzac, Dumas, Stevenson, Wells, Rosny, Scott, Zévaco şi Féval, Muşatescu—vârsta.
Sem. VIII. Vremea. Vârste. ‚97:--ed. fr.;--hiaturi, listã; ed.;--fetişizare, laturã, van.
Egoism. Altruism.
۞
Hoarda de analfabeţi.
۞
A perora, a dilua, slãbind ĩncheieturile gândirii, nu ĩnseamnã a fi logic sau raţional.
Unii cred cã sunt raţionali mocoşindu—se, dezmembrând gândirea.
Prolixitatea nu e raţionalitate—dimpotrivã.
۞
A prefera conţinutul, moderaţia, echilibrul—unei poze. Teologia bizantinã reprezintã acest echilibru ideal.
Teologia egipteanã, sau anahoreticã, etc., reprezintã poza, ‚atitudinea’, excesul.
۞
Bianchi (ed. a II—a); v. II (Sf. Fotie, Grigore al Tesalonicului ...); o carte despre Acatist (studiul unui apusean).
۞
Obiectul meu e splendoarea literarã.
۞
‚Innokentii Smirnov advised Fotii to pay Filaret frequent visits, where he might learn what silence means. Such a trait actually was one of Filaret's characteristics. He appeared secretive and evasive. In is memoirs, Sturdza writes that there was "something enigmatic" in his entire being. Completely open only before God, and not before men-at least not indiscriminately-"Filaret never allowed himself moments of unguarded confidences." With partial justification, he might be accused of excessive timidity and caution, for he did not wish to risk challenging powerful authority. ("We two archimandrites of the Iur'ev and Pustynsk monasteries will not save the Church, if it contains some defect," Filaret told Innokentii.) But Filaret's caution had another dimension. He had no faith in the utility or reliability of harshly restrictive measures, and he was in no hurry to meddle or pass judgment. Always able to distinguish the error from the person making it, he looked benevolently on every sincere impulse of the soul. Even in the yearnings of the mystics he sensed a true religious thirst, a spiritual restlessness which stumbled along errant paths, only because "the rightful path had been poorly constructed.’
۞
‘Somewhat later Filaret had to prove that it was permissible to write new commentaries on St. Paul's epistles, despite the fact that Chrysostom had long ago provided explanations’
۞
Da, o perspectivã, şi, cum am mai spus, o specificitate nediluatã—ceva viu şi ‚personal’, adicã venind de la viaţa unei persoane, de la focarul unei gândiri vii.
۞
Atunci când se vorbeşte, romanţios, de robia latinã a schismaticilor—ca şi cum n—ar fi vorba de ceva autoindus—trebuie precizat cã e vorba de latinitatea protestantã, de latina luteranilor.
۞
‚These years were actually more devoted to study than to independent creativity. Soon called to serve in the upper hierarchy, Filaret thereafter had neither the freedom nor the leisure to systematically investigate and study theology. And in his mature years, Filaret was able to be a theologian only as a preacher. In fact, his Sermons and Addresses [Slova i rechi] remains his principal theological legacy. Filaret never constructed a theological system. His sermons are only fragments, but they contain an inner wholeness and unity. It is not a unity of system, it is a unity of conception. These fragments reveal a living theological experience tormented and tempered in an ordeal of prayer and vigil. Filaret of Moscow was the first person in the history of modern Russian theology for whom theology once more became the aim of life, the essential step toward spiritual progress and construction. He was not merely a theologian, he lived theology. From the ambo or his episcopal seat in the cathedral, he firmly and judiciously taught the lessons of faith. Filaret was a disciplined speaker. He never simply spoke, but always read or followed a written text, an oratorical requirement from his school days’
۞
‚But it does seem that if he did not deny it, then Filaret minimized the importance of Tradition in the Church. He shared and reproduced the Protestant idea of the so-called "self-sufficiency" of Holy Scripture. In his early work, An exposition of the differences between the Eastern and Western Churches in the teaching of faith [Izlozhenie raznostei mezhdu Postochnoi i Zapadnoi tserkvi v uchenii very] written in 1811 for the Empress Elizabeth Alekseevna and even in the early editions of the Catechism, Filaret says very little about Tradition or traditions. And in the final redaction of the Catechism during the 1830's, the questions and answers about Tradition were added at the prompting of others’
۞
'Still others were confused because Filaret would not condemn the Latin faith as heresy or even as a schism, but instead he argued that it was only an "opinion" and not a ruling of the Church. In particular he tried to guard against exaggeration: "Placing the Papal Church on the same level as the Armenian Church is cruel and useless." He seemed too cautious when he argued that the Eastern Church "does not possess an autocratic interpreter of its teachings who might give the weight of dogma to his explanations." It seemed that he left too much to the "individual judgment and conscience" of the faithful, even though it was "assisted by the teachers of the Church and was under the guidance of the Word of God."
۞
'Solov'ev insisted that Filaret destroyed any creative spirit in the Moscow Theological Academy. Something must be said about this later. Here it is enough to note that Solov'ev's calumny can be countered by considerable contrary evidence. One example, which is supplied by a person whom it is difficult to suspect of partiality toward Filaret, must be enough. This was the statement of G. Z. Eliseev, the famous radical and editor of Notes of the Fatherland [Zapiski otechestva]. He was a student in the Moscow Academy at the beginning of the 1840's and then a baccalaureate and professor in Kazan'. In Eliseev's estimation, there was too much freedom and an exceptional environment of heartfelt warmth, softness, and camaraderie at the Moscow Academy’
۞
One should ask why "doctrinal systems" and "intellectual understanding" are so carefully restricted, so contemptuously devaluated and almost altogether eliminated. The balance seems to be broken. In any case, this over-emphasis on the "artistic" aspect of the ritual is not in agreement with the actual tradition of Orthodox art itself. And if one can be instructed by Orthodox hymnography and ikons, it is precisely because a very definite "theory of Christianity" is embodied and expressed there. "Theory" means above all "contemplation;" it is an insight and a vision, a poetic insight and an intellectual vision. According to Orthodox spiritual tradition, the Nous is the ruling power of the inner life, "to hegemonikon." Traditional Eastern Orthodox hymnography, inherited by Russians from the Greeks, is not just lyrics; it is marked not by emotion, but by sobriety. It is high poetry, indeed, but it is "metaphysical poetry," or rather "theological poetry," and does not hesitate to sometimes use elaborate theological terminology. Indeed, some of the greatest hymns of the Eastern Church are simply paraphrases of dogmatic definitions
۞
Cãpãstrul este un criteriu—cel mai prost.
۞
Realist, direct, prozaic.
Vieţii ĩi revine prozaismul, directeţea.
۞
Selecţia artificialã.
۞
A bascula; ceva original, viu, inedit, ĩnviorãtor.
۞
Romane gotice. Cele tardive.
۞
Naşu’ vede o singurã datã.
Pompiţa.
۞
Ioana Timofte, Alina Gorghiu.
۞
CASA ..., MARILE ..., MARTIN ...\ NICHOLAS ..., DOMBEY ...; PICKWICK ..., DAVID ....
۞
Acel climat de veritabilã cordialitate, de destindere, firesc şi faceţiozitate.
۞
Da, nu existã studii pentru The Cricket on the Hearth, The Battle of Life, The Haunted Man, The Mudfog Papers—cãrţile de Crãciun date ca romane.
Episcopul Sigrist ĩşi ĩntreabã cititorii ce personaj literar şi—ar dori fiecare sã fie; eu m—am gândit imediat la Fabricio Del Dongo, dar ĩmi vine—n minte şi husarul lui Giono. Şi, dacã ar fi sã aleg un personaj SEMILEGENDAR devenit personaj literar, l—aş alege pe Cadoudal ....
۞
Lecţii despre Balzac, Tolstoi, Giono, Simenon, Turgheniev, Hardy, James, Trollope, Dna. Tey, Dra. Bowen, Claudel, câţiva modernişti anglo—americani,
۞
A—i citi mult romanele, nuvelele, piesele, eseurile, filozofia. Chixuri—unele nuvele; câteva piese; jurnalul.
۞
‚Volume I of the Science Fiction Hall of Fame including Weintraub's "Martian Odyssey" and Padgett's 'Mimsy were the borogoves.'
۞
‚I guess my favorite might be the maze of death...but yes high castle would be a better starter. I think the first one I read back in the day was eye in the sky as one of thoseace books with two books together’.
۞
Filogerman, antinazist, antibolşevic—mereu ĩn contracurent cu atitudinea politicã a ţãrii.
۞
Câteva rânduri despre Machen, şi Browne citat de Poe ĩmi redau gustul stilului. O idee despre stilul impecabil.
۞
4 x CD; 5 x H de B; 5 x Beyle; LNT—nuvele, romane; Scott; Burton şi Browne; thrillerurile eseistului englez vag chestertonian; 2 x JG; Dna. Y.; creaţie; Simenon, Dra. Bowen, Dna. Tey.
V. TH.
32 cãrţi (14+ 9+ 9).
‚Pym’, Giono, Sologub, ME, GM, a bascula, Doyle, Pãr. Teilhard, Tacit, Homer, plenitudine de viaţã, creaţie, emoţie şi adevãr, Beckford, Neculce, Stãnescu, Camil P., Gib, ME ,Patericul, [5+ 4+ 7 cãrţi.] –JG ca cetitor al autorilor lui moş B.—110/an& raţia—marţi.
4 x .... Alte cãrţi ....
Complementar.
Clinicã; vârsta; carierã.
Loara ...; moş JG; Episcopul; cetitori; ca Machen la JG ...; romane ca pentru copii.
Arta cea mai desãvârşitã.
Aer—şansã. Un scop. Epopeile antice. 3 x moş B. (--lista;--alţi autori;--cãrţile). Inegalabilul. Anticii; asiaticii; autohtonii; stilul savanţilor.
Adevãr; viu; istorie.
Moş B.:--autorii. A plonja.
Arta propriu—zisã, raft.
Ca la MT—cãrţi religioase—EG, etc.—filozofii. A nu trişa. Confruntare frontalã.
Romantism\ goticii—moş JG; ieşeanul; moş B.; RLS.
Chiar m.m. cãrţi ale unui autor—sau alternativ.
۞
Ceva misterios şi important.
۞
Mãcar aşa ....
۞
Ca MARGOT, ALICE şi v. II al MUŞCHETARILOR şi IONUŢ—cei doi Goncourt, alte jurnale, MacLean.
Ca la R. Petrescu.
۞
Motivele (estetice). Firesc. Crez. Artã. Creaţie. Ritm. Ca tezã.
۞
Poe, Beyle, Balzac, Dumas, Stevenson, Wells, Rosny, Scott, Zévaco şi Féval, Muşatescu—vârsta.
Sem. VIII. Vremea. Vârste. ‚97:--ed. fr.;--hiaturi, listã; ed.;--fetişizare, laturã, van.
Egoism. Altruism.
۞
Hoarda de analfabeţi.
۞
A perora, a dilua, slãbind ĩncheieturile gândirii, nu ĩnseamnã a fi logic sau raţional.
Unii cred cã sunt raţionali mocoşindu—se, dezmembrând gândirea.
Prolixitatea nu e raţionalitate—dimpotrivã.
۞
A prefera conţinutul, moderaţia, echilibrul—unei poze. Teologia bizantinã reprezintã acest echilibru ideal.
Teologia egipteanã, sau anahoreticã, etc., reprezintã poza, ‚atitudinea’, excesul.
۞
Bianchi (ed. a II—a); v. II (Sf. Fotie, Grigore al Tesalonicului ...); o carte despre Acatist (studiul unui apusean).
۞
Obiectul meu e splendoarea literarã.
۞
‚Innokentii Smirnov advised Fotii to pay Filaret frequent visits, where he might learn what silence means. Such a trait actually was one of Filaret's characteristics. He appeared secretive and evasive. In is memoirs, Sturdza writes that there was "something enigmatic" in his entire being. Completely open only before God, and not before men-at least not indiscriminately-"Filaret never allowed himself moments of unguarded confidences." With partial justification, he might be accused of excessive timidity and caution, for he did not wish to risk challenging powerful authority. ("We two archimandrites of the Iur'ev and Pustynsk monasteries will not save the Church, if it contains some defect," Filaret told Innokentii.) But Filaret's caution had another dimension. He had no faith in the utility or reliability of harshly restrictive measures, and he was in no hurry to meddle or pass judgment. Always able to distinguish the error from the person making it, he looked benevolently on every sincere impulse of the soul. Even in the yearnings of the mystics he sensed a true religious thirst, a spiritual restlessness which stumbled along errant paths, only because "the rightful path had been poorly constructed.’
۞
‘Somewhat later Filaret had to prove that it was permissible to write new commentaries on St. Paul's epistles, despite the fact that Chrysostom had long ago provided explanations’
۞
Da, o perspectivã, şi, cum am mai spus, o specificitate nediluatã—ceva viu şi ‚personal’, adicã venind de la viaţa unei persoane, de la focarul unei gândiri vii.
۞
Atunci când se vorbeşte, romanţios, de robia latinã a schismaticilor—ca şi cum n—ar fi vorba de ceva autoindus—trebuie precizat cã e vorba de latinitatea protestantã, de latina luteranilor.
۞
‚These years were actually more devoted to study than to independent creativity. Soon called to serve in the upper hierarchy, Filaret thereafter had neither the freedom nor the leisure to systematically investigate and study theology. And in his mature years, Filaret was able to be a theologian only as a preacher. In fact, his Sermons and Addresses [Slova i rechi] remains his principal theological legacy. Filaret never constructed a theological system. His sermons are only fragments, but they contain an inner wholeness and unity. It is not a unity of system, it is a unity of conception. These fragments reveal a living theological experience tormented and tempered in an ordeal of prayer and vigil. Filaret of Moscow was the first person in the history of modern Russian theology for whom theology once more became the aim of life, the essential step toward spiritual progress and construction. He was not merely a theologian, he lived theology. From the ambo or his episcopal seat in the cathedral, he firmly and judiciously taught the lessons of faith. Filaret was a disciplined speaker. He never simply spoke, but always read or followed a written text, an oratorical requirement from his school days’
۞
‚But it does seem that if he did not deny it, then Filaret minimized the importance of Tradition in the Church. He shared and reproduced the Protestant idea of the so-called "self-sufficiency" of Holy Scripture. In his early work, An exposition of the differences between the Eastern and Western Churches in the teaching of faith [Izlozhenie raznostei mezhdu Postochnoi i Zapadnoi tserkvi v uchenii very] written in 1811 for the Empress Elizabeth Alekseevna and even in the early editions of the Catechism, Filaret says very little about Tradition or traditions. And in the final redaction of the Catechism during the 1830's, the questions and answers about Tradition were added at the prompting of others’
۞
'Still others were confused because Filaret would not condemn the Latin faith as heresy or even as a schism, but instead he argued that it was only an "opinion" and not a ruling of the Church. In particular he tried to guard against exaggeration: "Placing the Papal Church on the same level as the Armenian Church is cruel and useless." He seemed too cautious when he argued that the Eastern Church "does not possess an autocratic interpreter of its teachings who might give the weight of dogma to his explanations." It seemed that he left too much to the "individual judgment and conscience" of the faithful, even though it was "assisted by the teachers of the Church and was under the guidance of the Word of God."
۞
'Solov'ev insisted that Filaret destroyed any creative spirit in the Moscow Theological Academy. Something must be said about this later. Here it is enough to note that Solov'ev's calumny can be countered by considerable contrary evidence. One example, which is supplied by a person whom it is difficult to suspect of partiality toward Filaret, must be enough. This was the statement of G. Z. Eliseev, the famous radical and editor of Notes of the Fatherland [Zapiski otechestva]. He was a student in the Moscow Academy at the beginning of the 1840's and then a baccalaureate and professor in Kazan'. In Eliseev's estimation, there was too much freedom and an exceptional environment of heartfelt warmth, softness, and camaraderie at the Moscow Academy’
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One should ask why "doctrinal systems" and "intellectual understanding" are so carefully restricted, so contemptuously devaluated and almost altogether eliminated. The balance seems to be broken. In any case, this over-emphasis on the "artistic" aspect of the ritual is not in agreement with the actual tradition of Orthodox art itself. And if one can be instructed by Orthodox hymnography and ikons, it is precisely because a very definite "theory of Christianity" is embodied and expressed there. "Theory" means above all "contemplation;" it is an insight and a vision, a poetic insight and an intellectual vision. According to Orthodox spiritual tradition, the Nous is the ruling power of the inner life, "to hegemonikon." Traditional Eastern Orthodox hymnography, inherited by Russians from the Greeks, is not just lyrics; it is marked not by emotion, but by sobriety. It is high poetry, indeed, but it is "metaphysical poetry," or rather "theological poetry," and does not hesitate to sometimes use elaborate theological terminology. Indeed, some of the greatest hymns of the Eastern Church are simply paraphrases of dogmatic definitions
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Cãpãstrul este un criteriu—cel mai prost.
۞
Realist, direct, prozaic.
Vieţii ĩi revine prozaismul, directeţea.
۞
Selecţia artificialã.
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A bascula; ceva original, viu, inedit, ĩnviorãtor.
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Romane gotice. Cele tardive.
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Naşu’ vede o singurã datã.
Pompiţa.
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Ioana Timofte, Alina Gorghiu.
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CASA ..., MARILE ..., MARTIN ...\ NICHOLAS ..., DOMBEY ...; PICKWICK ..., DAVID ....
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Acel climat de veritabilã cordialitate, de destindere, firesc şi faceţiozitate.
۞
Da, nu existã studii pentru The Cricket on the Hearth, The Battle of Life, The Haunted Man, The Mudfog Papers—cãrţile de Crãciun date ca romane.
Artistul nu ca vizionar e interesant, ci ca meşteşugar—adicã drept ‚creator’; viziunea intereseazã numai ĩn mãsura ĩn care slujeşte creaţia. Clarviziunea artistului e aceea implicitã ĩn creaţie—nu ĩn vorbãrie şi interviuri.
Când cineva amestecã superiorul cu inferiorul, Tolkien cu Eragorn, problema nu e cã ia inferiorul drept superior—ci invers; cã nu vede prin ce anume superiorul e incomparabil.
Ceea ce face el e sã coboare superiorul.
Asta aratã cã el nici ĩn Tolkien nu e capabil sã guste mai mult decât ĩi oferã Eragorn.
Când cineva amestecã superiorul cu inferiorul, Tolkien cu Eragorn, problema nu e cã ia inferiorul drept superior—ci invers; cã nu vede prin ce anume superiorul e incomparabil.
Ceea ce face el e sã coboare superiorul.
Asta aratã cã el nici ĩn Tolkien nu e capabil sã guste mai mult decât ĩi oferã Eragorn.
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