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Marin Sorescu

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Submitted By marielle27
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Marin Sorescu – Iona
Inspirata din mitul biblic al omului inghitit de un peste, drama “Iona” da nastere, de-a lungul celor patru tablouri, la interogatii existentiale grave, privitoare la: viata, moarte, singuratate, destin; prin aceasta trasatura, ea se incadreaza in teatrul de idei, devenind un adevarat poem dramatic al nelinistii metafizice.
La o prima lectura, actiunea ar putea fi rezumata astfel: Un pescar sarac, Iona, pe care norocul mereu il ocoleste, sta in gura unui peste urias si isi arunca navodul intr-o mare ostila, care refuza sa-i dea macar un peste (sau, poate, si-a pierdut capacitatea genetica originara).
Omul vorbeste cu dublul sau launtric, intreaga “actiune” fiind un solilocviu cu profunde implicatii filosofice.
La un moment dat, gura pestelui se deschide si Iona este proiectat in adancurile stomacului sau, ai carui pereti antrenati in “vesnica mistuire” alcatuiesc un spatiu inchis, angoasant, un labirint din care omul va incerca sa se elibereze. Spintecand burta primului peste, Iona constata ca a nimerit intr-o alta burta (cea a pestelui al doilea care intre timp il inghitise pe primul). Tentativa de eliberare se repeta, in final, omul ajungand pe o plaja pustie inconjurata de un orizont format din burti de peste.
Alcatuita ca un dialog intre Iona si dublul sau, drama releva teama de tacere a personajului, nevoia de comunicare intr-o lume a singuratatii. In aceste conditii, dorul de a vedea “pe cineva mergand pe drum” se converteste in acuta constiinta a singuratatii omului in Univers si cuvintele: “E tare greu sa fii singur” devin un strigat cu profunde implicatii metafizice. Ultima “plecare” a lui Iona (“Plec din nou”) face din Om un Ulysse tragic incercand mereu sa se intoarca in Ithaca (ideal de neatins). De altfel, motivul idealului este sugerat prin prezenta in decor a unei mori de vant – simbol care il transforma pe Iona intr-un Don Quijote sublim, un pescuitor de nori, care ignora conditia sa de fiinta fragila, traitoare pe un “ou clocit” (increatul care si-a pierdut puritatea).
Sugestia mortii se contureaza inca din primul tablou, cand, vorbind despre multimea pestilor marii, Iona afirma ca pentru a-i numara ti-ar trebui nu toata viata (finitul), ci “toata moartea” (infinitul eternitatii).
Episodul liric de la inceputul tabloului al doilea reitereaza ideea mortii vazuta ca universalia: “macar la soroace mai mari, uuniversul intreg sa fie dat lumii de pomana”. Nu cumva, omul care a stins “cu o pleoapa” toate lucrurile din jur, a si trecut in moarte? Nu cumva stradania lui de a vorbi opune Cuvantul (Logosul) neantului? De altfel, intreg tabloul al doilea reitereaza ideea mortii, de la interogatiile fara raspuns (“Inghitit de viu sau de mort?”, “De ce trebuie sa se culce toti oamenii la sfarsitul vietii?”) si pana la meditatia amara pe tema curgerii timpului Fiintei in nimicul Nefiintei: “Un sfert din viata ni-l pierdem facand legaturi (…) intre lucruri si praf”.
Exista, in drama, un moment in care Iona se pregateste sa-i scrie mamei sale folosind, in acest scop, o bucata din besica pestelui. Episodul (de mare puritate si lirism) in care el cugeta pe tema vietii si a mortii, trimite la goetheenele “mume” din care se trag si in care se intorc toate: “Eu cred ca exista in viata lumii o clipa cand toti oamenii se gandesc la mama lor. Chiar si mortii. Fiica la mama, mama la mama, bunica la mama, pana se ajunge la o singura mama, una imensa si buna” (evident, Muma-Pamant).
Toate incercarile lui Iona de a iesi din propriul destin sunt sortite esecului, omul a devenit un Dumnezeu demn de mila care si-a pierdut atributele sacralitatii: “Sunt ca un Dumnezeu care nu mai poate invia. I-au iesit toate minunile, si venirea pe pamant, si viata, pana si moartea – dar o data ajuns aici, in mormant, nu mai poate invia”. Motivul destinului lui Iona este universalizat in cuvintele autorului: “Iona sunt eu”. Finalul dramei il prezinta pe nefericitul Iona care, dupa ce a spintecat ultimul peste, s-a trezit pe o plaja murdara, inconjurata de burti de peste: “un sir nesfarsit de burti. Ca niste geamuri puse unul langa altul”. Acum, senzatia de singuratate este coplesitoare; in haul spatial strajuit de imaginea angoasanta a altei posibile captivitati, Iona se afla, parca, la inceputul lumii. De data aceasta, numarul infinit de obstacole sugereaza ca noua captivitate este definita si irevocabila. Cea dintai semnificatie a finalului ar fi imposibilitatea omului de a iesi din limitele destinului sau. In timpul anilor de sedere in burtile care il gazduisera, Ioana isi amintise de sotia sa, ba chiar le ceruse celor doi trecatori (care duceau o scandura), s-o caute. Odata ajuns pe plaja, memoria incepe sa treaca in uitare lumea vie, apropiindu-l de alte chipuri (probabil ale lumii moarte): “Cum se numeau batranii aceia buni care tot veneau pe la noi cand eram mic? Dar ceilalti doi, barbatul cel incruntat si femeia cea harnica, pe care-i vedeam des prin casa noastra si care la inceput nu erau asa batrani?” Impresionanta readucere in memorie a acestor imagini, constituie o chemare a neantului; se lumineaza, astfel, si semnificatia celor doi trecatori tacuti – ingeri ai mortii – care urmau sa-i duca sotiei lui Iona scandurile pentru sicriul sau. Ultima parte a replicii lui Iona (“si care nu erau as batrani”) creeaza un acut sentiment de fragilitate in fata timpului devorator. Vorbind, ca si pana acum, cu dublul sau, Iona il anunta ca pleaca din nou (probabil in “marea calatorie” de dincolo de moarte, o noua lume a singuratatii). In acest context, cuvintele “E tare greu sa fii singur” devin drama existentiala. Maretia personajului consta in gestul sau final: spintecandu-si abdomenul, asa cu facuse si cu burtile pestilor, Iona se contopeste cu Fiinta universala. Poate ca acesta ar fi sensul ultimei sale replici: “Razbim noi cumva la lumina”. Drama “Iona” de Marin Sorescu este o parabola care ascunde idei profunde, interogatii metafizice si simboluri. Apartenenta ei la teatrul de idei ar putea fi motivata prin: 1. Este inspirata dintr-un mit (mitul biblic al omului inghitit de peste); 2. Spatiul celei mai mari parti a actiunii este unul inchis, apasator, amenintator: in burta pestelui (antrenata in “vesnica mistuire”), Iona este omul prizonier al primejdiilor si al fatalitatii. 3. Eroul reprezinta, prin urmare, un simbol: el ii simbolizeaza pe toti oamenii aflati in puterea destinului. De aici se naste sentimentul de singuratate, de instrainare existentiala, nevoia de a vorbi cu dublul sau, dorinta de a vedea pe cineva trecand pe drum. 4. Iona strabate un traseu initiatic arhetipal, comun: drumul de la viata la moarte; aflat intr-o situatie-limita atunci cand este inghitit de primul peste, va ajunge, in final, prizonier fara iesire.

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