DIGRESSION AND NARRATIVE DISCONTINUITY IN MAIDANUL CU DRAGOSTE
DIGRESSION AND NARRATIVE DISCONTINUITY IN MAIDANUL CU DRAGOSTE

Summary/Abstract: In Maidanul cu dragoste, as in the other novels from the Bariera cycle, the originality of the narrative art consists in the lack of constancy of the voice that assumes the narrative role. There is a homodiegetic narrator who tells the story from the point of view of the actor, that of the witness or the messenger. The narrative perspective is complicated by the characters taking on the role of narrator-messenger or narrator-inventor, by the presence of the reflectors, the demiurgic-narrator, all these instances subsumed to a supranarrator. In addition to this aspect, we notice in the zamfirescian prose the permanent dissolution of the epic in lyricism and confession. The action evolves slowly, epic threads remain suspended from one chapter to another, creating suspense and maintaining the interest of the reader, never satisfied with the finality of the plots. The epic frame interwines with the confessional-reflexive one. The flow of memory and the permanent oscillation between the level of the objective epic and that of the subjective, introspective one, determine the acronology. Almost constantly, the epic threads intertwine sinuously, conflicts intensify at the same time, and the transition from one plan to another is sudden and reversible. Narrative discontinuity is no stranger to psychological prose. It is achieved through lyrical or confessional digressions, through the alternation of narrative voices or the real plan with the fantasy one. Thus, the character of a realistic novel is constantly undermined, in favor of the Corinthian novel, in the depths of which an esoteric and mythical plan is built.

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