{"id":98705,"date":"2025-07-08T13:59:27","date_gmt":"2025-07-08T10:59:27","guid":{"rendered":"https:\/\/www.lovendal.ro\/wp52\/?p=98705"},"modified":"2025-07-08T14:03:44","modified_gmt":"2025-07-08T11:03:44","slug":"satanismul-la-caragiale-in-operele-sale-literare-intre-doua-povete-la-hanul-lui-manjoala-la-conac-calul-dracului-sau-kir-ianulea-caragiale-ne-vorbeste-despre-diavol","status":"publish","type":"post","link":"https:\/\/www.lovendal.ro\/wp52\/satanismul-la-caragiale-in-operele-sale-literare-intre-doua-povete-la-hanul-lui-manjoala-la-conac-calul-dracului-sau-kir-ianulea-caragiale-ne-vorbeste-despre-diavol\/","title":{"rendered":"Satanismul la Caragiale: \u00een operele sale literare „\u00centre dou\u0103 pove\u0163e”, „La hanul lui M\u00e2njoal\u0103”, „La conac”, „Calul dracului” sau „Kir-Ianulea”, Caragiale ne vorbe\u015fte despre diavol…"},"content":{"rendered":"

\"\"<\/a>Marele Caragiale nu a scris doar lucr\u0103ri literare de comedie ca „O scrisoare pierdut\u0103”<\/em><\/strong> sau „Momente \u015fi schi\u0163e”<\/em><\/strong>. Foarte interesante sunt nuvelele \u015fi basmele sale fantastice, \u00een care Ion Luca Caragiale pune accentul pe satanism, \u00een opere ca „\u00centre dou\u0103 pove\u0163e”<\/em><\/strong>, „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong>, „La conac”<\/em><\/strong>, „Calul dracului”<\/em><\/strong> sau „Kir-Ianulea”<\/em><\/strong>. Satanismul lui Caragiale nu este semnul unei nelini\u0219ti personale; imaginea de scriitor anxios, pe care ar voi s-o impun\u0103 unii critici, nu este justificat\u0103. De remarcat c\u0103 dou\u0103 din povestirile lui, „\u00centre dou\u0103 pove\u0163e”<\/em><\/strong> \u0219i „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong>, sunt narate la persoana \u00eent\u00e2ia; cea dint\u00e2i este mai mult o cronic\u0103, iar a doua este o admirabil\u0103 nuvel\u0103, \u00een care subiectivismul pur gramatical nu \u00eentunec\u0103 obiectivitatea \u00eent\u00e2mpl\u0103rilor fantastice.<\/p>\n

Conceptul de satanism caragialean nu dep\u0103\u015fe\u015fte conceptul folcloric. Diavolul se \u00eentrupeaz\u0103 \u00een om, ca s\u0103 ne ispiteasc\u0103 sl\u0103biciunile ca \u00een „La conac”<\/em><\/strong>, sau \u00een chip de animal, ca \u00een „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong>; el este duhul r\u0103u, ce ne tulbur\u0103 subcon\u015ftientul, sco\u0163\u00e2nd la suprafa\u0163\u0103, anume dorin\u0163i t\u0103inuite. Rolul lui este accidental, surprinz\u0103tor, sco\u0163\u00e2nd pe om din f\u0103ga\u015ful obi\u015fnuit al vie\u0163ii, care, odat\u0103 ie\u015fit din cercul magic al \u00eenr\u00e2uririi diavole\u015fti, \u00ee\u015fi reia ritmul normal. Cine se folose\u015fte de practica vr\u0103jitoreasc\u0103 este pedepsit, cum a fost pedepsit\u0103 coana Marghioala la b\u0103tr\u00e2ne\u0163e, mistuit\u0103 de incendiul care i-a ars hanul din temelii, cum a fost pedepsit\u0103 \u015fi fata de \u00eemp\u0103rat, din „Calul dracului”<\/em><\/strong>, s\u0103 se transforme \u00eentr-o cer\u015fetoare, blestemat\u0103 c\u0103 a recurs la uneltele vr\u0103jitoriei.<\/p>\n

Planul fantastic pe care se desf\u0103\u015foar\u0103 povestirile cu diavoli ale lui Caragiale folose\u015fte idei comune, din folclor. Diavolul este ispit\u0103, practica vr\u0103jitoriei este lucru blestemat, dup\u0103 cum diabolismul femeii, care sperie \u015fi pe dracul, este o observa\u0163ie moral\u0103 a poporului. Artist lucid, Caragiale utilizeaz\u0103 fantasticul cu tehnic\u0103 savant\u0103 \u015fi \u00ee\u015fi explic\u0103 simbolurile cu deosebit\u0103 clarviziune. \u00centrupat \u00een om, diavolul din „La conac”<\/em><\/strong> este acela\u015fi duh al r\u0103ului, ca \u015fi Sp\u00e2nul din „Harap-Alb”<\/em><\/strong> al lui Creang\u0103. C\u00e2nd este neutralizat, ca Aghiu\u0163\u0103, din „Kir-Ianulea”<\/em><\/strong>, apare \u015fi mai uman \u015fi chiar de comp\u0103timit, fiindc\u0103 satanismul femeii, de natur\u0103 congenital\u0103, \u00eel \u00eensp\u0103im\u00e2nt\u0103 \u015fi-l \u00eenfr\u00e2nge. Evocarea unui Bucure\u015fti de epoc\u0103, \u00een cadrul mahalalei bucure\u015ftene, din „Kir Ianulea”<\/em><\/strong> este semnul ne\u00eendoios ale unei lucidit\u0103\u0163i artistice, care evadeaz\u0103 \u00een fantastic pentru a-\u015fi varia scrisul \u015fi a-\u015fi dep\u0103na epic intui\u0163iile lui de moralist, scoase din contemplarea mecanismului etern omenesc, al experien\u0163ei \u015fi al observa\u0163iei.<\/p>\n

\u00cen schi\u0163a „\u00centre dou\u0103 pove\u0163e”<\/em><\/strong>, Caragiale d\u0103 un u\u015for t\u00e2lc, simbolic ispitei; t\u00e2n\u0103ra Nina, care-l obsedeaz\u0103 cu prezen\u0163a ei fascinant\u0103, la un bal mascat, e travestit\u0103 \u00een Mefisto; ea devine astfel „dr\u0103cu\u015forul”<\/em>, care-l urm\u0103re\u015fte cu privirile \u015fi a c\u0103rei respira\u0163ie cald\u0103 eman\u0103 tulbur\u0103tor, c\u00e2nd se afl\u0103 \u00een spatele b\u0103rbatului. Povestitorul oscileaz\u0103 \u00eens\u0103 \u00eentre dou\u0103 ispite femeie\u015fti: \u00eentre Nina, al c\u0103rui magnetism se exercit\u0103 puternic, dar scurt, \u015fi \u00eentre o v\u0103duv\u0103, care-i propune o plimbare \u00een Italia, unde o \u015fi \u00eenso\u0163e\u015fte. Re\u00eentorc\u00e2ndu-se, dup\u0103 c\u00e2teva luni, \u00ee\u015fi prelunge\u015fte nostalgia dup\u0103 posibila aventur\u0103 cu „dr\u0103cu\u015forul”, pe care nu-l poate uita. Elementul fantastic este atenuat, p\u00e2n\u0103 la o simpl\u0103 conven\u0163ie; fiin\u0163a uman\u0103 e direct tangibil\u0103, iar efectul magic al satanismului se reduce la un obi\u015fnuit travesti.<\/p>\n

De la aceast\u0103 nevinovat\u0103 povestire, \u00eentemeiat\u0103 pe conven\u0163ional, p\u00e2n\u0103 la admirabila „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong>, trecem dintr-odat\u0103 pe un plan \u00een care fantasticul magic apare simbolic organizat; dar \u015fi aici, Caragiale porne\u015fte de la elementele realiste cele mai v\u0103dite. Magia este un accident, impresionant, fire\u015fte, care tulbur\u0103 profund pe erou, \u00eel scoate, pentru un timp din ritmul lui obi\u015fnuit de via\u0163\u0103, zv\u00e2rlindu-l \u00eentr-o aventur\u0103 nea\u015fteptat\u0103. T\u00e2n\u0103rul, care se ducea s\u0103 se \u00eensoare cu fa\u0163a pocovnicului Iordache, face un popas la hanul M\u00e2njoloaiei. Emana\u0163ia senzual\u0103 a hangi\u0163ei se complic\u0103 cu elemente exterioare. Obsesia ispitei se prelunge\u015fte pe planul fantastic, cu potriviri ale hazardului, \u00een care prezen\u0163a diavolului se \u00eentrupeaz\u0103 \u00eentr-un cotoi \u015fi un ied; ace\u015ftia par emisari la dispozi\u0163ia femeii, care lucreaz\u0103 asupra t\u00e2n\u0103rului cu mijloace satanice.<\/p>\n

Drumul prin viscol al c\u0103l\u0103re\u0163ului, pornit spre viitorul socru, dup\u0103 ce s-a smuls cu greu de l\u00e2ng\u0103 ispit\u0103, apari\u0163ia ciudat\u0103 \u015fi apoi dispari\u0163ia \u015fi mai ciudat\u0103 a iedului, lupta cu elementele naturii \u015fi rotirea \u00eentr-un vicios cerc magic, care-l \u0163ine tot \u00een preajma hanului, revenirea la M\u00e2njoloaia \u015fi st\u0103p\u00e2nirea pe care-o pune asupra sim\u0163urilor lui ad\u00e2nc tulburate, anihil\u00e2ndu-i voin\u0163a – sunt magistral \u00eempletite. A trebuit s\u0103-l scoat\u0103 cu sila din aceast\u0103 vraj\u0103 polcovnicul Iordache \u015fi s\u0103-l duc\u0103 la o m\u0103n\u0103stire, s\u0103 se lecuiasc\u0103 de puterea satanic\u0103 ce-l luase \u00een st\u0103p\u00e2nire.<\/p>\n

M\u00e2njoloaia pare o vr\u0103jitoare, care i-a luat min\u0163ile, folosindu-se de diavol; ispita femeiasc\u0103 s-a exercitat asupra-i cu acele for\u0163e ale subcon\u015ftientului, care \u0163in de magie. Povestirea aventurii tinere\u015fti e \u00eencadrat\u0103 \u00eentr-un element fantastic, reamintindu-\u015fi de strania \u00eent\u00e2mplare, \u00eentr-o noapte de iarn\u0103, care coincide cu arderea hanului, p\u00e2n\u0103 \u00een temelie, incendiul „\u00eengrop\u00e2nd pe biata cocoana Marghioala, acu h\u00e2rbuit\u0103, sub un morman uria\u015f de j\u0103ratic”<\/em>. Sf\u00e2r\u015fit demn de o adev\u0103rat\u0103 vr\u0103jitoare care ispitise, c\u00e2ndva, cu satanicele-i farmece \u015fi pe b\u0103tr\u00e2nul Iordache.<\/p>\n

Satana, ca factor al r\u0103ului, care pune st\u0103p\u00e2nire pe voin\u0163a omului, nu ac\u0163ioneaz\u0103 numai asupra subcon\u015ftientului erotic. \u00cen nuvela „La conac”<\/em><\/strong>, un t\u00e2n\u0103r care e trimis de taic\u0103-su, arenda\u015f, s\u0103 pl\u0103teasc\u0103 50 de galbeni, c\u00e2\u015ftigul datorat boierului, se \u00eent\u00e2lne\u015fte \u00een drum cu diavolul, \u00eentrupat \u00eentr-un c\u0103l\u0103re\u0163, cu \u00eenf\u0103\u0163i\u015fare de negustor: „un ro\u015fcovan gr\u0103suliu, cu fa\u0163a vioaie; c\u00e2rn \u015fi pistruiu, dar om pl\u0103cut la \u00eenf\u0103\u0163i\u015fare \u015fi tovar\u0103\u015f glume\u0163; numai at\u00e2ta c\u0103 e \u015fasiu, \u015fi c\u00e2nd se uit\u0103 drept \u00een ochii t\u00e2n\u0103rului, \u00eei face a\u015fa, ca o ame\u0163eal\u0103, cu un fel de durere la apropietura spr\u00e2ncenelor”<\/em>. Elementul fantastic e mai atenuat aici, de\u015fi suficient sugerat, ca s\u0103 ne limpezeasc\u0103 simbolul.<\/p>\n

De dou\u0103 ori, t\u00e2n\u0103rul \u00ee\u015fi face cruce; \u015fi de dou\u0103 ori, Satana piere, la semnul crucii, ca-n pove\u015ftile populare. Sf\u00e2r\u015fitul, cu restituirea banilor, de c\u0103tre unchiu-s\u0103u, pe care \u00eent\u00e2mplarea i l-a scos \u00een cale, printre juc\u0103torii de la conac, dup\u0103 ce a sc\u0103pat de vraja ispitei, \u00eei limpeze\u0219te mintea \u0219i explic\u0103 simbolul povestirii; mustr\u00e2ndu-l, unchiu-s\u0103u \u00eel \u00eentreb\u0103: „- Cine te-a pus s\u0103 joci, dac\u0103 nu \u015ftii jocul?”<\/em>, \u015fi fl\u0103c\u0103ul r\u0103spunde: „- Dracul m-a pus!”<\/em>. Ca \u015fi \u00een „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong>, ie\u015fit din cercul magic al ispitei, t\u00e2n\u0103rul din „La conac”<\/em><\/strong> reintr\u0103 \u00een via\u0163a lui normal\u0103, dup\u0103 ce l-a \u00eencercat \u00eent\u00e2mplarea, sub forma diavolului. Aici este \u0219i mai caracteristic realismul povestirii, \u00een care numai hazardul o \u00eempinge spre planul fantastic.<\/p>\n

Dar, \u00een basmul simbolic „Calul dracului”<\/em><\/strong>, faptele se petrec \u00een pur\u0103 atmosfer\u0103 de magie, \u00eens\u0103 cu elemente de realism. \u00cen special, limbajul cer\u015fetoarei este de-o oralitate at\u00e2t de autentic\u0103, la \u00eenceputul ca \u015fi la sf\u00e2r\u015fitul povestirii; mai mult chiar, vorbe\u015fte \u00een acela\u015fi chip \u015fi cu diavolul, preschimbat \u00een t\u00e2n\u0103r c\u0103l\u0103tor, care popose\u015fte noaptea sub cerga b\u0103tr\u00e2nii, care suferea de insomnie. Numai c\u0103 aici, Satana, care voia s\u0103-\u015fi \u0163in\u0103 taina ascuns\u0103, e descoperit de cer\u015fetoare; pip\u0103indu-l, \u00een somn, d\u0103 peste semnele ne\u00eendoioase ale naturii lui, coada \u015fi cele dou\u0103 corni\u0163e; cer\u015fetoarea, la r\u00e2ndul ei, „era o fat\u0103 de \u00eemp\u0103rat mare, care, de mititic\u0103 se dedase la \u015ftiin\u0163a farmecelor \u015fi la me\u015fte\u015fugul vr\u0103jitoriei, \u015fi, pentru p\u0103catele ei, fusese blestemat\u0103 s\u0103 se preschimbe \u00een hodoroag\u0103 cer\u015fetoare \u015fi s\u0103 nu-\u015fi mai ia \u00eenf\u0103\u0163i\u015farea ei de mai \u00eenainte dec\u00e2t atunci c\u00e2nd o putea p\u0103c\u0103li pe dracul, ba \u00eenc\u0103, \u015fi atunci, numa pe vremea nop\u0163ii”<\/em>. Blestemul nu se curm\u0103 \u00eens\u0103: plimbarea pe care-o face Prichindel, \u00een c\u00e2rca babei, p\u00e2n\u0103 c\u00e2nd apar zorile, o transform\u0103 numai momentan \u00eentr-o z\u00e2n\u0103 fermec\u0103toare. Prichindel a fost descoperit, dar nu \u015fi p\u0103c\u0103lit; \u00eenainte de-a se lumina de ziu\u0103, \u00ee\u015fi ia t\u0103lp\u0103\u015fi\u0163a, iar fata de \u00eemp\u0103rat redevine cer\u015fetoare, perpetu\u00e2ndu-se blestemul.<\/p>\n

Povestirea din „Calul dracului”<\/em><\/strong> e un basm, \u00een care magia opereaz\u0103 ca atare; vraja nu mai exercit\u0103 asupra omului o \u00eenr\u00e2urire echivalent\u0103 cu ispita, ac\u0163ion\u00e2nd asupra subcon\u015ftientului; ea l-a transformat radical, ca semn al pedepsei, fiindc\u0103 s-a dedat el \u00eensu\u015fi la practici vr\u0103jitore\u0219ti, ca s\u0103-\u015fi redob\u00e2ndeasc\u0103 personalitatea, trebuie s\u0103-l p\u0103c\u0103leasc\u0103 pe \u00eensu\u015fi dracul.<\/p>\n

O p\u0103c\u0103leal\u0103 stra\u015fnic\u0103 va c\u0103p\u0103ta Satana \u00een „Kir-Ianulea”<\/em><\/strong>, magistral\u0103 nuvel\u0103 cu t\u00e2lc simbolic, ilustr\u00e2nd proverbul „femeii care-a speriat \u015fi pe dracul”<\/em>. Elementul fantastic e aici mai mult de natur\u0103 satiric\u0103, delega\u0163ia pe care-o prime\u015fte Aghiu\u0163\u0103 de la Dardarot, de-a se transforma \u00een b\u0103rbat, venind \u00een Bucure\u015fti, unde se va \u00eensura cu Acrivi\u0163a, ca s\u0103 experimenteze toate n\u0103pastele care \u00eei sunt rezervate unui so\u0163, corespunde cu verificarea unui adev\u0103r. Pentru b\u0103rbat, iadul e pe p\u0103m\u00e2nt \u015fi la \u00eencerc\u0103rile unui biet so\u0163 terorizat de femeie nu va putea rezista nici Aghiu\u0163\u0103 \u00eensu\u015fi, dup\u0103 ce-\u015fi ia lumea \u00een cap \u015fi intr\u0103 ca duh r\u0103u, \u00een corpul femeilor, ca s\u0103 le chinuiasc\u0103, iar Negoi\u0163\u0103, drept recuno\u015ftiin\u0163\u0103 pentru c\u00e2t bine-i f\u0103cuse Ianulea, transmite formula magic\u0103 Acrivi\u0163ii.<\/p>\n

Diavolul va renun\u0163a \u015fi la aceast\u0103 r\u0103zbunare, de spaima fostei so\u0163ii. C\u00e2nd Negoi\u0163\u0103 pronun\u0163\u0103 numele Acrivi\u0163ii, pe care voia s-o cheme \u00een ajutor, ca s\u0103 locuiasc\u0103 \u00een fata domnitorului, Aghiu\u0163\u0103 \u00ee\u015fi p\u0103r\u0103se\u015fte victima, care se \u00eens\u0103n\u0103to\u015fe\u015fte brusc, iar la cea dint\u00e2i \u00eencercare a Ianuloaiei de-a vindeca pe nepoata mitropolitului din Bucure\u015fti, diavolul dispare, ie\u015find \u00eensp\u0103im\u00e2ntat din trupul chinuit al fetei \u015fi duc\u00e2ndu-se s\u0103 raporteze lui Dardarot tot ceea ce p\u0103timise de pe urma unei femei, care l-a s\u0103r\u0103cit \u015fi l-a batjocorit. Astfel v\u0103zut, satanismul din „Kir-Ianulea”<\/em><\/strong> se deosebe\u015fte de satanismul din „La hanul lui M\u00e2njoal\u0103”<\/em><\/strong> \u015fi „La conac”<\/em><\/strong>; el e, de data asta atribut al femeii \u015fi nu diavolului, care a fost supus, \u00eentrupat \u00een so\u0163, la toate umilin\u0163ele; rolul dat de Dardarot lui Aghiu\u0163\u0103 este de simplu experimentator, care s\u0103 verifice pl\u00e2ngerea tuturor r\u0103posa\u0163ilor, ajun\u015fi \u00een iad, de pe urma so\u0163iilor. Satana n-are nicio ini\u0163iativ\u0103, \u00eendur\u00e2nd pasiv toanele \u015fi egoismul femeii.<\/p>\n","protected":false},"excerpt":{"rendered":"

Marele Caragiale nu a scris doar lucr\u0103ri literare de comedie ca „O scrisoare pierdut\u0103” sau „Momente \u015fi schi\u0163e”. Foarte interesante sunt nuvelele \u015fi basmele sale fantastice, \u00een care Ion Luca Caragiale pune accentul pe satanism, \u00een opere ca „\u00centre dou\u0103 … <\/p>\n

Cititi mai multe<\/a><\/p>\n","protected":false},"author":1,"featured_media":98706,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[6585,20032,818,242,2500,827,6645,20029,1051,5740,9776,2642,9798,697,18316,274,5758,20024,1923,295,1741,20028,86,20030,20027,20026,1743,1620,20031,7823,11388,20025,57,20033,750,25,2343,704,114,2163],"class_list":["post-98705","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultura","tag-animal","tag-bal-mascat","tag-basm","tag-blestem","tag-boier","tag-bucuresti","tag-calaret","tag-calul-dracului","tag-caragiale","tag-comedie","tag-creanga","tag-cruce","tag-cultura","tag-diavol","tag-fantastic","tag-femei","tag-han","tag-harap-alb","tag-iad","tag-imparat","tag-incendiu","tag-intre-doua-povete","tag-italia","tag-kir-ianulea","tag-la-conac","tag-la-hanul-lui-manjoala","tag-magie","tag-manastire","tag-mefisto","tag-mitropolit","tag-nuvela","tag-o-scrisoare-pierduta","tag-oameni","tag-polcovnic","tag-satana","tag-satanism","tag-subconstient","tag-viscol","tag-vrajitoare","tag-zana","resize-featured-image"],"yoast_head":"\nSatanismul la Caragiale: \u00een operele sale literare "\u00centre dou\u0103 pove\u0163e", "La hanul lui M\u00e2njoal\u0103", "La conac", "Calul dracului" sau "Kir-Ianulea", Caragiale ne vorbe\u015fte despre diavol... - Secretele lui Lovendal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lovendal.ro\/wp52\/satanismul-la-caragiale-in-operele-sale-literare-intre-doua-povete-la-hanul-lui-manjoala-la-conac-calul-dracului-sau-kir-ianulea-caragiale-ne-vorbeste-despre-diavol\/\" \/>\n<meta property=\"og:locale\" content=\"ro_RO\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Satanismul la Caragiale: \u00een operele sale literare "\u00centre dou\u0103 pove\u0163e", "La hanul lui M\u00e2njoal\u0103", "La conac", "Calul dracului" sau "Kir-Ianulea", Caragiale ne vorbe\u015fte despre diavol...\" \/>\n<meta property=\"og:description\" content=\"Marele Caragiale nu a scris doar lucr\u0103ri literare de comedie ca „O scrisoare pierdut\u0103” sau „Momente \u015fi schi\u0163e”. 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