Tot despre modelul grec în cultura română: parabole ... - Caiete Critice

This means that in the behaviour of matter
an order-disorder cyclicity is enciphered,
a harmony (the measure of order)-entropy
(the measure of the degree of disorder, in
physics), increase-decrease, cosmicizationchaosization
cyclicity. A parallel with the
phenomenon of individuation seems justified:
inside the psyche the psychic “matter”
(the images, the concepts, the ideas, the
archetypes) is ordered according to the laws
of life, among which the law of cyclicity and
of natural rhythms is a fundamental one.
Man is born, increases and decreases similar
to the way in which the Sun moves – and so,
according to John Keats, are poets also to
create: a poem should grow like the Sun, rising
majestically, coming to a vigorous
zenith, and gradually setting to a dignified
twilight – the poet then should rise and set
artistically speaking only to rise again and
again and again, ad infinitum. The same happens
with man’s intellectual capacities, and
with his biological rhythms.
From this perspective, it seems that
everything develops in accordance with
laws of resemblances and correpondences,
of intra- and intersystemic analogies, of an
evolution which is enciphered in matter, as
well as in the psyche. This evolution implies
phenomena of acceleration and deceleration,
moving and stopping, expansion and
contraction, a universal process which is
essential in Blake’s system of thought, as
well as in the system of many other romantics.
Novalis’s intuition, in this respect, is fundamental:
there is a regularity of
chance/randomness (“Regelhaftigkeit des
Zufalls”), explained by the mathematical
probabilistic calculus: “The laws of chance –
even the laws of transformation – the rows of
laws – the calculus of the laws. The ratios
between laws and descriptions – their transitions
– their unity”. In these calculi of
54
Mihai A. Stroe
probability, chaos can be recognized as an
aspect of regularity, without the singular
events losing their “accidental”, contingent
character. Thus, Novalis explained the fact
that the origin is the anticipation of the
aim 12 . In other words, in the primodrial
chaos-voidness all laws preexist (see also
Aristotle’s Metaphysics 13 and Paracelsus’
Philosophia ad Athenienses 14 ), all archetypes,
as transcendental rationalities. In Novalis,
chance and chaos are connected (in the poetological
reflections) with fairy tale and
poetry; the latter must represent the resemblance
between chance-chaos and perfect
creation.
The romantics have thus intuited in nuce
some of the fundamental assumptions of
chaos theory and the sciences of complexity.
G. Kepes offers a clear perspective
according to which we can include the classical
and romantic phenomena in the category
of morphological archetypes:
“There are two basic morphological
archetypes, expression of order, coherence,
discipline, stability on the one hand; expression
of chaos, movement, vitality, change on
the other. Common to the morphology of
outer and inner processes, these are basic
polarities recurring in physical phenomena,
in the organic world and in human experience
[...] They are the dynamic substance of
our universe, written in every corner of
nature [...] Wherever we look, we find configurations
that are either to be understood
as patterns of order, of closure, of a tendency
towards a centre, cohesion and balance,
or as patterns of mobility, freedom, change,
or opening. We recognize them in every visible
pattern; we respond to their expression
in nature’s configurations and in human
utterances, gestures and acts. Cosmos and
chaos [...] the Apollonian spirit of measure
and the Dionysian principle of chaotic life,
organization and randomness, stasis and
12 Herbert Uerlings, Friedrich von Hardenberg, genannt Novalis, Werk und Forschung, 1991, p. 391.
13 “Things which are formed by nature are in the same case as these products of art. For the seed is productive
in the same way as the things that work by art; for it has the form potentially […]” Cf. Aristotel,
Metafizica, 1996, VII, 9, 1034 b.
14 Cf. C. G. Jung, Opere Complete, vol. 12, Psihologie ºi Alchimie, Simboluri onirice ale procesului de individuaþie,
Reprezentãri ale mîntuirii în alchimie, 1998, p. 286.