Florina Kostulias has been hot on the trail of Urmuz, the Romanian writer considered by many to be the founder of the absurdist strain of 20th century art and literature, a strain that included most of the avantgardes, including the Dada movement and the Theatre of the Absurd. The search for Urmuz, a figure shrouded in myth and deliberate misdirection, is much like that of Morcol, the "detective of shadows" from Raymond Queneau's novel, "Le vol d'Icare" (The Flight of Icarus, in English by Barbara Wright), with the difference that Ms. Kostulias is searching for a real historical figure, while Morcol chases imaginary characters. Her evolving research has uncovered the writer's death certificate and a series of essays by the great and much-better-known poet and essayist Tudor Arghezi, who knew Urmuz well. She has also uncovered a handwritten unknown manuscript by Urmuz, a discovery akin to finding the Grail at a time when swarms of scholars have been scouring every attic and ashtray in search of Great Unknown Modernism (GUM). We reproduce this document here for the first time in the printed world, along with Ms. Kostulias' note and translation. This translation, she warns us, is a work in progress, so stay tuned for tweaks. We will add the Romanian diacritics when we are satisfied with the entire translation. The text in the original Romanian and in English in Florina Kostulias' translation follows her messages on the most pertinent discoveries relating to the founder of NWLW (a New Way of Looking at the World). Ms. Kostulias' complete updates on her progress can be found in an exchange of letters with the Corpse editor in the Letters section, in chronological order.

On the Trail of Urmuz: Cautind Urmuz; Su Gli Passi di Urmuz

Note, 18 august 2012

Revista dada/surrealism de University of Iowa want me to submit my translations of Urmuz based on the Romanian Academy notebook and to write an introductory article. I haven't written the article and have been agonizing over its direction, but hope to find it before the deadline. 
 
The manuscript notebook is a mystery, and strikingly, it has never been published, not even in Romania. It's been in the public archives since the 1960s and no one bothered to publish it, instead they used Sasa Pana's 1930 ed based on different manuscripts, now all lost. When I discovered the notebook I was astonished to find out it contained the complete works of Urmuz, but also horrified at what I thought must be some form of vandalism - different handwritings in ink and pencil almost on everypage. The RA catalogue description gives us the date when the mss entered the library - 16 Nov 1955, but it gives us no information on provenance, date when it was written, etc. Naturally, I asked myself if the red quarto manuscript notebook the librarian deposited on my desk was indeed in Urmuz's handwriting or someone else's. To my surprise the library has another  mss, a folded A4 page containing After the Storm. Luckily, there are more details about this document. It was aparently "donated" by the Pillat family to the RA in the 1950s. We also know that was it written in 1922 for publication in Cugetul Romanesc. Ion Pillat was co-editor with Arghezi of the newly established montly magazine at that time. I belive that Urmuz and Ion Pilat knew each other through a music connection (but about that some other time), and again, it seems to me that Arghezi takes all the credit for publishing the magistrate. Comparing the two documents it became clear that the notebook was in fact written by Urmuz and all I needed to do is to understand the marginalia. Some of the entries were definitely editorial notes, so naturally I suspected Urmuz's editor, Arghezi. Handwriting comparison was inconclusive, here and there they matched, but not enough to be 100% convinced.
But even more intriguing were the marginal notes made in ink in yet another handwriting. Originally, I attributed these to a librarian/archivist. I deplored the method of writing in ink on an important manuscript, but soon I realized I was wrong. I now know that the notes were made by Eliza Vorvoreanu, Urmuz's sister. Probably written in 1921-2 in preparation for publication, the notebook remained in the possession of D.D-B's family, the only survival from a trunk full of literary and musical mss. She probably donated it to the RA. She dated each of her entries pointing out differences between Sasa Pana version and hers. The most intriguing entry from 1950 says:
"S-a adaugat: 'Fugi Fuchs, satir murdar! Sa nu respecti tu cel mai nobil organ, urechea?! Fugi Fuchs, caci compromiti cartierul!' De ce s-a adaugat ceea ce nu era in spiritul lui Urmuz?!!"

Urmuz in Romanian and English, translation by Florina Kostulis:

 

 

PALNIA SI STAMATE                                                                                       I

Un apartament bine aerisit, compus din trei incaperi principale, avand terasa cu geamlic si sonerie...

In fata salonul somptuos al carui perete din fund este ocupat de o biblioteca de stejar massiv, totdeauna strins infasurat in ciarciafuri ude. O masa rotunda la mijloc, cu piciorele orizontale pe cari cresc seminte si avand pe ea asezate: un codicil, o statueta reprezentind un popa tinind in mana o sintaxa si 50 de bani bacsis. Restul nu are nici o importanta...

Trebuieste insa retinut ca aceasta cameraa, vecinic patrunsa de intunerec, nu are nici usi si nici ferestre si nu comunica cu lumea din afara decat prin ajutorul unui tub, prin care uneori ies fum si miasme puturoase si duhoare miasmatica, si prin care in timpul zilei se poate vedea forma pamintului sub Fenicieni, iar in timpul noptei: prima tacere, Auto-Kosmosul si infinitul mare alaturi de cel mic...

A doua incapere, care formeaza un interior turc, este decorata cu mult fast si contine tot ceia ce luxul oriental are mai rar si mai fantastic. Sute de covoare de pret tesute cu azurul cerului de Bosfor, nenumarate arme vechi inca patate de sange eroic, bogate ghirlande de roze, mirth si temenele captusesc si orneza imensele colonade, iar in mijlocul salei pe un inalt piedestal de fildes, o caseta de aur se afla inchisa cu mai multe chei secrete. In ea se gaseste hatar si tembelism vechi si veritabil.

E de retinut ca peretii acestei incaperi nu au fost nici zugraviti nici tapetati, caci conform obiceiului oriental ei sunt sulemeniti in fiecare dimineata, iar la fiecare interval de o ora sunt masurati cu compasul, caci acesti pereti scad mereu...

De aici, prin o trapa facuta in dusumea se ajunge in partea stinga in o sub-paminteana ce formeaza sala de receptie, iar in partea dreapta, prin ajutorul unui carucior pus in miscare cu manivela, in un canal racoros al carui unul din capete se termina in infinit[2], iar celalalt in o incapere scunda, cu pamant pe jos si in mijlocul careia se afla batut un tarus de care se afla legata intreaga familie Stamate...........

                                                                                          II

Acest om demn, unsoros si de forma aproape eliptica, din cauza nervozitatii excesive la care a ajuns in urma ocupatiilor intelectuale ce avea ca consilier comunal, este silit as mestece mai toata ziua celuloid brut, pe care apoi il da afara faramitit si insalivat asupra unicului sau copil gras, blazat si in etate de patru ani, numit Bufty[3]....In acest timp mama sa, sotie tunsa si legitima a lui Stamate, ia parte sincera la bucuria comuna, scotand game cromatice din o piculina de argint...

Aceste ocupatii in deajuns de obositoare ii fac uneori sa caute sa se amuzeze si atunci, ajungand uneori cu indrazneala pana la inconstienta, se uita cite si trei cu binoclul prin o spartura a Canalului in Nirvana – care se afla situata in aceiasi Circumscriptie cu dansii, colt cu Infinitul – si arunca in ea cu cocoloase facute din miez de paine; alte ori patrund in sala de receptie si dau drumul unor robinete expres construite acolo, panace apa revarsandu-se le-a ajuns in dreptul ochilor, cand tus-trei trag atunci de bucurie focuri de pistol in aer...

In ce priveste pe Stamate, o ocupatie ce o exercita exclusiv numai dansul si care il preocupa in gradul cel mai inalt, este ca asistind seara pe la diferite biserici la slujba religioasa a vecerniei, sa ia acolo pe furis diferite instantanee de pe sfintii mai in varsta, pe cari apoi le vinde cu pret redus micului copilas Bufty, care are avere personala. Acest negot nepermis nu l-ar fi exercitat niciodata Stamate daca nu ar fi fost silit sa-si intretina si familia si sa hraneasca si pe doi fratiori ai sai nevoiasi, cu soldurile scoase prea mult in afara, si de curind dati afara din slujba...

 

                                                                                                            III

Intr-o zi, dupa apusul soarelui, Stamate fiind adancit in cercetarile astronomice si filozofice ce facea asupra Kosmosului si Auto-Kosmosului prin tubul de comunicatie, i se paru o clipita ca percepuse tocmai miezul ce se afla ascuns sub coaja samburelui “lucrului in sine”, cind fu distrasde ovoce femeiasca, o voce de syrena ce mergea drept la inima si care auzea in departare pierzindu-se ca un ecou...

Alergand la spartura Canalului ce da in Nirvana, Stamate fu retinut acolo de farmecul irezistibil al melodiei, pana ce o comisiune tehnica a serviciului hydraulic, insotita de lucratori, avu tot timpul sa sparga unul din pereti si sa construiasca acolo un lac cu tarmii inverziti, iar pe lac aparu inspre seara, trasa de o gratioasa lebada albastra, o trirema in forma de cochilie, care aducea cu ea, imbracta in flori, o superba palnie ruginita.....

Stamate fara a-si pierde sangele rece, asvirli de cateva ori cu tarana asupra palniei si dupa ce deshama animalul spre a-l ospata, se arunca din diplomatie cu fata la pamint, si ramase astfel in nesimtire timp de opt zile libere, termenul necesar ce credea dansul ca dupa procedura civila trebuie sa treaca pentru a fi pus in posesiunea acelor obiecte. Dupa aceasta trecere de timp, iesind din letargie si reluind ocupatiunile cotidiene si pozitiunea verticala, Stamate se simti cu totul renascut. Niciiodata nu simtise el pana atunci divinii fiori ai dragostei. Se simtea acum mai bun, mai ingaduitor si turburare ce incerca la vederea acestei palnii il facea sa se bucure si totodata sa sufere si sa planga ca un copil....

O scutura cu un otrep si dupa ce ii unse gaurile mai principale cu tinctura de iod, o lua si cu legaturile solide o fixa la deschizatura podului, si tot atunci pentru intaia oara trecu printr’insa ca fulgerul si ii fura o sarutare……

Din acest moment Stamate uitandu-si incietul cu incetul si sacrele indatoriri de tata si de sot, incepu sa paraseasca in fiecare noapte familia, taindu-si legaturile ce il tineau atasat de tarus, iar spre a-si putea da intreaga libertate dragostei sale netarmurite, incepu sa treaca regulat si din ce in ce mai des prin interiorul palniei, facandu-si vant intr-insa de pe o trambulina construita expres si coborandu-se apoi, cu o iuteala vertiginoasa in miini, pe o scara mobila de lemn care stabileste comunicatia la gura podului….

                                                                                                            IV

 

Fericirea e, insa, cum a spus odata poetul, numai un vis amagitor…….

In o buna zi palnia, sex femeiesc capricios, neinteles si nestatornic, afland de existenta unui Bufty cu avere, inceta subit de a mai iubi pe sentimentalul Stamate si intr-una din nopti, cand eroul nostru reaparu spre a-i da obicinuita dovada de iubire, constata cu surprindere si dezamagire ca orificiul de iesire al palniei se stramtase intr-atita in cat orice comunicatiie printr-insul devenise aproape imposibila.....

Nedumerit si totusi banuitor, Stamate se aseza la panda si intr-o noapte, necrezandu-si ochilor vazu cu groaza cum Bufty, urcat sus, se catara gafaind si se agata cu disperare de marginile palniei, casnindu-se sa intre si sa treaca....

Stapanindu-si firea, Stamate nu facu insa nimic. Dresa numai un proces verbal si se duse de se lega linistit de tarus, dar a doua zi lua o hotarire suprema....

Apasa pe butonul soneriei spre a face sa sune ora fatala; isi chema sotia legitima si tunsa, o imbratisa si dupa ce ii dete in graba o vopsea groasa o cusu intr-un sac impermeabil, in scopul de a pastra mai departe intacta traditia culturala a familiei....Dupa aceia lua usor de o ureche pe Bufty si ca sa se scape de el, il intreba dac nu e dispus sa primeasca undeva un loc in diplomatie, ceia ce copilul refuzind cu zeflemea, Stamate il lua atunci de turul pantalonilor, il vara pana in fund in palnie, si ducandu-i pana la spartura canalului, le dadu la amandoi branci in Nirvana......

In ce priveste pe Stamate, simtind ca ora fatala sunase si pentru dansul, se mai uita pentru ultima data prin tubul de comunicatie, de unde privi Kosmosul cu ironie si indulgenta....Dupa aceia se sui repede in caruciorul cu manivela si facandu-si vant cu frenezie, lua directia spre capatul canalului care comunica cu infinitul, si inspre acest infinit si astazi alaearga de secole si va alerga necotenit, miscand manivela cu o staruinta exasperanta, obsedat de ideea fixa de a-i descoperi centrul si de a ajunge odata la miez......

 

 

 

 

In English

THE FUNNEL AND STAMATE

I

A well-aired apartment composed of three main rooms, boasting a glazed terrace and a door bell...

At the front, the sumptuous salon whose back wall is occupied by a solid oak bookcase always tightly wrapped in wet bed sheets. A round table in the middle, with horizontal legs covered in seedlings, and on which the following are placed: a codicil, a statuette representing a priest holding a syntax book in one hand, and 50 cents in tips. The rest is of no importance...

It must be noted that this room, forever penetrated by darkness, has neither doors nor windows, and only communicates with the outside world with the aid of a tube, which sometimes emits malodorous fumes and miasmas, and through which it can be seen, during the day, the shape of the earth under the Phoenicians, and at the night: the first silence, the Auto-Kosmos, the big infinite next to the small one... (ed. note & suggestion: medium-sized infinity, or, infinity, of the not too big or too small sort?)

The second room forms a lavishly decorated Turkish interior, containing the rarest and most fantastic luxuries of the Orient: hundreds of precious carpets woven with the azure of the sky of the Bosphorus, countless old weapons still stained by heroic blood; rich rose garlands, mirth and low Turkish reverences line and decorate the immense colonnades; in the middle, placed on a high ivory pedestal, a small gold box locked with several secret keys contains veritable old indolence and whim.

To be noted that the walls of this room are neither painted nor wall-papered, but following the oriental custom they have make-up/cosmetics applied to them every morning, and precisely on the hour, each hour, they are measured with a compass, for these walls continuously shrink.

From here, through a trap-door in the wooden floor one arrives, from the left to a subterranean chamber forming the reception room, and from the right, with the help of a hand-crank powered cart, at a cool canal whose one end terminates at infinity[1], while the other at a low-ceilinged room with earthen floor, in the middle of which can be found a stake fixed into the ground to which the whole Stamate family is tied...

II

This dignified, greasy and almost elliptically shaped man, due to excessive nervousness incurred as a result of his intellectual occupations as a borough councillor, is forced to chew almost every day pure celluloid, which he then ejects in little pieces mixed with saliva on top of his only son, a fat, blasé boy aged four, named Bufty...Meanwhile, his mother, the short-haired and legitimate wife of Stamate, sincerely participates in the common happiness, producing chromatic scales with a silver piccolo. ..

These quite tiring activities prompt them once in a while to seek ways to amuse themselves, and then, their daring sometimes reaching paroxysm, using the binoculars they peep  through a crack in the Canal into Nirvana - which is situated in their own district, at the corner with the Infinite - and throw at it bread balls projectiles; other times they go into the reception room and release several taps especially built until the overflowing water reaches the level of their eyes, and then, all three of them, out of sheer delight, fire their pistols into the air...

Concerning Stamate, an occupation he exercises exclusively, and which preoccupies him in the highest degree, consists of frequenting different churches, attending their evening mass services, and taking furtive photographs of elderly saints, which he then sells at a discount to his young son Bufty, who is independently wealthy. Stamate would have never entered this type of unpermitted trade had he not been forced to support his family and to feed his two impoverished kid brothers, as  their hips were sticking out too much and were recently laid off from their jobs...

III

One day, after sunset, Stamate was immersed in studies of astronomy and philosophy he was conducting through the communication tube on the subject of the Kosmos and Auto-Kosmos, when it seemed to him, for a fleeting moment,  that he perceived precisely  the essence hidden in the drupe  of the “thing in itself”,  when, suddenly, he got distracted by a female voice, a siren’s song which went straight to the heart, and which he could hear fading into the distance disappearing like an echo.........

Running to the opening in the canal with the view of Nirvana, Stamate was detained by the irresistible charm of the melodious sound, when a technical commission of the hydraulic services, accompanied by workers showed-up, and had all the time to knock down one of the walls and to build there a lake with green banks. Toward the evening, on the lake appeared, pulled by a graceful blue swan, a trireme in the shape of a shell, which brought with it, dressed in flowers, a superb rusty funnel.........

Stamate, without losing his cool, hurled some dust on the funnel; and, after unsaddling and feeding the animal, out of diplomacy, he threw himself face down on the floor, and there he remained in a state of insensibility for eight working days, the necessary time interval, he thought, civil procedure required to pass in order to take possession of the objects. Upon the end of this term, coming out of lethargy and returning to his daily occupations, as well as the upright position, Stamate felt entirely re-born. Never before had he felt the divine frissons of love. He felt a better, kinder man, and the stir he experienced at the sight of the funnel made him happy and, at the same time, he felt wretched and wanted to cry like a child............

He dusted the funnel with a rug, and after greasing  its main holes with tincture of iodine, took her, and with strong ties fixed her at the opening into the attic; it was then, when for the first time, Stamate went through her like lighting a bolt and stole a kiss............

From this moment, Stamate, gradually forgetting his sacred duties as father and husband, began to sneak out every night by cutting the ties that kept him attached to the family stake in order to give himself free rein in the pursuit of his boundless love, and so, he began to go more and more frequently through the interior of the funnel, jumping into her from a diving board especially built and then descending, with vertiginous speed, on his hands, on a mobile wooden ladder establishing the communication at the mouth of the attic...

 

IV

But, happiness, as the poet once said, is only a deceptive dream.......

One day, the funnel, of female sex, capricious, baffling and unfaithful, finding out of Bufty’s existence and his wealth, ceased on the spot to love the sentimental Stamate; and one night, when our hero reappeared to give it his usual proof of love, he realized with surprise and disappointment that the funnel’s exit orifice had tightened so much that any communication through it became impossible.....

Confused, and yet suspicious, Stamate set himself to stake out the surroundings, and one night, in disbelief, he saw with horror how Bufty, panting heavily, was climbing and trying to hang on with desperation to  the edges of the funnel,  struggling to enter and pass....

Maintaining his composure, Stamate however, did nothing. He only wrote the official report with the facts of the case and, untroubled, went to tie himself back to the stake, but the next day he took a supreme decision....

He pressed the door bell button to make the fatal hour sound; then he called his short haired and legitimate wife, embraced her, and after he hurriedly applied a few coats of thick paint on her, stitched her in a waterproof bag with the purpose of preserving  intact the family cultural tradition......After that, he took Bufty gently by the ear, and to get rid of him asked him if he was willing to take  a diplomatic post somewhere; the child refused the proposition with a sarcastic smile, and then Stamate picked him with great force by the back of his trousers, stuffed him in funnel, and took them both to the crack in the canal, and pushed them into Nirvana......

Concerning Stamate, sensing that the fatal hour tolled for him too, he looked for the last time through the communication tube, from where he gazed at the Cosmos with irony and indulgence... Then, he quickly got up in the cart, and launching it into motion by frantically turning the hand crank he took off toward the end of the canal communicating with the infinite, where he can still be found today, forever chasing this infinite with stubborn madness, obsessed with the fixed idea of discovering its centre and reaching its core at once...

 

16 august 2012

Nimeni nu prea vrea sa discute pe fatza treimea Urmuz-Arghezi-Ciprian, in loc s-au gasit tot felul de subtrefugii editoriale sau de alta natura sa evite confruntare directa.  De exemplu, la Academia Romana am vazut o editie a operei  complete ale lui Ciprian publicata in 1965 care contine in mod misterios si ne-explicat si scrierile lui Urmuz . Omul cu Martoaga a fost pusa in scena de curind, si am vazut-o si eu cind am fost in Romania. Premiera a avut loc pe 23 Nov 2011, data sinuciderii lui Urmuz, iar in program un articol intitulat “O polemica” sustine ca Arghezi nu avea dovezi, ci doar capricii de polemist si vagi banuieli intemeiate pe intimplatoare asemanari, dar incheie prin a admite ca totusi inca pluteste un abur de mister asupra intregii afaceri.

Este clar ca cei trei contemporani – Urmuz, Arghezi si Ciprian  - au foarte multe afinitati:  omul ca dihanie, animal scofilcit de banalitate, de birocratie, de coruptie, daily life, rutine ; Omul e in descompunere, pute, e dezgustator; viata e o hazna, o mocirla; e intimplatoare, absurda. Dar are un element de comedie, de umor, de umor negru.

Ciprian alege teatrul, Arghezi pamfletul politic iar Urmuz the short story. Cei 3 sint jucatori majori in literatura Romana de la inceputul sec 20 si cred ca al intelege pe Urmuz trebuie sa largesc orizonturile.

Amintirile lui Ciprian despre Urmuz si piesa lui  Capul de Ratoi, al carui erou Cirivis nu este altul decit D.D-B,  sint cele mai importante surse in ceea ce priveste viata si filosofia tinarului Urmuz. Stim ca ceea ce Ciprian spune e adevarat in mare masura, marturiile sorei lui Urmuz, Eliza Vorvoreanu, cit si a poetului Vasile Voiculescu, prieten si coleg de liceu, intaresc aceasta concluzie.  Cirivis era porecla lui D.D-B D si sub acest nume tinarul licean pune bazele societatii Capul de Ratoi in jurul anului 1900  cu scopul de a-l scoate din minti pe directorul scolii care-i “strivea sub calciiul lui didactic”.  Cirivis era angajat intr-un razboi cu directorul, armele lui fiind aberatia, non-sensul si lipsa de logica.  E interesant ca directorul, V.D. Paun, era profesor de romana si fusese tutorele printului Ferdinand. E posibil ca revolta lui Urmuz impotriva lui Paun sa fi adus cu ea si revolta impotriva limbii romane oficiale care la vremea aceea incerca sa se purifice de influentele orientului.  Urmuz sau hurmuz este un arhaism de origine turca insemnind perla de sticla, folosit de Eminescu de mai multe ori pentru atmosfera care o evoca, de culoare locala si bazar. Dar in Sarmanul Dionis hurmuz este esential, hurmuzul pamantului representind planeta, vazuta din spatiu, care apare redusa, concentrata intr-un atom sau o nesimnificativa margea de sticla. In imaginatia eminesciana pamintul e un atom pierdut in spatiu, un hurmuz, o margea de sticla, dar si un margaritar albastru cu miez negru gata sa plezneasca de multimea urei ce cuprindea. E remarcabila imaginea margaritarului albastru, planeta albastra...

Dar sa revenim.  Lupta impotriva directorului si a tinerilor studiosi, "gravi si unsurosi" ia proportii cu formarea societatii Capul de Ratoi, numita dupa actul de barbarie comis impotrica ratelor lui V.D. Paun. Patrunzind noaptea in curtea lui Paun, Urmuz si acolitii sai au decapitat citeva din ratzele institutorului. Ideea era sa-l puna pe director in dificultate intelectuala: ce motiv ar putea sa existe ca cineva sa-i decapiteze ratele, dar sa ia numai capetele si sa lase corpurile in ograda?

Razboiul dus de Cirivis impotriva liceului eventual s-a extins, societatea Capul de Ratoi luind strazile Bucurestiului cu asalt,  oprind trecatori si uluindu-i cut tot felul de paradoxuri si indrazneli. Metodele  folosite de Cirivis, erau farsa, comedia, absurdul, parodia, bufoneria, pacaleala, grotescul mixed in with a bit of cruelty. Cand juca o farsa unui seminarist studios, arbora o  deadpan expression fara sa dea nimic de banuit victimei. Oprea lume pe strada, se dadea drept agent si le cerea actele de identitate. Multi il credeau. Practica gesturi demne de Monty Python Flying Circus, ca de exemplu, sarind intr-un picior in jurul unei persoane fara a zice nimic sau a incanta ceva misterios.  Era in aceasta arta in aer liber o oarecare primejdie. Insultati, victimele farselor lui Urmuz puteau deveni agresive si sa caute a bataie. De asemenea, grupul lui Urmuz, din care a facut parte si Vasile Voiculescu la un moment dat, ar fi putut intra in conflict cu organele de ordine, activitatile lor fiind de multe ori ilegale.   Farsa mea favorita este intrarea in scoala in timpul noptii, intrarea in arhiva si schimbarea notelor elevilor. Viitorul judecator nu avea respect pentru legi, reguli si documentele oficiale. In Omul cu Martoaga caracterul Inspectorului e intr-adevar a lui Urmuz. Inspectorul, un imbcsit, si un tipicar, slubas de cariera afishind  o cocoasa administrativa, este intrebat:

In genere vorbind, crezi dumneata ca o fiinta omeneasca poate sa judece pe alta?   

Ce chin, tortura trebuie sa fi fost pe Urmuz sa lucreze in justitie, si ce umilitor. Cum sa nu-ti tragi un glonte-n cap ?

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