disertatie mttlc.doc

8/9/2019 disertatie mttlc.doc

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About Ioana Ieronim

by Oana-Elena Crăciunescu

In brief ,poet, translator, cultural journalist and dramatist Ioana Ieronim was born

in Râşno, !raşo County in "#$%& '(e )raduated from *(e +niersity of !uc(arest , t(e

En)lis( lan)ua)e and iterature section& '(e wored as editor for forei)n encyclopedias

at Editura .tiin/ifică şi Enciclopedică 0*(e 'cientific and Enciclopedic 1ublis(in) 2ouse3

and for t(e 4a)a5ine 6'ecolul 789078t( Century3& '(e became a diplomat in "##7,

serin) as Cultural Counsellor in t(e Romanian Embassy in :as(in)ton until "##;, and

t(en as t(e


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is The Triumph of the &ater &itch translated Adam & 'orin in collaboration wit( t(e

aut(or, olume t(at was nominated for t(e 'ir :eidenfeld 1ri5e for literature in

translation, and t(at won t(e 'nternational (uarterly Crossing oundaries )*ard ,

Fennet( ReGrot( *ranslation 1ri5e, t(e 1ri5e of :riters +nion of 4oldoa& Ot(er

bilin)ual editionsB 'ilabe omnioreH Omniorous 'yllables, wit( a preface by


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by !o)dan efter, Art Act 4a)a5ine , no $#, 7"H"7H788#

(ttpBHHwww&artactma)a5ine&roHpoe5iaofertatimida&(tml

1icture of Ioana Ieronim (ttpBHHwww&5f&roH5iarul-de-duminicaHinteriu-ioana-ieronim-

eGista-o-parte-de-sin)uratate-a-scrisului-J$J8$=%H

The Choice of a Theme:Foreward

by Oana-Elena Crăciunescu

:(en I read Ioana Ieronims poem ?randmother%s Rosary I was stroed by t(e

compleG symbolism, constructed as layers oer layers, all facets of t(e same issue w(ic(

reminded me of 2induism& I decided to call my paper $eminine Creation lo*n in &ords

inspired by t(is p(ilosop(ical and reli)ious t(at sees eery part of t(e concrete world as a

manifestation of a diine ener)y& *(e :(ole represented by t(e 'e)ment t(at at its turn

reflects t(e :(ole&

Indian 2induism re)ards t(e world as a multitude of facets just t(e same as it

re)ards t(e diinity& Creation and art as form of creation, t(e Diine :ord and its

projections as t(e (uman word and eeryt(in) deried from it are ruled by )oddesses,

more accurately by two representations of t(e Diine 4ot(er 'araswati and 4atan)i&

4oreoer creation, Diine :ord and w(at is deried from t(em are not only )oerned

by t(ese deities, t(ey considered to be t(e ery manifestations of t(em & Alt(ou)( t(ey

(ae similar attributes and roles t(ese two )oddesses are not identical& *(ey )uard t(ese

issues at different leels, t(ey (ae different ori)ins and status, t(ey are t(e counterparts

of different masculine principles& *(ey represent embodiments of t(e Diine 4ot(er but

at t(e same time t(ey are eac( ot(ers (ypostasis& In sum Indian tradition presents t(e

Creatie :ord as rooted into t(e feminine principle t(erefore so is art as an eGtension of

it& I c(ose t(e title for my paper $eminine Creation lo*n in &ords inspired by t(is

reli)ious and p(ilosop(ical system&

http://www.zf.ro/ziarul-de-duminica/interviu-ioana-ieronim-exista-o-parte-de-singuratate-a-scrisului-5450487/http://www.zf.ro/ziarul-de-duminica/interviu-ioana-ieronim-exista-o-parte-de-singuratate-a-scrisului-5450487/http://www.zf.ro/ziarul-de-duminica/interviu-ioana-ieronim-exista-o-parte-de-singuratate-a-scrisului-5450487/http://www.zf.ro/ziarul-de-duminica/interviu-ioana-ieronim-exista-o-parte-de-singuratate-a-scrisului-5450487/


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'araswati is t(e counterpart of !ra(ma0 or t(e Creator3 and 4atan)i is

simultaneously t(e counterpart of '(ia 0 or t(e Destroyer of Creation3, an intrinsic

)oddess part of a pant(eon and a (ypostasis of 1arati, '(ias wife& *(ere are

similarities between t(e two, not just in ideolo)y but also in icono)rap(y su))estin) t(eir

mi)(t, creatie force and )enerosity as mot(er fi)ure &*(e artistry aspect is symboli5ed

and represented in t(e icono)rap(y of bot( deities by a sacred instrument eena& Ot(er

similarities are t(e four arms and t(e symbolical objects& 1layin) t(e eena stand for t(e

fact of rulin) oer music or audible sound in )eneral w(ile t(e lotus flowers t(ey sit on

represent t(e aspect of intellect, nowled)e, learnin) and uniersal wisdom&

Etymolo)ically 6mata9 represents 6opinion9 or 6t(ou)(t9 t(at (as to be eGpressed

t(rou)( words and eGtendedly sounds& :ords are not(in) but t(e embodiment of

t(ou)(ts, t(eir concrete and )rosser manifestation, so 4atan)i is re)arded amon) ot(er

t(in)s as t(e patron of all forms of speec( and of any outward articulation of inner

nowled)e& '(e represents and sustains words especially as poetry and music, but also

leads t(e wors(ipers to t(e primordial sound& iewise 'araswati is closely connected to

literature as (er arms represent t(e Pedas, 0major sacred boos of 2induism neGt to t(e

+panis(ades3 amon) w(ic(, t(ree represent t(e t(ree forms of literatureB Ri)eda

contains (ymns, stands for poetry ,Qajureda contains prose ,'amaeda stands for music&

2oweer s(e )oerns only t(e outer forms, t(e ordinary nowled)e, art, learnin) andculture in spite of bein) a complete form of '(ati w(ile 4atan)i is t(e nint( of a

pant(eon of ten )oddesses, t(e 4a(aidyas 0 *(e @reat @odessed of :isdom3&

On t(e ot(er (and,4atan)i is considered t(e darer side of 'araswati but in spite

of all t(is s(e represents is transcendentalism& 2er main role is to rule oer t(e ordinary,

s(owin) t(e belieer t(e essence of t(in)s and tain) us beyond t(e limits of t(e

conentional, t(rou)( transfi)uration& *(ese deities are not just facets of '(ati but also

embody t(e same principles and end up as one t(e facet of t(e ot(er&

'ince art stands for and is ruled by faceted feminine ener)ies and entities, I

considered to approac( Ioana Ieronims wor in a similar manner, underlinin)

diersiform aspect of femininity, w(ic( s(e so )racefully and compleGly illustrates& *(is

is w(y I decided to )roup some of my essays under t(e title of )1atars of $emininity

http://wapedia.mobi/en/Rigvedahttp://wapedia.mobi/en/Yajurvedahttp://wapedia.mobi/en/Samavedahttp://wapedia.mobi/en/Rigvedahttp://wapedia.mobi/en/Yajurvedahttp://wapedia.mobi/en/Samaveda


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portrayin) different forms of femininity from abstract to concrete&*(us poetry is t(e

artistic form of speec( )oerned by 4atan)i and 'araswati, and also stands for creatiity

t(erefore creation& 4oreoer t(e creator of t(ese forms of discourse is a poetess&

!iblio)rap(yB

"& !(attac(arjee ,'aptars(ee&Saras*ati @ the goddess of *isdom Assam *ribune

Hsayantra&jp)

=& 1icture of 4atan)i

(ttpBHHwww&s(atisad(ana&or)Hima)esH4aatan)ipa)eHmatan)irealp(oto&jp)

#& Qantra of 4atan)i

(ttpBHHupload&wiimedia&or)HwiipediaHcommonsHdHd"H4atan)iyantracolor&jp)

Matangi and Saraswati

Oana-Elena Crăciunescu

2induism pays )reat respect to t(e feminine principle of @od, *(e @reat 4ot(er,

'(ati& '(e is considered to (ae )reat importance for bein) simultaneously t(e creator

and t(e world itself and also because wit(out (er t(e masculine principle would be

powerless& '(ati is wors(iped under many names, and mostly important under many

aspects t(at are primary and secondary )oddesses wit( specific attributes& *(is ision

http://www.hvk.org/articles/0205/46.htmlhttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://www.nmuralikrishnan.com/veena-information.htmlhttp://mme.iitm.ac.in/vsarma/personalweb/veena.htmlhttp://www.flickr.com/photos/ash_patel/2278878523/http://jayantra.co.uk/wp-content/uploads/2010/03/sayantra.jpghttp://www.shaktisadhana.org/images/Maatangipage/matangi_real_photo.jpghttp://upload.wikimedia.org/wikipedia/commons/d/d1/Matangi_yantra_color.jpghttp://www.hvk.org/articles/0205/46.htmlhttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://www.nmuralikrishnan.com/veena-information.htmlhttp://mme.iitm.ac.in/vsarma/personalweb/veena.htmlhttp://www.flickr.com/photos/ash_patel/2278878523/http://jayantra.co.uk/wp-content/uploads/2010/03/sayantra.jpghttp://www.shaktisadhana.org/images/Maatangipage/matangi_real_photo.jpghttp://upload.wikimedia.org/wikipedia/commons/d/d1/Matangi_yantra_color.jpg


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s(ows t(e @reat 4ot(er primarely as 'araswati, as(mi and 1arati t(e counterparts of

t(e *rimuri, t(e masculine trinity& *(us 'araswati is correlated wit( !ra(ma t(e creator of

t(e unierse, t(erefore s(e is t(e feminine embodiment of creation, as(my wit( Pis(nu

t(e preserer and t(erefore (is attributes and 1arati wit( '(ia, t(e destroyer,

responsible for c(an)es, deat(, transformations& '(ati is also correlated wit( t(e

concepts of @unas, t(ree states of ibration, accordin) to w(ic( t(e cycles of creation

tae place and t(e +nierse eoles and eGistsB 'atta means eleation, t(e (i)(est state,

Raja means c(an)e, transformation and *amas decay, t(e material element of down-dra)&

*(e t(ree cannot eGist wit(out one anot(er and are applied eually to micro- and macro-

worlds from, in sum to eeryt(in), from indiidual or )roup states of mind to artistic

manifestations&

Mahavidya, Ten Ways to Obtain Spiritual nowledge

*(e 4a(aidyas, or 4a(a Deis or t(e @reat :isdom @oddesses represent ten

fundamental, arc(etypical ener)ies in t(e unierse, ten (ypostases of t(e Diine 4ot(er&

Etimolo)ically 6ma(a9 means 6)reat9 and 6idya9 6nowled)e9 or 6wisdom9& *(ey are

t(e object of wors(ipin) of *antra also called *antrism in En)lis( w(ic( is based on

ancient teGts, t(e 1uranas & *(is is a form of p(ilosop(y and reli)ion centered on '(ati

as primordial element, as @od, is deried from '(atism one of t(e t(ree major 2indusc(ools neGt to '(aiaism and Pais(naism and sometimes it is considered t(e fourt(

sc(ool& Alt(ou)( bot( *antrism and 'atism enerate t(e Diine 4ot(er not all forms

of *antrism (ae to do to '(atic tradition and not all forms of '(atism are *antric&

*antra deals primarily wit( spiritual practices and rituals, w(ic( aim liberation from

Farma t(e repetitie reincarnation of souls primarily caused by i)norance &

*(is pant(eon may seem pretty peculiar to outsiders, suc( as Europeans, as t(e

4a(aidyas are re)arded bot( as a )roup and as indiidual deities& As indiidual deities

t(ey (elp t(e wors(iper eit(er in t(eir terrific of )entle aspect to reac( spiritual eolution

and nowled)e and to accede to t(e ultimate trut( 0!ra(man3& *(eir terrific, scary aspect

(ae t(e esoteric meanin) of breain) t(e wors(ipers from i)norance, limits and

conentions t(at eep t(eir souls in a lower state and bound to Farma& As a )roup t(ey


7/35

are re)arded as t(e counterpart of '(ia0 t(e destroyer of +nierse3 and aspects of

'(ias wife, 1arati&

e)ends say t(at t(ey appeared after '(ia and 1arati fou)(t and '(ias decision

to leae 1arati& !ecause 1arati loed (er (usband enormously s(e did not accept t(e

separation so eeryw(ere (e went s(e would appeared in front of (im in anot(er aspect&

*(is eGperience enli)(tened '(ia w(o understood t(at s(e was eeryw(ere as s(e was

t(e +niersal 4ot(er& 'till t(e )enesis of t(e ten deities as )roup and indiiduals (ae

ariants, but t(is is t(e most popular myt( of t(eir common apparition& Eac( and

eeryone of t(e ten (as a major c(aracteristic or functionB

"& 0aliB represents *ime, s(e is called t(e 6Deourer of *ime9

7& TaraB 0also nown as ?eel 'araswati3 is t(e )oddess of compassion

>& 4alitaTripurasundari 0also nown as Shodashi3B s(e is t(e diine beauty

$& hu1anesh1ariB *(e @oddess as :orld 4ot(er, or :(ose !ody is t(e Cosmos

J& haira1iB *(e


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is called 4antrini for (ain) power oer all mantras &Ad(erents may as for creatiity,

poetic talent, elouence and any type of )ift correlated to creation& '(e is also considered

as t(e (older of all boons&

4atan)i is called +cc(ista-matan)i, 6ucc(ista9 standin) 6rejected9, 6outcast9 and

t(at (as a lot to do wit( (er )enesis& *(is fact is presented in seeral myt(s one is t(at

1arati seduced (er (usband '(ia metamorp(osed as a C(andala woman 0C(andalini3,

w(ic( determined t(e )od to transform at (is turn into a C(andala man& 'ince '(ia (ad

reco)ni5ed 1arati into t(e beautiful C(andalini s(e (ad ased (im for a boon so t(at t(e

form s(e (ad adopted to be wors(iped under t(e name +cc(ista-C(andalini& C(andala

people were considered t(e lowest part of t(e ort(odoG 2indu society because t(ey did

not obey t(e ways of liin)& Anot(er myt( reinforces t(e idea of 4atan)is birt( bein)rooted into t(e decayed and polluted& It tells about '(ia and 1arati )oin) to dine wit(

Pis(nu and asmi& Durin) dinner scrums fell from t(eir table and a beautiful maiden

rose from t(em asin) t(e )ods to )ie (er t(eir leftoers as 1rasada 0 t(at is food blessed

by t(e )ods by tastin) it food consecrated to a diinity3& Impressed, '(ia blessed (er

and told (er t(at w(oeer addressed (er prayers or said (er mantra could receie support

and success in t(eir action& 4atan)i resides in eeryt(in) t(at is un-pure, polluted but on

t(e ot(er (and s(e is t(e embodiment of transcendin) any ind of limits and conentions&

!ecause of t(e metamorp(oses of a )oddess into an outcast woman any (uman bein)s

may reac( liberation in spite of social condition, not to mention )ender, a)e and

education& And so we (ae a clear picture of t(e t(ree @unas , t(e outcasts, *amas in

nature, may transform , t(e Raja state, and reac( enli)(tenin) becomin) 'atta&

$conography and Worship

4atan)i (as seeral different forms& '(e is usually represented as a beautiful

woman, wit( lon) flowin) (air, slander waist and dar 0emerald, blue3 or blac

compleGion& 4ost of t(e time s(e (as four (ands (oldin) a club, a )oad, a sword and a

noose but t(e object may differ accordin) to tradition t(erefore s(e is also represented as

playin) t(e eena or (oldin) a sull& *(e @oddess 4eenas(i from 4adurai is

http://wapedia.mobi/en/Meenakshihttp://wapedia.mobi/en/Meenakshihttp://wapedia.mobi/en/Maduraihttp://wapedia.mobi/en/Meenakshihttp://wapedia.mobi/en/Madurai


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wors(ipped as 4atan)i& '(e resides in t(e t(roat c(ara, one of t(e main seen w(eels of

t(e subtle body, t(e so called aura, t(erefore speec( and communication of all leels&

2er wors(ip may include (er ot(er nine manifestations or not, dependin) upon

t(e aspirations of t(e deotee& 2er offerin)s differ from t(e ot(er )ods, t(ey do not

consist in fres( fruits or flowers as t(ey usually do, but in leftoers, spoiled food and

broen t(in)s t(at nobody can use& !esides t(at t(e ad(erent must be in a state of

pollution w(ile wors(ipin), dirty&

nowledge and #urity% Saraswati

'araswati is one of t(e most popular deities in India and one of t(e few important

Pedic )oddesses t(at presered its particularities until present day& 'ince ancient time s(e

(as been re)arded in t(ree major aspects as a rier, as speec(0Paa3 and as a )oddess& In

t(e Pedas 'araswati is portrayed as bot( a )oddess and a rier& '(e is t(e earliest

eGample of association between a )oddess and a rier in t(e Indian tradition&

'ymbolically t(is alludes to t(e sacred nature of water&


10/35

4os(a& *(e four (ands of t(e )oddess represent t(e four Pedas and t(e four

principles of learnin) e)o, memory, alertness and intellect& *(e etymolo)y of (er name

rises controersies& 'ome beliee t(at (er name means t(e one t(at )ies t(e essential

nowled)e to t(e indiidual 0self3&Ot(ers consider it to mean, accordin) to t(e Pedas, t(e

eeper of t(e celestial waters& *(e ori)ins of t(e roots of t(e word 6saraswati9 are a

mystery, some consider t(em to be 'ansrit and ot(ers to be 1roto-Indo-Iranian, but t(e

sole common c(aracteristic is t(at bot( represent denominations of water&

Myths

'ince 'araswati is an arc(aic deity it would be impossible not to (ae dierse

le)ends about (er ori)ins& :e find suc( teGts bot( into t(e Pedas and t(e 1uranas& *(e

earlier teGts s(ow (er associate (er wit( !ra(ma, but as Pis(nus popularity increased

later s(e ended up in close correlation wit( (im eit(er as wife, dau)(ter or sister&

One Pedic myt( asserts (er apparition in a similar way to At(ens& As At(ens

emer)ed from eus (ead 'araswati0'atarupa in t(e ori)inal teGt3 emer)ed from

!ra(mas& !ra(ma became enamored wit( (er but s(e refused and run away from (is

lustful )lances& !ra(ma would not )ie up on followin) (er so in order to see (er

w(ereer s(e went (e )rew t(ree more (eads& As t(e )oddess could not escape (im ont(e )round s(e spran) into t(e sy and so t(e fift( (ead of !ra(ma emer)ed&

Anot(er Pedic myt( underlines (er pure nature and (er state as rier Vdeity& One

day t(e )oddess tried to sae a (ero t(at was meditatin) on (er bans Pasis(t(a, from (is

sworn enemy, Pis(amitra& Pis(amitra (ad ased t(e rier to brin) (im Pasis(t(a, but

t(e rier too t(e (ero away to a safe place& Instead of bein) )rateful for (ain) been

saed, t(e (ero )ot an)y for bein) disturbed from (is meditation n so (e cursed t(e rier

to flow wit( blood and not water& ater 'araswati met t(e poor sa)es t(at used to came

and was( in (er waters and s(e ased t(em to purify (er wit( t(eir ma)ic& Impressed wit(

(er coura)e t(ey (elped (er to become water a)ain, t(is is w(y s(e is also nown as

'(onapunya, a 'ansrit word meanin) W purified of blood&


11/35

A 1uranic teGt presents (er as t(e dau)(ter of Fris(na& Fris(na and (is wife

Rad(a produced t(e mundane e)), w(ic( Rad(a t(rew into t(e rier& 'tunned wit( (er

lac of mot(erly feelin)s Fris(na cursed (is wife to remain foreer youn) and c(ildless&

At t(is point from Rad(as lips a beautiful dau)(ter, wit( w(ite compleGion, wearin) a

sari and jewelry, and carin) a eena and a boo& Rad(a diided (erself into (ales and

(er left part became asmi& Fris(na parted at (is turn in two, and (is left side became

t(e four armed Pis(nu to w(om (e )ae bot( as(mi and 'raswati as wies&

Anot(er 1uranic myt( speas about 'araswatis birt( as a rier, and (er relations(ip to

bot( )ods Pis(nu and !ra(ma& Pis(nu married beside 'araswati, @an)a of w(om t(e

former became ery jealous& One day t(e tenderness t(at Pis(nu and @an)a were

s(owin) to eac( ot(er became too (ard for (er to bear so s(e accused Pis(nu for not bein) impartial& Pis(nu left t(e place w(ic( made 'araswati een an)rier& :(en s(e was

approac(in) @an)a t(reatenin)ly, asmi interfered and (eld 'araswati apart from

@an)a& 'araswati cursed as(mi& :(en Pisnu returned (ome and learnt of w(at (ad

(appened cursed bot( (is wies and transformed t(em into riers, t(en (e )ae t(em

ot(er (usbands, !ra(ma to 'araswati and '(ia to @an)a&

$conography and Worship

'araswati is usually represented (ain) w(ite compleGion, t(at stands for purity

but s(e also )ets represented as yellow, t(e color of flowers and mustard plant t(at )rows

at t(e time of (er festial& '(e sits on a lotus, t(e symbol for diine wisdom and

perfection in Indian tradition and sometimes s(e rides a swan& *(e animals t(at

accompany (er are t(e peacoc and t(e swan t(e symbols of !ra(ma& '(e (olds a eena ,

a boo, rosaries and a pot& *(e eena stands for (er artistic abilities, t(e boo for t(e

uniersal, diine nowled)e, t(e rosaries represent t(e power of meditation and

spirituality and t(e pot (olds t(e (oly water of purification& Anyway nowled)e can be

obtained only t(rou)( sacrifice t(at means purification& 'c(olars wors(ip (er&

2er festial is in t(e 4a)(a mont(, a mont( of t(e Pedic calendar and t(e most

common offerin)s are (oney, boos and pictures& Durin) t(e feast days boos and

musical instruments are placed neGt to t(e statue of t(e )oddess to be blessed and no

artistic or intellectual performin) is allowed t(en&


12/35

'(e is also adored under t(e name of 4a(a 'araswati t(at is t(e embodiment of

t(e @reat 4ot(er (erself and is represented (ain) = arms& 4a(a 'araswati maes part of

t(e Dei 4a(atmya trinity neGt to 4a(a Fali and 4a(a as(mi all representin) t(e

ultimate trut(, t(e core of t(e feminine principle of @od& +nder t(e name of ?eel

'araswati is wors(iped t(e 4a(aidya *ara t(e embodiment of t(e illuminatin) word& 'o

'araswati does not (ae only 4atan)y as euialent in t(e 4a(aidya pant(eon, but also

*ara, bot( as embodiment of t(e Diine :ord&

'(e is also considered to reside lie 4atan)i in t(e t(roat c(acra, but not in t(e

aspect of speec(, but t(e one of purity& *(is c(acra is called 6t(e nectar and poison

center9, as t(e )ross matters of t(e root c(ara are transformed (ere into repined ener)ies,

and so t(e poison is transformed into t(e nectar t(at nouris(es t(e body and t(e mind&

4editatin) oer t(is c(ara t(e mind becomes eleated, eGpands& *(e essence of purity is

t(erefore 'araswati alt(ou)( t(e silery w(ite c(ara is ruled by t(e dar 4atan)i&

*o sum up, in t(is tradition contradictory elements complete one anot(er and one isuues

is always re)arded from arious points of iew& *(e differences between t(e )oddess of

purity and t(e )oddess of pollution come to offer different perspecties oer t(e same

matters, '(ati, and creatiity& !ot( deities of t(e word and intellect mae mos(a

possible alon) wit( t(e )ifts of artistry& 4atan)i is a darer side of 'araswati but directed

to inner nowled)e, bein) its ecstatic and mystic form& On t(e ot(er (and 'araswati

represents t(e ordinary learnin) and culture& *(e former is t(e representatie of t(e

outcasts w(ile t(e latter is t(e representatie of t(e !ra(mins& 4atan)i represents decay

'araswati represents purity and irtue but tain) into consideration t(e principles of

@unas eeryt(in) maes sense& 4atan)i is t(e penultimate from a pant(eon of ten

)oddesses and is t(e consort of '(ia,*(e Distroyer, w(ile 'araswaty is a major deity, t(e

consort of !ra(ma,*(e Creator& *(e:(ole is reflected into pieces and eac( and eery

piece reflect bac t(e :(ole&

!io)rap(yB

"& !(attac(arjee ,'aptars(ee&Saras*ati @ the goddess of *isdom 1ublicationB Assam

*ribune DateB


13/35

7& Eliade, 4ircea& 'storia credintelor si ideilor religioase6 !ucureştiB +niers

Enciclopedic, 788$

>& =MdLmatan)iS)oddessMsourceLbl

MotsL;JC+G*IMsi)L-

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=& '(ia and 1arati picture

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#& as(mi and Pis(nu picture (ttpBHHstudents&ou&eduHFHEis(am&F(awaja-

"HPis(nuas(mi"&jp)

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""& 4atan)i picture (ttpBHHmyt(os&J8me)s&comHmatan)i)ood&jp)

"7& 4atan)i picture

(ttpBHHwww&paranormal&deHsymboleHindienHma(aidyaHmatan)i&jp)

http://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://www.indiadivine.org/audarya/shakti-sadhana/93054-matangi-tantric-saraswati.htmlhttp://www.indiadivine.org/audarya/shakti-sadhana/93054-matangi-tantric-saraswati.htmlhttp://dummidumbwit.files.wordpress.com/2009/09/shiva-and-parvati-02.jpghttp://students.ou.edu/K/Eisham.Khawaja-1/VishnuLakshmi1.jpghttp://students.ou.edu/K/Eisham.Khawaja-1/VishnuLakshmi1.jpghttp://www.goddessaday.com/images/matangi-160x185.jpghttp://mythos.50megs.com/matangigood.jpghttp://www.paranormal.de/symbole/indien/mahavidya/matangi.jpghttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=HzldwMHeS6IC&printsec=frontcover&dq=the+mahavidyas&source=gbs_similarbooks_s&cad=1#v=onepage&q=the%20mahavidyas&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://books.google.ro/books?id=gkCsrfghkZ4C&pg=PA15&lpg=PA15&dq=the+mahavidyas&source=bl&ots=mpErB2uTsP&sig=RDsBpolrsTmVpgkm1dcoHcWWUng&hl=ro&ei=WwUBTMauH8uYOKHR8dYE&sa=X&oi=book_result&ct=result&resnum=4&ved=0CB8Q6AEwAw#v=onepage&q&f=falsehttp://www.indiadivine.org/audarya/shakti-sadhana/93054-matangi-tantric-saraswati.htmlhttp://www.indiadivine.org/audarya/shakti-sadhana/93054-matangi-tantric-saraswati.htmlhttp://dummidumbwit.files.wordpress.com/2009/09/shiva-and-parvati-02.jpghttp://students.ou.edu/K/Eisham.Khawaja-1/VishnuLakshmi1.jpghttp://students.ou.edu/K/Eisham.Khawaja-1/VishnuLakshmi1.jpghttp://www.goddessaday.com/images/matangi-160x185.jpghttp://mythos.50megs.com/matangigood.jpghttp://www.paranormal.de/symbole/indien/mahavidya/matangi.jpg


14/35

">& *(roat C(ara picture

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is(nu&)if

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preparations&(tml

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preparations&(tml

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7>& 4a(a 'araswiti picture

(ttpBHHupload&wiimedia&or)HwiipediaHenHcHc#H4a(asaraswati&jp)

"vatars of Femininity

by Oana&'lena Cr(ciunescu

2induism sees t(e diine condition and t(e (uman one in similar ways& It

presents t(e 'upreme Diinity as a multitude of facets called )ods and t(e (uman

eGistence as a multitude of reincarnations called aatars& In a similar Ioana Ieronim

presents femininity as a ran)e of (ypostases, coerin) a aried palette from abstract

element to concrete element, from )oddess to simple peasant, from specific feminine

emotions to mare portraits&

http://www.alavelu.com/icons.htmlhttp://www.markville.ss.yrdsb.edu.on.ca/projects/classof2008/chong2/dermentzis/vishnu.gifhttp://www.markville.ss.yrdsb.edu.on.ca/projects/classof2008/chong2/dermentzis/vishnu.gifhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://www.mantraonnet.com/yantras.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://www.stanford.edu/~keyarp/my%20spiritual%20side.htmlhttp://www.flickr.com/photos/arjuna/3736100050/http://www.flickr.com/photos/arjuna/3736100050/http://www.himalayacrafts.com/images/products/large/0877.jpghttp://scriptures.ru/india/murtis/indexen.htmhttp://upload.wikimedia.org/wikipedia/en/c/c9/Mahasaraswati.jpghttp://www.alavelu.com/icons.htmlhttp://www.markville.ss.yrdsb.edu.on.ca/projects/classof2008/chong2/dermentzis/vishnu.gifhttp://www.markville.ss.yrdsb.edu.on.ca/projects/classof2008/chong2/dermentzis/vishnu.gifhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://www.mantraonnet.com/yantras.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://christinasell.blogspot.com/2010/04/anatomy-laundry-tt-preparations.htmlhttp://www.stanford.edu/~keyarp/my%20spiritual%20side.htmlhttp://www.flickr.com/photos/arjuna/3736100050/http://www.himalayacrafts.com/images/products/large/0877.jpghttp://scriptures.ru/india/murtis/indexen.htmhttp://upload.wikimedia.org/wikipedia/en/c/c9/Mahasaraswati.jpg


15/35

The )randmother Figure

*(is is none of t(e most freuently used concepts, symbols and c(aracters in

Ioana Ieronims wors& *(e ima)e of t(e )randmot(er is always eoed or constructed

wit( a deep feelin) of melanc(oly, tenderness and reerence& Often seen in a relations(ip

wit( a )randdau)(ter, but also connected to ot(er members of a family t(e @randmot(er,

coers a compleG ariety of si)nifications, from t(e simple peasant woman to ars

poetica itself&

The ?randmother and the ?randdaughter s(ows a relations(ip lie a compleG

)at(erin) of abstract meanin)s On t(e one (and, t(is )randmot(er-)randdau)(ter

relations(ip stands for t(e muse-poet relations(ip& @randdau)(ters )esture of prayin) in

solitude, for a second lon) as eternity resembles t(e creatie act of poetry in Romantic

perspectie, accordin) to w(ic( t(e poet is blessed wit( inspiration and inspiration is a

transcendental eGperience&

you lea1e

close the door

carefully

you say a prayer for a long moment on the threshold

to find at your return

poetry

a motionless stan3a after stan3a2

On t(e ot(er (and, t(e )randmot(er is t(e personification of poetry itself t(at

emer)es as an independent, self-aware entity t(at eGists simultaneously in eery era and

beyond time& 1oetry is life itself and emer)es from life& *(e succession of stan5as, t(e

r(yt(mical eolution of t(is art of words and meanin)s sustained by t(e neer endin)

loe0of its creator3 su))ests t(e writin) of poetry itself& 1oetry waits to be discoered and

rediscoered and t(e poet is ea)er to mae part of t(is process oer and oer a)ain, as t(e


16/35

)randdau)(ter continuously returns to (er )randmot(ers room in a state of epip(any& *(e

)randmot(er is bot( poetry and t(e poetry writin) process, t(erefore t(e deepest meanin)

of t(is compleG symbol of t(e @randmot(er is ars poetica

the grandmother put a hold on her life

in a single poem

you remind her of a lyric and from that on

rhythmically and round-

for hours and ages- she

*ill recite *ith her first lo1e%s ga3e

e1erything as it *as from the 5eginning

stan3a after stan3a

A similar relations(ip appears in ?randmother but wit( a more eart(bound meanin)&

*(ere is a stron) bond between t(e two based on mutual feelin)s 2ere t(e )randmot(er is

an woman anc(ored in reality, a woman w(o taes care of (er family and (ome, does (er

eeryday c(ores and t(ins of (er loed ones& '(e is a peasant w(ose )oods (ad beenconfiscated by t(e political re)ime a fact t(at forced (er to c(an)e (er enironment, but

could not c(an)e (er basic nature& *(is eoes t(e transformations t(at occurred in t(e

Romanian society after t(e communists (ad taen oer t(e country& *(e old woman is a

miGture of rural and urban enironment s(e still cannot )ie up on (er (anderc(ief but

wears patent s(oes and buys from t(e store t(e product t(at s(e once (ad made (ome&

2oweer, t(e )randmot(er is sanctified as t(e followin) erses

su))estB

no* she%s a to*ns*oman

her old hands shine among things

as she cleans out the house

*atches and doesn%t *atch- other senses sharpen


17/35

in her more and more transparent *orld

*(is ima)e is mystical, alludin) to anot(er dimension - in t(e 2indu tradition women are

projections of t(e Diine 4ot(er and all tradition people in )eneral (ide t(e diine

essence wit(in& *(e li)(t is worm and )entle, focused lie t(e li)(t from Rembrandts

paintin)s& *(e poem is dominated by t(e old womans portrait, it resembles a decoupa)e

of ima)es, states and comments& *(e relation s(e (as wit( (er )randdau)(ter seems

depicted from anot(er unierse, too& It is beyond (uman, beyond time, beyond distance it

is an arc(etype&

she changes the carnations% *ater- thin"s of her granddaughter and there

the granddaughter calls upho*%1e you 5een@' *as changing the flo*ers *ater

' *as thin"ing of you dear

the good light settles on the hourglass s*ung through

the telephone *ire

?randmother%s Rosary is a (ymn addressed to a matriarc(al fi)ure t(at plays t(e double

role of t(e of an arc(etype manifestation and transcendentalism& *(is state is announcedfrom t(e be)innin), t(e title& Rosaries are used for prayin), t(ey (ae a reli)ious

connotations& In addition to t(is, furt(er in t(e teGt one may see t(e second person

pronoun of t(e addressee spelled wit( capital letters, just lie t(e pronouns fro t(e

'cripture t(at refer to diinity&

no*- ' am at Dour altar- than" you

for the mirror you put in from of me

than" you for permitting *aste

for the much to simple playing

on one chord


18/35

2ere t(e )randmot(er is t(e symbolical representation arc(etype of our people as

t(e preserer of our traditions, our spirit and our essence& '(e is re)arded as t(e founder

of t(e nation, s(e placed 6t(e eternal c(ildren9 t(ere, )ae t(em an identity and let t(em

wor to)et(er, to build t(eir own world&

Dou made me this *ay- Dou placed me in a nation

that *o1e in Dour lap

a multitude of occurrences pagan and sacred creatures

and Dou sa* us

and Dou let us

*(e transcendent aspect refers to t(e supreme force, t(at rei)ns from aboe wit(wisdom, detac(ment and loe& Eeryt(in) deelops and is coordinated accordin) to a

plan from t(e (uman bein)s to plants and minerals& 1atterns are filled wit( matter and

tae s(ape into t(e concrete world& *(is poem praises lifeB

Dou made it possi5le for me to carry my life

many 1egeta5les and inanimates

Dou incarnated a manly part in my *omanly structure

Dou placed a ne*5orn as the oldest creature

and the one that emerges from childhood

impatient- as the runner thro*s his sandal

*(e poem ends wit( a stan5a t(at sounds lie a prayer depicted from t(e (oly scriptures&

It is a praisin) of life and of diinity, )ratitude emer)es from t(ese lines eually stron) to

reerenceB

5ecause Dou al*ays lo*er us 5ut each passing day

*e 5ecome richer

and e1ery day is Dour gift

e1ery day

is sacred


19/35

*(is is a )ood eGample to illustrate t(e 2indu concept of arious facets, t(e

representations of t(e )randmot(er t(at coers all t(e situations from t(e (i)(est leel of

t(e arc(etypes to t(e concrete manifestation, so to say& :e (ae t(e aspect of diinity, as

matriarc(al deity, t(e idea of poetry and poetry itself, t(e symbol of a nation and t(e

woman t(at (ides t(e diine essence wit(in&

"ge Spectrum


20/35

the oygenated fish epiring endlessly in the 5athtu5

the tender chic"en lungs torn among ri5s

- or the 1egeta5le head- some decapitated fruit

*hat replacement might the ?od choose@

Alt(ou)( t(e occurrence is s(ocin) and premature t(e )irl understands t(e deepest

si)nification of suc( a ritual and so s(e discoers t(e essence of t(e world, its major cycle

of creation and destruction&

a child- you *ill ans*erB

the child *ho has just learnt ho* is 5uilt the animal from *hich are made

the meat pac"s

that re1i1e slo*ly and 5leed on the "itchen ta5le

*(e end of t(e sc(ool festial stands for t(e end of (er c(ild(ood, t(e loss of innocence

t(at is replaced wit( nowled)e&

At maturity t(e spirit is compleG ,t(e w(ole eGistence is a form of self sacrifice&

*(e feminine lyrical oice of The Electronic Fracle lies completely for t(e loed ones,

to be pr[cised for (er family& Alon) wit( deotion one can detect (er repressed wis( to

read and enric( (er inner world&

' should 5e a5le to do much more 5y myself2 ' dream of a 5unch of nic"el su5jects that

si33le food- toil o1er the cham5ers *hile ' read on the 5alcony loo" out the *indo*

*(e style su))ests a world dominated by mec(anisms& *(e prota)onist, a dedicated

dau)(ter, wife and mot(er repeats (er duties, c(ores and obli)ations wit(out any trac of

t(inin) of (erself& '(e functions lie a robot, lie a cloc, s(e is dominated by r(yt(m,

r(yt(m of life, r(yt(m of speec(&


21/35

& ' can%t see 1ery *ell2 sorry2 5ut ' "eep for myself compensatory fragments2

' lo1e my hus5and parents children2 from morning till e1ening ' *or" under many

different faces 5ut at the same pace2 ' put myself last2 ' *ish ' had no importance for

their al*ays a*a"en consciousness

'till t(e discourse is a transcendental one, in spite of (er robotic c(aracteristics s(e

speas in a trance& '(e is situated somew(ere between 6SH- infinite9 as s(e )ies (er

report to t(e Creator&

please recei1e the data *hile '%m ta"ing a rest2 *e%re in a hurryB '%m from the mountain2

this is *here ' left from2 at the moment ' inha5it an area 5et*een G/infiniteH>Iomniscient one- *on%t you tell me *hat my heart *ill 5e is should 5e@

'n E55 and $lo*, t(e woman reies t(e reminiscence of (er yout( and passed

beauty& *(e mae-up mas is a )ood s(elter t(at protects from t(e outside world but it

cannot (eal t(e inner world deastated by a)in)& *(is is (ow life is inoed, t(rou)( fae

ima)es

' in1o"e life *ith ma"e =up

as they put traps in *oods

as 5eggars hold- in their palm for its shine

a huge tray

of no 1alue

*(e loss yout( of euals t(e loss of (appiness and di)nity and is represented by t(e

metap(or of ebb-tide&*(e tone is melanc(olic, sober and discrete& *(ere is not(in) s(arp

or striin), moreoer one can foresee a note of stren)t(, endurance and optimism& *(e

poem ends in a ey of resi)nation t(at is not defeatB


22/35

at e55tide teach me to preser1e

some luc"- some 5eauty

a piece of dignity

of life and *aste

in secret niches


23/35

along the *hite flash *alls

5lood carries its hungry peoples

*(is (as a double connotation, blood and )enerations&*(e types of eGistence are

presented lie concentric circles t(e of life of t(e indiidual inside t(e life of t(e

collectie, and t(e life of one )eneration inside t(e life of t(ose t(at are to come& !ut t(e

e1es t(at loo at t(e p(oto)rap(y as in a mirror confront decay, from t(e tree neGt to

t(em fruits of s(adow, deeply bitten fall at t(eir feet& *(is ima)e of t(e bitten fruits made

out of s(adows alludes to t(e !iblical interdiction t(at initial couple disrespected&

deeply 5itten

shado* fruits fall at our feet

*(e !ible presents Ee as t(e primordial woman, (er name meant life, so s(e is t(e

mot(er of (umanind and mot(er(ood itself& :omen represent (er (ypostasis, Ee is

present in eac( and eeryone of t(em, t(ose t(at were, are and will be&

Tempo Ru5ato alludes to mot(er(ood t(rou)( t(e presentation of a Romanian

superstitionB pre)nant women steal somet(in), performin) a simple ritual to ensure t(e

baby prosperity and fortune&

&omen from the country side steal a small o5ject

*hen 5eing *ith child

a plum- an apple from another garden

for luc"

in that life that is to come2

*(e tableauG is wider, t(e )esture is inte)rated in a ran)e of actions connected to stealin)&

*(e metap(or su))ests t(at t(e lac of time t(at we eGperience is induced before our


24/35

birt( because we are born in a world based on t(e act of stealin), )ods steal, (umans

steal, lies are stolen, time is stolen, identities are stolen& Eeryt(in) is eneloped in

transience and settled from t(e ery be)innin) to be lie t(is, not(in) really belon)s to

anyone&

't is stolen our time

it is a 5orro*ing

*hat *as gi1en *ill 5e ta"en 5ac"2

In )ta1ism, woman(ood emer)es as an important part of t(e unierse, it is sacred and

powerful& :omen are in close connection to t(e cosmos and t(ey are endowed wit( its

ener)ies, t(e title su))est t(e relation to nature, t(e untamed spirit&

the *omen from my mountains can gi1e 1oice

to praising re1olt grief

the *oman scream can 5rea" the flight line

of 1ultures

can 5end the )is Mundi

*(e poem presents t(e feminine prototype of a limited 5one t(at is not so clearly

specified my mountains2 *(ese words s(ow appurtenance, t(ey underline t(e reerence

and admiration t(e lyrical I (as for its roots& *(e furt(er lines specify t(at t(e powerful

and compleG prototype t(e lyrical I refers to is t(e one of its nation& 2oweer, fait( is

cruel to t(ose )ifted people t(at are defeated, and (umiliated& In spite of all t(e )rief and

loss, t(ey resist, reolt and decide to fi)(t furt(er&

' need to sit on the emaciated land

to mourn the faith of my country

to *ash a*ay the uncleanness *ith tears

to 5urn the infectious rags


25/35

to thro* the ashes 5ehind

my enemy

*(e andro)yny or t(e (ales t(at must rebuild t(e w(ole are elements t(at (ae

aroused t(e interest and concern of all cultures, all nations from t(e be)innin) of time

until nowadays&


26/35

a5sor5ent 5lac"

?enre Scene speas about abne)ation, t(e feminine soul t(at searc(es for loe and is

ea)er to offer it& It speas about emotions, it is delicate and ery su))estie& oe is

priceless and t(at is t(e lesson t(at t(e man (as to learn& *(e woman is (is teac(er and (e

assumes t(is lessons once t(e couple is formed& Een t(e most eleated and refined

intellect lies in darness w(en loe is )ien a price or w(en it only conceptuali5es it&

Dou disco1ered me *ith a je*eler%s 5alance from 5eforehand

a magical je*el itself among

5oo"s papers *ild roses

All ric(es cannot wei)(t more t(an pure feelin)s, and t(e soul of t(e woman is in searc(

of suc( uniue treasures& '(e is ea)er to find loe and more t(an t(at, to offer it& '(e is

)enerous s(e treats (er beloed wit( indness and tries to mould (is soul accordin) to

t(ese uniersal principles

' *as trying to disco1er the po*er of a smile

in the morning in ne*ly 5lossomed clothing

and the needle had remained straight

li"e the soul of the ?od

don%t 5e afraid- ' said

' *on%t measure anything 5et*een us

'%m a rich *oman- ' don%t *eigh my gift

*(e li)(t of t(e woman breas all t(e boundaries and all t(e former concepts as s(e

places loe aboe material )oods& *(e jewelers scales, t(e absolute symbol of material

ealuation is submitted by t(e new element it cannot wei)(t& 4oreoer t(e plates )litter

mysteriously reflectin) t(e li)(t of t(e diap(anous matter t(at )ets in contact wit( it&


27/35

and *atery ripples shone o1er the little pans *ith the 1ictory

of my smile o1er

your dar"ness

*(is t(eme is approac(ed a)ain in t(e poem $ound F5jects t(at announce it from t(e

title&

*(e couple is spirituali5ed, depicted from myt(olo)y& *(ere is no clue to w(ic( side t(e

lyrical I belon)s but t(e roles of eac( part are well defined, t(e couple is sa)e, aware of

its condition and its place in t(e unierse& *(e sacred reunion is eGpressed t(rou)( t(e re-

creation of perfection& *(is poem is t(e alle)ory of t(e (ales t(at loo for eac( ot(er

t(rou)(out t(e world and once met, t(ey reconcile t(e opposites and fulfill t(eir destiny&

*e sa* each other for a second and the multiple *ithdre* into Fne

the pendulum slid 5ac" to the other side

a5o1e noisy circles- 1i1id 1ortices

Femininity as #oetry, #oetess, $nspiration%

*(e Aea1enly Aetaira speas about t(e creation act wit( its immanent and

manifested aspects& 2etaira was a type of courtesan t(at lied in ancient At(ens& *(ese

were (i)(ly educated women, trained in t(e art of entertainment and conersation and

were t(e replacements of le)itimate wies women at t(e famous drinin) parties

symposium, w(ere t(e latter were neer allowed& ?eGt to beauty and intellectual trainin)

t(ey (ad artistic sills&'o t(e (eaenly (etaira is t(e embodiment of creation,

eGtensiely of inspiration and art& '(e moulds nature, s(e creates people and s(e leaes

be(ind met(ods for t(em to eleate t(emseles& 2etairas dance is myt(ical, it eGists

beyond time, t(e noises of (er steppes lin)er to t(e continuous present& *(e be)innin) of

Creation is usually correlated to t(e past but Creation is omnipresent, and once it eGists

(umans can find t(e ways to )et bac to ori)ins& 'o is artB creation t(at lasts eternally and


28/35

proffers transcendentalism, closin) t(e circle& 2etaira is an euialent of t(e @ree muse

and t(e Indian '(ati-facet, t(e feminine ener)y responsible wit( artistry and creatiity&

*(e poem 61oetess of *amra9 enisa)es t(e ery condition of t(e poetess

t(e double state of creator and inspired person& 1oetry (as multiple connotationsB it is art,

it is diine messa)e and transformin) ener)y& *(e poetess (as t(e capability to conert all

t(e ne)atie elements into loe and beauty& '(e in endowed wit( t(e Diine :ord s(e is

c(osen by Diinity to eGpress it in a state of ecstasy lie prop(ets but s(e is more t(an

t(at& '(e is an incarnated ima)e of diinity t(at s(ows )enerosity and power&

e1erything is 1oice

it is this 1oice that chose you

to transform e1erything into lo1eto transform your countryNs roc"y soil into hightide

the *eapon edge into golden dust

carried 5y peoples of 5ees throughout the *orld

2er messa)es are carried and spread by an)els& 2er boons are t(e owels and t(e

consonants t(at entwine into words and poetry t(at finally purifies and transforms

eeryt(in) t(at is affected& '(e is loe and indness and s(e created out of loe and for t(e purpose of loe, loe for people, loe for nature& ?ature responds to (er call, in fact

all t(e unierse does at its subtle and )rosser leels

The Ta5or Mountain a faint 5reath

ca1es re1er5erate in depth2

lac" garment- *hite scarf *rapped tightly

your face- young *a1e of light

you spea"

and our 1o*els are rolled 5y an angel

you spea" and your consonants are 1ertical slim flames


29/35

'(e is youn) t(ou)( endowed wit( wisdom& 2er facial eGpression mirrors (er state, it is

all t(at can be clearly seen from (er body but it is enou)(& 2er )arments stands for

enclosure, social boundaries t(at are crossed, and t(is stren)t( is su))ested by (er

eGpression& Diinity cannot be defeated by (uman norms neit(er can be t(e diine

messen)er and incarnation&

ody lost in 5lac" 1estments li"e a death 5ell

head tightly *rapped in *hite head"erchief

only your face can 5e seen- a *a1e of young light

ecstatic

2er speec( is sacred, not just meanin)ful but also powerful, (er words are (er weapons

wit( w(ic( s(e wins& '(e resembles t(e 2indu )oddess 4atan)i, t(e one t(at rules oer

t(e audible sound, oer words and arts and (er (i)(er aspect t(e )oddess 'araswati t(e

ima)e of purity&

you spea"

you *in

One of Ioana Ieronims ars poetica is called 6Drawin)9& *(is drawin) is an accumulation

of feminine elements and embeds bot( t(e art and t(e act of creation *(e metap(or of

poetry is encip(ered in t(e ima)e of t(e delicate (and wit( lon) polis(ed nails, reac(in)

towards t(e readers& *(e (and is ultimate beauty just as poetry as artistic form is,

femininity is correlated wit( beauty too& 1oetry is an abstract entity, it eGists only into t(e

unierse created by t(e poet& *(is is su))ested by t(e antit(esis wit( t(e 6real (and9& *(e

act of writin) appears as self standin) and is announced by t(e erb 6write9, w(ile t(e

poetry ima)ery in concreti5ed in a lon) comparison&

' *ould *rite a poem

li"e a delicate- lunar hand


30/35

reaching in your direction

*ith long nails

painted in iolet

or )reen

a hand net to *hich my real hand

*ould feel 5itterly ashamed

Feminine #ortraits, Outer $mage

*(e portraits project in t(e fore)round c(aracters wit( no social identity& *(e

r(yt(m of t(e ima)es succession is alert, t(e portraits are reali5ed lie a series of

snaps(ots t(at come one after t(e ot(er& 1ortrait, a cumulus of obserations doubled by

emotional restrain& *(e lan)ua)e is simple t(e met(od purely descriptie, sometimes

discrete comment lies in t(e final lines& 2oweer t(e impact is stron)&

) Portrait of a &oman alludes to t(e Romanian reality of communist,

enisa)es a woman t(at is a mot(er, )oes to wor and must to eep t(e (ouse& '(e is

presented in (er micro-unierse Bt(e s(abby clot(s, )oin) to t(e maret, t(e papers for wor and (er c(ild &

her arms in the eternally 5lue mac"intosh

*ith a small purse

the groceries 5ag

mud from the district of 5loc"s all o1er her 5oots

the child 5eside her

among 1egeta5les stands

flo*ers painted in red light green gold

solar honey


31/35

*ith her Madonna smileB firm and discrete

she pushes in a purse corner

the papers *ritten last night

protecting them

from the moist tentacles of the celery

) Portrai of at ?irl celebrate t(e eternal yout(& ?ature, symboli5ed by t(e snow t(e

mountain and t(e wind, is eternal, it re)enerates, it is foreer youn)& *(erefore t(e )irl is

t(e (uman projection of yout(& '(e is fres( lie t(e snow, full of life, t(e instruments play

around (er lie around a fairy& '(e must be an adolescent as s(e wears a *-s(irt wit( t(e

name of a famous band printed on it- A!!A&

her 5reasts inha5it the soft angle of the letter )

))

)eolian instruments surrounding her play

the mare passage of time

The Pu5B?enre Scene portrays t(e outer ima)e of a )irl w(o wors in a sordid

pub& *(e same misery in t(e pub and in its clients- t(e place is filled wit( smoe, mud,

(eay smells, dirty essels, alco(ol& *(e )irl is an obserer, s(e moes lie a robot inside

t(is settin)& '(e is absent, does not tae into consideration t(e tra)ic stories of t(e clients,

t(eir de)radation caused by alco(ol, t(eir rude reactions towards one anot(er& *(e

discourse is mostly descriptie, t(ere is no clue w(y t(e )irl may wear in suc( a place

dancin) s(oes&

The girl digs her fingers into the glasses% mouths and lea1es s*inging on the heels of her

epensi1e dancing shoes2 OThe o1en had 5een heated up and *hen it eploded someone

spea"s crying hoarsely Omy lifelong friend the girl had appeared among them again

Onot all of them got 5urned 5ut they *ere s*allo*ing flames and *ere 5reathing flames2

The air had got fire and then their flesh melted *ithin them2


32/35

The girl lights the 5ul5 hung from a *ire

she pic"s from slops the 5an"note left 5y a customer

*ipes the ta5le- the green dull plastic foil

*(e poems are 6objectie9, descriptie and )ies t(e reader t(e opportunity to fill in t(e

blans& *(ey multiply wit( eery reader t(at )ets in contact wit( t(em because eac( and

eeryone interprets t(em differently&

Townswomen versus #easants

*(e narratie poems, Eclogue and The Triumph of the &ater*itch present

t(e destinies of people affected by t(e war& Eclo)ue (as ainia as main c(aracter, a

woman t(at must leae t(e town after (er (usbands deat( and s(elter (erself to)et(er

wit( (er c(ildren in (is (ome illa)e& The Triumph of the &ater*itch is about t(e

destruction, t(e life ruinin) t(at Communism brou)(t to a *ransylanian illa)e in(abited

by 'aGons& It is a boo about a paradoGical c(ild(ood lied at t(e intersection of fairy

tales wit( t(e terror of t(e cruel reality&Tante 'dith from The $ools% Triumph, and ainia from Eclogue are bot(

ictims of c(an)e& *(e townswomen are presented ripped out of t(eir enironment and

forced to lie in a different way& !ot( are surrounded in t(e reminiscences of t(eir

former eGistence& *ante Edit( is surrounded by objects wit( emblems, t(at su))est (er

former social status&

a Rostfrei "nife QEA the handle her monogram caught 5eforehead 5et*een delicate

tendrils of the holiday%s ?othic)unt Edith irons for long the lacy sheets *ith the family

sign- *o1en in the tiara and roots of rao1- the City of the Cro*n2

$rom the ajar office dra*ers $a5er Castell pencils- Aardmuth crayons reminiscence of

other times gi1e fragrance 2


33/35

't turned dar"

'(e prepares a cae wei)(tin) carefully t(e in)redients& *(e situation s(e is in (as no

solution, t(e days of t(e followin) year are eGpected to be as t(e days of t(e past one&

#ndre TurnerNs mists- on the calendar- Fn"el $rit3 matches the days of the net year

from the days of the one that has just ended2

ainia )oes to c(urc( on an important feast day , 'aint 4arys& '(e is t(e only one w(o

wears towns clot(s amon) t(e peasant women w(o (ae came wit( alms, c(ildren and to

respect t(e traditions&

4a1inia in front- alone- listening to the ser1ice2

Ff *omen of her age - only sheNs dressed after the to*n%s fashion2 &hat is the age@ 'nher gray5lue suit- she seems to 5elong to amother human "ind &

*(e local women of t(e illa)e are re)arded as local deities& On t(e feast

day of t(e Pir)in all t(e women w(o (ae 2er name )at(er at t(e c(urc( in lar)e number&

Old women, youn) women, come to pay respect to t(eir ancestors and to Diinity&

Many people in church on Virgin Mary%s feast day2

Fn ta5les- on the floor- 5efore the altar only trays- and alms2 Etinguished candles- stuc"

among candy2 Village full of Marys young girls in ne* calico

rough on them- *i1es in prime

1ery young mothers at their first going out - groggy- carring their si *ee"s 5a5ies - that

are dresses *ith their Sunday%s cloths

*(is is a typical scene of t(e Romanian illa)e, people )at(erin) on

ceremony massiely on feast days& *(e fra)ment su))ests t(e mysterious r(yt(m of t(e

eGistence of common people& :omen are presented t(emseles as deities of t(e place,

t(ey obey to t(e same rules )eneration after )eneration preserin) t(e customs and

traditions& *(e )at(erin) from t(e c(urc( seems to (ae a matriarc(al or)ani5ation

alt(ou)( it is nown t(at t(e Romanian illa)e is eGclusiely patriarc(al&


34/35

*(e rural is fascinatin), myt(olo)ical, a place of surial, w(ile t(e town

represents collapse, decay, defeat&

!iblio)rap(yB

"& Afterword from Ioana Ieronim&Scara rulantă/Escalador6 !ucureştiB 4u5eului

literaturii române, 788J

7& 2abic(er, 'ie)fried& 'oana 'eronim liest in M!nchen- Stuttgart und erlin-

'iebenb\er)isc(e eitun), "#t( of 4arc( 788#

http:www%siebenbuerger%de-eitungarti.el.ultur/0/1&ioana&ieronim&liest&in&

muenchen%html

>& Aetaira

(ttpBHHpenelope&uc(ica)o&eduHZ)routHencyclopaediaromanaH)reeceH(etairaiH(etair

ai&(tml

$& Dic/ionarul @eneral al iteraturii Romane !ucureştiB +niers Enciclopedic,788J

J& 4anolescu, ?icolae& oua eglogă , România literară, nr =H"#=J

;& 4anolescu, ?icolae& napoi la l irism , România literară, nr J7H"#=;%& 4anolescu, ?icolae& E primă1ară citesc poeme, România literară, nr "8H"#=7

=& 4anolescu, ?icolae& Tinere poete, România literară, nr $7H"#%#

#& 4anolescu, ?icolae& Mitologicale , România literară, nr >8H"#=>

"8& 4anolescu, ?icolae& 'storia critică a literaturii române- !ucureşti B 1aralela $J,

788=

""& 1opoici, Iulia& Versuri de trecere preface to Ioana Ieronim& Sila5e Fnmi1ore

(ttpBHHeditura&liternet&roHcarteH"=$HIoana-IeronimH'ilabe-omniore&(tml

http://www.siebenbuerger.de/zeitung/artikel/kultur/8685-ioana-ieronim-liest-in-muenchen.htmlhttp://www.siebenbuerger.de/zeitung/artikel/kultur/8685-ioana-ieronim-liest-in-muenchen.htmlhttp://penelope.uchicago.edu/~grout/encyclopaedia_romana/greece/hetairai/hetairai.htmlhttp://penelope.uchicago.edu/~grout/encyclopaedia_romana/greece/hetairai/hetairai.htmlhttp://www.piticipecreier.ro/carte/76004-Dictionarul-General-al-Literaturii-Romane-vol-I-II-A-B-C-D-.htmlhttp://www.liternet.ro/autor/111/Iulia-Popovici.htmlhttp://editura.liternet.ro/carte/184/Ioana-Ieronim/Silabe-omnivore.htmlhttp://www.siebenbuerger.de/zeitung/artikel/kultur/8685-ioana-ieronim-liest-in-muenchen.htmlhttp://www.siebenbuerger.de/zeitung/artikel/kultur/8685-ioana-ieronim-liest-in-muenchen.htmlhttp://penelope.uchicago.edu/~grout/encyclopaedia_romana/greece/hetairai/hetairai.htmlhttp://penelope.uchicago.edu/~grout/encyclopaedia_romana/greece/hetairai/hetairai.htmlhttp://www.piticipecreier.ro/carte/76004-Dictionarul-General-al-Literaturii-Romane-vol-I-II-A-B-C-D-.htmlhttp://www.liternet.ro/autor/111/Iulia-Popovici.htmlhttp://editura.liternet.ro/carte/184/Ioana-Ieronim/Silabe-omnivore.html


35/35

"7& Rill, +te& .eitgenUssische 4yri" aus RumnienB 'oana 'eronim 'iebenb\er)isc(e

eitun), $t( of 4ay788"

http:www%siebenbuerger%de-eitungarti.el.ultur234&-eitgenoessische&

lyri.&aus&rumaenien%html

">& 'ampson,

disertatie mttlc.doc

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