THE IMAGE OF DYNAMICS IN EMINESCIAN SONNETS
THE IMAGE OF DYNAMICS IN EMINESCIAN SONNETS

Summary/Abstract: The purpose of this work is to follow the dynamics of the poetic image in Eminescu's sonnets. We will first try to delimit a few steps and identify the most prolific interval for sonnets, the diachronicity of the Eminescian creation. Then we will open a discussion about the originality of the sonnets (at least two are translations). And finally, we will review the thematic registers and thematic axes of the sonnets, demonstrating the versatility of this species, despite the prejudices associated with the fixed form. Studying the fixed prosodic forms, we have the opportunity to clarify ourselves regarding the Eminescian creative mechanism. Experiencing the sonnet, the poet encounters a form of poetry that pushes the demands up to quantitative determinations, namely 14 verses in endecasilab, grouped into two chains and two thirds. What is the strength of this pattern? First it should be noted that the rhymes of sonnets are seen from the first versions, thus further limiting the possibilities of variation, of modification of the content. We can argue that the rhymes play a special role here, they support the elements of the inner universe, revealing a kind of still frame, within which the possibility of combinations-limited-obliges to deepen the senses.Thus, in this process of creation, the Eminescian rhyme is shifting its focus; it changes its function of formal determination, into a content one. As St. Augustin Doinaş sustains: "... the Eminescian sonnet is revealed as a spontaneous crystal, which the poet does not make - in his many variants - rather than grinding his faces, in order to browse, from any angle, we looked at him, the size of his emotional universe. .”To what extent the rhyme loses its corcitive function, providing a true circuit of the poetic idea or image, over the edges of the verse, proves it, especially the sonnet "The years have passed(Trecut-au anii)", here the first two verses form a single unit, even from a grammatical point of view – an extremely rare situation in the history of sonnet and that we may encounter in Shakespearean sonnets. Finally, at the level of the sonnets, the bottom-form dialectic game reveals its inextricable connection; these two elements are called and mutually reinforcing, lucidity having only the role of extracting from the ore of the spontaneous emotion the precious crystals.

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