Druta State Gov

8/11/2019 Druta State Gov

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PUBLISHED AT: https://alumni.state.gov/alumni-artiles Date:2008-08-01

The title: HISTORY AND IDENTITY IN THE NOVELS OF ION DRU(English/RussianAuth!"/s: #eith Hit$hins an% Tatiana &e'a)!unt"*/ies: The USA+ ,!l%!-a

TRANSLATORS PREFACE

Year 2008 is officially declared in Moldova as the year of Ion Druta on theoccasion of this famous Moldovan writers eightieth birthday. Professoreith !itchins from the "niversity of Illinois at "rbana#$ham%aign &whowas my 'ind host during my %artici%ation in the (ulbright Program) and Idecided to ma'e our investment in the beautiful *ubilee celebration.Professor wrote an original essay on Drutas creativity and I translated it

into +ussian. (urther we %resent you one more result of our lifelong friendlycollaboration.

It was a double %leasure for me to translate the article of the remar'able,merican scholar Professor eith !itchins about Moldovan writer Ion Druta- a man who as the fate willed became a living bridge connectingMoldavian and +ussian cultures. /hen he did notmeet understanding andsu%%ort in oviet Moldavia Ion Druta foundhis new house in Moscow

where his wor's were %ublished and %lays staged where %eo%le admiredhis creativity. During my PhD studies in Moscow and numerous businesstri%s there I actively %artici%ated in mass %ilgrimage to the %erformances inMoscow theaters and when I told Muscovites and %eo%le from differentcorners of our former country and from other socialist countries that I amfrom Moldavia they res%onded1 I read Druta I saw his 3$asa Mare435irds of our Youth4 36he anctum anctorum4 etc. 7. 6hese wordssounded as a %arole as sign of membershi% to the great eterritorial

community of intellectual decent %eo%le. In the turbulent %eriod of the end of the 9:80#s - the beginning of 9::0#swhen many changed their faith and faces Ion Druta did not betray neitherhis Moldovan nor his second +ussian house do not forgetting motherlandbut mainly continuing to live and to create in Moscow. Maestro Drutaresisted the tem%tation by nationalism thus having confirmed his re%utationof universal &literary) artist understandable and loved around the world.

,nd that is what writes about the author of the article the ",s leading%rofessional organi;ation in the field the ,merican ,ssociation for the,dvancement of lavic tudies &,,,)1 36he ,,, recogni;es eith
https://alumni.state.gov/alumni-articleshttps://alumni.state.gov/alumni-articles


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!itchins Professor of !istory at the "niversity of Illinois at "rbana#$ham%aign for his distinguished contributions to the lavic studies.!itchins scholarshi% is recogni;ed internationally for his volume andbreadth its cumulative ?# >8 academic year.!is first two years of study in +omania &9:@0#@2) were made %ossibleunder the aus%ices of the tate De%artment under the terms of the "nitedtates#+omanian cultural echange agreement signed in 9:@0.

I dedicate my translation of Professor !itchins article to all genuine

citi;ens of the +e%ublic of Moldova regardless their ethnic origin with ho%ethat by common creative wor' we will be able to revive traditions ofcollectivism inherent in =ast =uro%ean community either Moldovan or+ussian about which eith !itchins and Ion Druta remind us. /e will beable to create on the Moldovan land modern civil nation.

Tatiana Zemba, doctor in history, RSEP, Fulbriht alumna


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A farewell photo. Professor Keith Hitchins and TatianaZemba at a beautiful corner of the University of Illinois atUrbana-hampai!n.

HISTORY AND IDENTITY IN THE NOVELS OF ION DRU

1* #eith Hit$hins

Harvard University, A.M. (1953), Ph.D. (196),

Pr!"ess!r !" Hist!ry, University !" #$$in!is (1969),

H!n!rary Me%&er !" the '%anian Aade%y (1991),

D!t!r H!n!ris *asa, University !" *$+ (1991),

D!t!r H!n!ris *asa, University !" i&i (1993),

D!t!r H!n!ris *asa, University !" A$&a #$ia (2001),

D!t!r H!n!ris *asa, University !" r/ Mre (2005),

i!$ae #!r/a Prie !" the '%anian Aade%y "!r

The Idea of Nation (1985).

My %ain r!se in this aer is t! investi/ate the de"initi!n !" M!$davian !""ered

&y the !nte%!rary M!$d!van n!ve$ist #!n Dr4, that is, t! see hat ansers he

/ives t! a series !" 7esti!ns that inevita&$y !%e t! %ind in any disssi!n !"

ethni !r nati!na$ identity hat 7a$ities distin/ished the M!$davian: ere these

7a$ities eterna$, !r did they han/e !ver ti%e: hat va$es, sirita$ !r %ateria$,he$d the M!$davian !%%nity t!/ether: ere these va$es !nstant$y in "$;,

%ere$y %!ra$ adatati!ns t! the assin/ ti%es, !r ere ertain va$es er%anent,

in&red, !ne %i/ht say: ! s//est ansers t! these 7esti!ns # a% /!in/ t! se

"!r !" Dr4), a tra/i $!ve st!ry ith the e!nd

1# have sed the te;ts !" the n!ve$s as &$ished in #!n Dr4, rieri, v!$s.(*hiin ?iteratra Artisti and Hyeri!n, 1989-1990). My a7aintane ithDr40s, hen # as readin/ !n the hist!ry and

$iteratre !" essara&ia and the M!$davian '. hen, in Paris in 1985 # %et hi%at a &!!@-si/nin/ "!r the =renh editi!n !" his iseria A$&, and $ater that year hesent %e "r!% M!s! his #&rann!e, 2 v!$s. (M!s! M!$!daia Bvardiia, 198).


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!r$d ar as a !nstant, i" distant, reseneC P!vara &nt4ii n!astre (19>0), a

narrative !" the e""ets !" ar and eae and !" !ntin!s "er%ent in the

M!$davian vi$$a/e in the "irst ha$" !" the tentieth entryC *$!!tni4a (19>2), an

in7iry int! the ses !" hist!ry and a de"ense !" sirita$ va$es "r!% the

ersetive !" a vi$$a/e sh!!$teaherC and iseria A$& (1982), a %editati!n !n

identity and "aith in M!$davia set in the ti%e !" the 'ss!-r@ish ar !" 1>8>-

1>92.

# ar!ah the the%e !" %y aer as a hist!rian, and ths # as@ the 7esti!ns

hist!rians sa$$y as@ and se the %eth!ds they sa$$y se. # read Dr43)C Eaterina*$ar@, he !viet !ve$C Hist!ry as 'ita$, 3rdediti!n ($!!%in/t!n, #ndiana,

2000)C he!ry !" the !ve$. A Hist!ria$ Ar!ah, Mihae$ MEe!n, edit!r(a$ti%!re and ?!nd!n, 2000)C and %any sti%$atin/ essays in the %arve$!s #$r!%an!, 5 v!$s., edited &y =ran! M!retti (!rin!, 2001-2003).


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"i/res in his n!ve$s are dran "r!% the %e%&ers !" his "a%i$y !r !ther ers!ns he

@ne in the vi$$a/e. heir dai$y r!tines and their inner str//$es attrated hi%

eseia$$y, and he desri&ed the% in !nise, disri%inatin/ r!se. He ratied his

ra"t "irst in n%er!s sh!rt st!ries, his "irst v!$%e !" !$$eted st!ries, ?a n!i n

sat, &ein/ &$ished in 1953, &e"!re he %!ved t! $!n/ "iti!n ith =rne de d!r. #t

is n!t srrisin/ that a%!n/ the riters he %!st ad%ired Jnin, *he@h!v, !$st!y

K#!n *rean/, the @een !&server !" the M!$davian vi$$a/e "r!% the inside,

!ied a @ey $ae in his reativity.

hen it a%e t! 7esti!ns !" identity, "!r Dr4 the 7intessentia$ M!$davian as

the easant. He sh!s s this !ver and !ver, and he %a@es n! e""!rt t! hide his

ad%irati!n "!r the easants. hey are, "!r hi%, the tre reat!rs !" hist!ry &ease

they &ear the &rdens !" s!iety and h!$d s!iety t!/ether !ver the $!n/ ter% &y

reservin/ its "aith and va$es and &y trans%ittin/ the% t! "tre /enerati!ns.here is n! %!re stri@in/ state%ent !" his &e$ie" in the %issi!n !" the easant than

the !ntrast he dras in iseria A$& &eteen *atherine the Breat !" 'ssia and

her !rt and !rtiers and the easant *atherine Lthe %a$$ and her vi$$a/e and

nei/h&!rs. he re!ati!n !" the 'ssian !rt in t. Peters&r/, the /!ssi and

the etty riva$ries are "ar re%!ved "r!% the dai$y str//$e "!r e;istene, the rea$ $i"e

!" the easants in the vi$$a/e !" !$ina. he !rt and its residents are, as Dr4

resents the%, the r!dts !" ivi$iati!n, a !s%!!$itan !r$d that has $!st its

r!!ts, hereas the easants are the %!$ders !" $tre and are $!se t! natre andths have re%ained tre t! the%se$ves. he $eadin/ "i/res !" a$$ "!r n!ve$s, then,

are easants. hey and the !$$etivities in hih they $ive Jthe vi$$a/es !$ina

(iseria A$&), *itra (P!vara &nt4ii n!astre), and Ia$ea 'ei$!r (=rne de

d!r)Ke%&!dy the sirit !" M!$davia at any /iven ti%e.

Dr4 av!ids idea$iin/ his easants !r treatin/ the vi$$a/e as an nhan/in/ %!de$

!" !%%nity, as %any !$ist riters in '!%ania and !ther !ntries in the

$atter nineteenth and ear$y tentieth entry ere !nt t! d!. He d!es n!t insist

that easant s!iety %st re%ain "i;ed in ti%e. !r d!es he vie han/e !%in/

"r!% the !tside as a threat t! the !%%nity and ths s!%ethin/ t! &e resisted at

a$$ !sts. He sh!s in =rne de d!r and iseria A$&, "!r e;a%$e, h! easants

&y n! %eans $ived is!$ated $ives in atriarha$ vi$$a/es, and ith ser& artistry he

!rtrays the e""ets !" "ar-!"" events !n individa$ %inds and !$$etive

!nsienes.

Desite the ersistene !" han/e, Dr4 sh!s s h! the ne had a %i;ed

reeti!n in the vi$$a/e. Mirea M!rari, !ne !" the her!es !" P!vara &nt4iin!astre, inte/rated hi%se$" ith re$ative ease int! the s!ia$ist !rder at the end !"


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the e!nd !r$d ar. His e;erienes !" ar had ta/ht hi% t! thin@ di""erent$y

a&!t $and, hih he had a$ays yearned "!r, and n!, havin/ retrned t! *itra,

he &ea%e a !$$etive "ar% %ana/er. t, Dr4 s//ests, M!rari


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!%%nity, he ar/es, have !%e t!/ether /rada$$y thr!/h the e;eriene !"

%any $i"eti%es, even entries. #t %ay &e te%tin/ "!r s t! see han/e as

!rrin/ !n$y in the !tard "!r%s !" $i"e, in e!n!%i strtres and s!ia$

!r/aniati!n, &t Dr4 sh!s s a/ain and a/ain h! the inner $i"e !" easants,

t!!, the ay they thin@ a&!t e;istene ast and resent, is s$!$y %!di"ied in

res!nse t! han/es in their srr!ndin/s, a !rse re"$eted in the ers!na$ rises

!" nahe *r& and Bhe!r/he D!inar.

#n his "irst three n!ve$s Dr4 e;$!res the vari!s traits that de"ine the easant

and, hene, "!r hi%, the M!$davian J$!ve !" the $and, reative $a&!r, attah%ent t!

traditi!n, re"rat!riness in the "ae !" han/e, and a searh "!r &a$ane &eteen

!%etin/ "!res, and he rest$es ith the natre and e""ets !" han/e that are the

!nstant !%ani!ns !" his easants. He erseveres in a$$ these endeav!rs ith

!ns%%ate artistry and a s&t$e nderstandin/ !" easant syh!$!/y. Net, #ann!t esae the "ee$in/ that he is n!t entire$y satis"ied ith the res$ts !" his

in7iry, that he has sti$$ t! $ari"y in his !n %ind hat it as that he$d the

M!$davian easant !%%nity t!/ether.

# thin@ that Dr4


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insists, that "!r%s the essene !" nati!nh!!d and has ena&$ed the easant and,

hene, the M!$davian t! endre.

Ast"a$t

his aer e;$!res the 7esti!n !" M!$davian ethni identity as resented in the

"!r n!ve$s !" the M!$d!van riter #!n Dr4. A/ainst a vivid and !"ten tr&$ent

hist!ria$ &a@/r!nd !verin/ a eri!d "r!% the $ate ei/hteenth entry t! the

%idd$e !" the tentieth he e;a%ines the 7a$ities that distin/ished the easant,

h! reresented "!r hi% the tre M!$davian. A"ter a $!n/ searh he !n$des in

his "!rth n!ve$, iseria A$&, that sirita$ity, %ani"estin/ itse$" in arti$ar in

the "!r% !" a !$ar *hristianity, $ti%ate$y de"ined the easant and, hene, the

M!$davian, and ena&$ed the% t! adat t! !ntin!s s!ia$ and e!n!%i han/e

and t! endre.

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15/23

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16/23

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17/23

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18/23

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19/23

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20/23

ISTIE I IDE0TITATE 10 2A0ELE LUI I0 DU34

5eith HIT6HI0S7 8r. 9n istorie

Statele Unite ale Ameriii;

Obiectivul interveniei de fa este s investigheze deniia moldoveanului naccepia romancierului contemporan Ion Dru din Republica oldova !i" anume" svedem cum rspunde autorul la o serie de ntrebri care apar n orice discuiedespre identitatea etnic sau naional# ce caliti l distinge pe moldovean$ %ost&auaceste caliti eterne ori s&au schimbat n decursul timpului$ 'e valori spirituale saumateriale au susinut coeziunea comunitii moldovene!ti$ (&au pstrat acestevalori ntr&un )u* continuu doar ca adaptri morale fa de timpurile trectoare sauele au fost permanente" nnscute$ +entru a schia ni!te rspunsuri la aceste

ntrebri" voi analiza patru dintre romanele lui Dru,# Frunze de dor -./012" otragic poveste de dragoste pe fundalul distant al celui de&al doilea rzboi mondial3Povarabuntiinoastre-./142" o naraiune asupra efectelor rzboiului !i ale pcii"precum !i despre nelini!tile permanente ale satului moldovenesc din prima

5umtate a secolului al 66&lea3 Clopotnia -./172" o cercetare profund" dinperspectiva unui nvtor de la sat" a sensurilor istoriei n scopul de a prote5a !iapra valorile spirituale3 Biserica alb -./872" o meditaie asupra identitii !icredinei din oldova n timpul rzboiului ruso&turc din anii .181&.1/79

:bordez tema cercetrii mele ca istoric" de aceea pun ntrebri pe care !i lepun" de obicei" istoricii" utiliz;nd metodele pe care ace!tia le aplic n cercetare9 :mcitit romanele lui Dru" consider;ndu&le ntr&un sens ca pe ni!te documente sausurse originale" pentru a analizate !i comparate" apoi" pe baza acestor cercetri"

am fcut anumite generalizri !i am tas concluzii9 De asemenea" am urmrit !ipropriile mele scopuri9 Originile naiunilor moderne !i formarea identitilornaionale m&au preocupat de mult vreme9


21/23

documente pentru ca istoricii profesioni!ti s poat verica detaliile !i s e*traginformaii autentice pentru studii !i cercetri n domeniu9 Dar sunt sigur c el a doritca toi cititorii lui s mediteze asupra ntrebrilor importante pentru el !i c i&a fostfoarte greu s le pun n fa" ntr&o form anga5at" o proz plin de via9

'hiar dac Ion Dru nu trateaz istoria n acela!i fel cum o face un istoricprofesionist" el d dovad totu!i de o nelegere ptrunztoare a modului n careistoria in)ueneaz societatea" n general" !i i afecteaz pe indivizi" n particular9>ntuziasmul su pentru istorie este contagios# el este un fel de ?oria ?olban"

nvtorul de !coal de la ar din romanul Clopotnia" care venereaz istoria capstrtoare a memoriei !i ca pe un ghid moral9 l nu descrie direct !i detaliat btliile sau alteevenimente" ci permite rzboiului !i politicii mari s e re)ectat n viaa cotidian apersona5elor sale" precum !i n tririle lor su)ete!ti9 :cesta este felul su de amsura progresul social general" dar !i stabilitatea moral a ecrui individ n parte9

'uno!tinele n istoria oldovei ale lui Ion Dru sunt vaste" iar meditaiilescriitorului asupra nelesurilor ei pentru poporul moldav sunt profunde" astfel nc;tpersona5ele romanelor sale" n special" ranii !i satele n care locuiesc ace!tia"capt un aer de autenticitate u!or sesizabil9 >l se complace n prezentarea

e*tins a istoriei n Povarabuntiinoastre" precum !i n relatarea bine structurata evenimentelor" nsoit de caracterizri e*emplare ale persona5elor principale dinBisericaalb9


22/23

';nd se pune problema identitii" pentru I9 Dru chintesena moldoveanuluieste reprezentat de ran9 >l ne&o demonstreaz n repetate r;nduri" fr a faceeforturi s&!i ascund admiraia pentru rani9 +entru I9 Dru" ranii suntadevraii creatori ai istoriei" deoarece ei poart poverile societii !i meninunitatea comunitii de&a lungul veacurilor prin pstrarea credinei !i a valorilor"precum !i prin transmiterea acestora generaiilor viitoare9 Cu e*ist o armare maifrapant a credinei sale n misiunea ranului dec;t contrastul ilustrat n Biserica

albdintre >caterina cea are a Rusiei" mpreun cu cei de la curtea sa" !i ranca>caterina cea ic" cu stenii !i vecinii ei9 Gu*ul curii imperiale din (t9+etersburg" b;rfele !i rivalitatea meschin sunt departe de lupta zilnic pentrue*isten" pentru adevrata via a ranilor din satul Ocolina9 'urtea imperial !irezidenii si" dup cum ni&i prezint Dru" sunt produsul civilizaiei" ale lumiicosmopolite care !i&a pierdut rdcinile" n timp ce ranii sunt pstrtorii !imodelatorii culturii !i se regsesc aproape de natur" rm;n;nd astfel" re!ti"naturali" sinceri cu ei n!i!i9 Foi protagoni!tii celor patru romane sunt" de altfel"rani9 :ce!tia" precum !i colectivitile n care triesc satele Ocolina -Bisericaalb2" 'iutura -Povara buntii noastre2 !i Balea Rze!ilor -Frunze de dor2

ntruchipeaz spiritul oldovei din ori!ice epoc9

I9 Dru evit s&!i idealizeze ranii !i s trateze satul ca pe un model decomunitate ncremenit" neschimbtoare" dup cum au fcut&o muli scriitoripopuli!ti din Rom;nia !i din alte ri la sf;r!itul secolului al 6I6&lea nceputul sec9al 66&lea9 >l nu insist ca societatea ranilor s rm;n nepenit n timp9'oncomitent" el nu vede schimbrile venite din afar ca pe o ameninare la adresacomunitii" fapt care ar necesita o rezisten depus cu orice pre9 (criitoruldemonstreaz n Frunze dedor !i Biserica alb" de e*emplu" felul n care raniinea5utorai !i triesc izolat vieile n satul patriarhal" contur;nd" cu o superbvocaie artistic" efectele evenimentelor n deprtare asupra minilor individuale !i acon!tiinei colective9

*periena sa acumulat n anii rzboiuluil&a nvat s vad !i s g;ndeasc altfel despre pm;ntul dup care t;n5ea

ntotdeauna9 :cum" ntors n 'iutura de dup rzboi" el devine pre!edintelegospodriei colective9 Dar" sugereaz Dru" transformarea lui oraru vine prearepede" cci el nc nu asimilase pe deplin valorile morale ale noii epoci9

:li locuitorii de la sat s&au opus modernitii9 Onache 'rbu!" socrul luioraru" este o gur reprezentativ a satului din oldova dintre cele dou rzboaiemondiale !i" pentru Dru" el reprezint chintesena spiritului ranului moldovean9Onache a fost ata!at pe deplin de pm;nt" de tradiii !i ritualurile de la ar" nse*periena sa de via" acumulat n focul rzboiului !i muncile istovitoare din aniiinterbelici" l&au dus nspre un punct de criz spiritual" care" n sf;r!it" este rezolvatprin a cuta !i gsi o balan dintre vechi !i nou" dintre trecut !i prezent9 Ga fel s&a

nt;mplat !i cu Hheorghe Doinaru" unul dintre eroii romanului Frunzededor" carevrea s urmeze pas cu pas pe bunicul !i pe tatl su" dar esena vieii" a istoriei lfrustreaz" l blocheaz continuu9 i pot s nsu!eascocupaii !i profesii noi !i s devin intelectuali" a!a cum o face ?oria ?olban"

nvtorul de istorie din Clopotnia9 Romanul Povarabuntiinoastrepoate cititn ntregime ca o naraiune a transformrilor satului din punct de vedere politic"economic !i moral" din prima 5umtate a sec9 al 66&lea9 :stfel" satul 'iutura" familialui Onache 'rbu! !i vecinii acestuia au trecut prin e*periena rzboiului" acolectivizrii !i a incertitudinilor viitorului9

I9 Dru plaseaz cu miestrie evenimentele !i persona5ele ntr&o perspectivistoric9 >l nu percepe schimbrile din satele oldovei ca pe ni!te rupturi categoricedintre trecut !i prezent9 >l recunoa!te c latura economic !i social a vieii s&a


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schimbat odat cu colectivizarea agriculturii" dar" n acela!i timp" el sugereaz nPovara buntii noastre c rdcinile colectivizrii ar putea descoperite ntradiiile de via ale satului9 'u alte cuvinte" colectivizarea agriculturii i&a armonizatcu tradiionalul spirit colectiv al satului9

Druta State Gov

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