Tudor Arghezi

From Wikipedia, the free encyclopedia

Tudor Arghezi (pronunciation in Romanian: /'tu.dor ar'ge.zi/; May 21 1880—July 14, 1967) was a major Romanian writer, noted for his contribution to poetry and children's literature. Born Ion N. Theodorescu in Bucharest (where he also died), he explained that his pen name was related to Argesis, the Latin name for the Argeş River.

1 Biography
2 Arghezi's work
3 Notes
4 References
5 External links

[edit] Biography

[edit] Early life

He graduated from Saint Sava High School in October 1891, started working to pay for his studies,<ref>Kuiper, p.67; Willhardt et al., p.15</ref> and made his debut in 1896, publishing verses in Alexandru Macedonski's magazine Liga Ortodoxă under the name Ion Theo. Soon after, Macedonski printed a praising testimony:

"This young man, at an age when I was still prattling verses, with an audacity that knows no boundries, but as of yet crowned by the most glittering success, parts with the entire old versification technique, with all banalities in images in ideas that have for long been judged, here and elsewhere, as a summit of poetry and art."<ref>Macedonski, 1896, in Vianu, p.477</ref>

He began stating his admiration for Symbolism and other trends pertaining to it (such as the Vienna Secession) in his articles of the time, while polemicizing with Junimea's George Panu over the latter's critique of modernist literature.<ref>Arghezi, Vers şi poezie, 1904, in Din presa... (1900-1918), p.125-139</ref> In 1904, he and V. Demetrius published their own magazine, Linia Dreaptă, which ceased to exist after only five issues.<ref>Vianu, p.478</ref>

After a four year-long stint as an Orthodox monk at Cernica Monastery, he traveled abroad in 1905. He visited Paris and then moved to Fribourg, where he wrote poetry and attended courses at the local University; dissatisfied with the Roman Catholic focus encouraged by the latter, he moved to Geneva, where he was employed in a jeweler's workshop.<ref>Willhardt et al., p.15</ref> During the Romanian Peasants' Revolt of 1907, the poet, known for his left-wing discourse and vocal criticism of the violent repression of the peasant movement, was kept under surveillance by Swiss authorities; a local newspaper claimed that Arghezi's mail had been tampered with, causing a scandal that led to the resignation of several officials.<ref>Arghezi, Acum patruzeci şi nouă de ani, 1956, in Scrieri, p.772</ref> News he gathered of the revolt itself left a lasting impression on Arghezi: much later, he was to dedicate an entire volume to the events (his 1907-Peizaje, "Landscapes of 1907", which he described as "dealing with [...] the contrast between a nation and an abusive, solitary, class").<ref>Arghezi, Acum patruzeci şi nouă de ani, 1956, in Scrieri, p.773</ref>

[edit] 1910s

He returned to Romania in 1910, and published works in Viaţa Românească, Teatru, Rampa, and N. D. Cocea's Facla and Viaţa Socială, as well as editing the magazine Cronica in collaboration with Gala Galaction; his output was prolific, and a flurry of lyrics, political pamphlets and polemical articles gained him a good measure of notoriety among the theatrical, political and literary circles of the day.<ref>Vianu, p.479-482</ref> Cocea contributed to his early fame by publishing one of Arghezi's first influential poems, Rugă de seară ("Evening Prayer").<ref>Vianu, p.479-480</ref> During the period, Arghezi also became a prominent art critic, and engaged in the defense of Ştefan Luchian, a painter who was suffering from multiple sclerosis and was facing charges of fraud (based on the suspicion that he could no longer paint, and had allowed his name to be signed to other people's works).<ref>Arghezi, Din zilele lui Luchian, in Scrieri, p.617, 620-621</ref>

After the outbreak of World War I, Arghezi wrote against the political camp led by the National Liberals and the group around Take Ionescu, both of whom aimed to have Romania enter the conflict on the side of the Entente (as an attempt the conquer Transylvania from Austria-Hungary); instead, he was a supporter of Bessarabia's union with the Romanian Old Kingdom, and resented the implicit alliance with Imperial Russia.<ref>Zbuchea</ref> In 1915, he wrote:

"A barbaric war. Once upon a time, we had pledged our duty to fight against the arming of civilized states. With every newborn baby, the quantity of explosive matter destined to supress him was also being created. As progress and «rational outlook» were being viewed as calamities, arms and ammunitions factories were increasing the shell storages, were fabricating the artillery used in extermination."<ref>Arghezi, "Barbarie", 1915, in Scrieri, p.110</ref>

Eventually, he collaborated with the German authorities who had occupied most of Romania in late 1916 (see Romanian Campaign); he was one among the diverse grouping of intellectuals to do so — it also included Galaction, Constantin Stere, Dumitru D. Pătrăşcanu, Alexandru Marghiloman, Ioan Slavici, Grigore Antipa, and Simion Mehedinţi.<ref>Boia, p.256</ref> Imprisoned along with eleven other newspapermen and writers, among them Slavici, he was accused of treason for his anti-Entente activities.<ref>Willhardt et al., p.15</ref> Charges were later dropped.

[edit] Interwar

In 1927, he published his first volume of collected poems, titled Cuvinte Potrivite ("Fitting Words" or "Suitable Words"), which made the Poporanist paper Viaţa Românească's Mihai Ralea hail Arghezi as "our greatest poet since Eminescu"<ref>Ralea, T. Arghezi, 1927, in Din presa... (1918-1944), p. 58</ref> (while likening his "mixture of the sublime and the awkward"<ref>Ralea, T. Arghezi, 1927, in Din presa... (1918-1944), p. 46</ref> to "nihilism").<ref>Ralea, T. Arghezi, 1927, in Din presa... (1918-1944), p. 48</ref> The avant-garde magazine Integral celebrated Arghezi with a special issue in 1925 - in it, Benjamin Fondane wrote: "Arghezi is against all things: in his poetry, against eloquence, in favour of reinstating modesty, decency [...] [i]n his prose, against cowardice in expression, in favour of violence and indecency".<ref>Fondane, Omagiu lui Tudor Arghezi, in Din presa... (1918-1944), 1927, p. 131</ref>

Arghezi was in charge of the satirical newspaper Bilete de Papagal and published his first prose effort, Icoane de Lemn ("Wooden Icons"), in 1928. In 1932, he published Flori de Mucigai ("Flowers of Mildew") and Poarta Neagră ("The Black Gate") - collections of poetry inspired by the years he spent in detention (in itself, a theme never before used in Romanian poetry)<ref>Willhardt et al., p.16</ref> and influenced by the works of Charles Baudelaire and other Symbolists. He also began writing the works that made him most familiar to the public, his poems and short prose for children. Among the more famous are Cartea cu Jucării ("The Toy-Laden Book"), Cântec de Adormit Mitzura ("A Song to Get Mitzura to Sleep"), Buruieni ("Weeds") and, the most popular of all, Zdreanţă ("Rag"), about a lovable mutt.

In 1933-1934, he completed two satirical pieces, the dystopian novel Tablete din Ţara de Kuty, povestiri swiftiene ("Tablets from the Land of Kuty. Swiftian Stories") and Cimitirul Buna-Vestire ("Buna-Vestire Cemetery" - a large-scale pamphlet described as an "apparent novel" by George Călinescu),<ref>Călinescu, p.324</ref> as well as a long novel on the topic of maternal love and filial devotion, Ochii Maicii Domnului ("Our Lord's Mother's Eyes"). At around the same time, Arghezi contributed the art chronicle to the newspaper Mişcarea - mouthpiece of the National Liberal Party-Brătianu.<ref>G.M.Cantacuzino</ref>

The same year, his lyrical works were virulently attacked by Nicolae Iorga, who saw them as "comprising all of the most repulsive in concept and all of the most trivial in shape";<ref>N. Iorga, 1934, in Ornea, p. 445</ref> such accusations against Arghezi and the group of writers around him became commonplace in the Iron Guard's press - writing in the Sfarmă Piatră paper, Vintilă Horia accused Arghezi of "a willing adhesion to pornography" and of "betrayal".<ref>Vintilă Horia, 1937, in Ornea, p. 447</ref> The latter statement centered on Arghezi's earlier collaboration with Gândirea - the newspaper published by Nichifor Crainic, an intellectual figure on the far right who shared Arghezi's initial religious traditionalism. Gândirea and its affiliated magazines alleged that the influence of Crainic's thought (Gândirism), had played a major part in Arghezi's early works,<ref>Gândirea, 1937, in Ornea, p. 448</ref> while attacking his Jewish editors with anti-Semitic slurs (and implying that his works would have decreased in quality because of their influence).<ref>Victor Puiu Gârcineanu, T. Arghezi şi spiritul iudaic, 1937, in Ornea, p. 448</ref> To these, Argezi replied with a dose of irony: "[...] I have never ever read Gândirea, not even when I was contributing articles to it".<ref>Arghezi, Meşterul Nichifor, 1937, in Ornea, p. 448</ref>

Shortly before his death, Arghezi reflected upon his status in the interwar period, rendering a dramatic picture:

"[...] for a while, all the cultural institutions were associated against my writing: the University, the Academy, the poets, the press, the police, the courts, the censorship, the Gendarmerie and even the closest colleagues."<ref>Arghezi, Un recital, in Scrieri, p.780</ref>

[edit] Informaţia Zilei and internment

During World War II the newspaper Informaţia Zilei took up the publishing of comments by Arghezi, as a column named after his former magazine, Bilete de Papagal. In 1943, it published virulent satires of the Romanian government, its military leader - Ion Antonescu, and Romania's allegiance to Nazi Germany. On September 30, Arghezi caused an outrage and a minor political scandal, after getting the paper to publish his most radical attack, one aimed at the German ambassador Manfred Freiherr von Killinger - Baroane ("Baron!" or "Thou Baron"). The piece centered on accusations of political and economic domination:

"A flower blossomed in my garden, one like a plumped-up red bird, with a golden kernel. You blemished it. You set your paws on it and now it has dried up. My corn has shot into ears as big as Barbary Doves and you tore them away. You took the fruits out of my orchard by the cartload and gone you were with them. You placed your nib with its tens of thousands of nostrils on the cliffs of my water sources and you quaffed them from their depths and you drained them. Morass and slobber is what you leave behind in the mountains and yellow drought in the flatlands — and out of all the birds with singing tongues you leave me with bevies of rooks."<ref>Arghezi, Baroane, 1943, in Vianu, p.483</ref>

The authorities confiscated all issues, and the author was imprisoned without trial in a penitentiary camp near Târgu Jiu.<ref>Deletant, p.27; Willhardt et al., p.15</ref> He was freed in 1944, only days after the fall of the Antonescu regime.

[edit] Arghezi and the Communist regime

Image:Susara-Baba.jpg A controversial intellectual, Arghezi is possibly best described as a fellow traveller of the communist regime. Although he was awarded several literary prizes under during the period of Soviet-induced transition to a people's republic, he became a harsh critic of censorship and agitprop-like state control in media,<ref>Frunză, p.372</ref> and was targeted as a decadent poet very soon after the communist-dominated republican institutions took power (1948). A series of articles written by Sorin Toma (son of the Stalinist literary figure Alexandru Toma)<ref>Tismăneanu, p.310</ref> in the Romanian Communist Party's official voice, Scînteia, described his works as having their origin in Arghezi's "violent insanity", called his style "a pathological phenomenon", and depicted the author as "the main poet of Romanian bourgeoisie";<ref>Sorin Toma, Poezia Putrefacţiei..., 1948, in Frunză, p.372</ref> the articles were headlined Poezia Putrefacţiei sau Putrefacţia Poeziei ("The Poetry of Decay or the Decay of Poetry", in reference to Karl Marx's The Misery of Philosophy - the title of which in turn mocked Pierre-Joseph Proudhon's Philosophy of Misery).

The writer had to retreat from public life, spending most of these years at the house he owned in Văcăreşti, Bucharest, the one he called Mărţişor (the name it still goes by today); his main source of income was provided by selling the yields of cherries the surrounding plot returned.<ref>Frunză, p.373</ref>

However, as Gheorghe Gheorghiu-Dej consolidated his power over the state and Party post-1952, Arghezi was discovered as an asset to the new, more "national" tone of the regime — as several other censored cultural figures, he was paid a visit by Miron Constantinescu, the Communist activist overseeing the rehabilitation process.<ref>Tismăneanu, p.162, 304</ref>

Once exonerated, he started being awarded numerous titles and prizes. Arghezi was elected a member of the Romanian Academy in 1955, and celebrated as national poet on his 80th and 85th birthdays. Although never turned-Socialist Realist,<ref>Kuiper, p.67</ref> he adapted his themes to the requirements - such as he did in Cântare Omului ("Ode to Mankind") and 1907.<ref>Olivotto</ref> In 1965, Arghezi also won recognition abroad, being the recipient of the Herder Prize.<ref>Willhardt et al., p.15</ref>

He died and was buried next to his wife Paraschiva in 1967 (she had died the previous year), with tremendous pomp and funeral festivities orchestrated by Communist Party officials. His home is currently a museum managed by his daughter, Mitzura.

[edit] Arghezi's work

Arghezi is perhaps the most striking figure of Romanian interwar literature, and one of the major poets of the 20th century. The freshness of his vocabulary represents a most original synthesis between the traditional styles and modernism. He has left behind a vast oeuvre, which includes poetry, novels, essays, journalism, translations and letters.

The impact of his writings on Romanian poetic language was revolutionary, through his creation of unusual lyrical structures, new sub-genres in prose - such as the poetic novel, the "tablet" (tableta) and the "ticket" (biletul).<ref>Vianu, p.482</ref> He excelled at powerful and concise formulations, the shock value of which he exploited to startle lazy or conformist thinking, and his writings abound in paradoxes, as well as metaphysical or religious arguments.<ref>Vianu, p.482-483</ref> Evidencing the satirical genre's leading role throughout Arghezi's literary career, George Călinescu argued that it had become a contributing factor to much of his poetry and prose fiction.<ref>Călinescu, p.323-324</ref>

Arghezi re-established a an aesthetic of the grotesque, and experimented at length with prosody.<ref>Kuiper, p.67</ref> In much of his poetry (notably in his Flori de mucigai and Hore), Arghezi also built upon a tradition of slang and argot usage, creating an atmosphere which, according to Călinescu, recalled the universe of Anton Pann, as well as those of Salvatore Di Giacomo and Cesare Pescarella.<ref>Călinescu, p.322</ref> He introduced a vocabulary of intentional ugliness and decay, with the manifest goal of extending the limits of poetic language, the major theme in his Cuvinte Potrivite; nevertheless, the other half of Arghezi's poetic universe was that of family life, childhood, and small familiar spaces, rendered in minutely detailed poems.<ref>Kuiper, p.67; Willhardt et al., p.16</ref> In an era when the idea of the impossibility of communication was fashionable, he stood against his contemporaries through his strong belief in the power of the written word to communicate ideas and feelings — he was described by Tudor Vianu as "a fighting poet, subject to attacks as well as returning them".<ref>Vianu, p.485</ref>

Despite his association with the Communist regime, Arghezi is widely acknowledged as a major literary figure. His work has traditionally been a staple of Romanian literature textbooks for decades.

[edit] Notes

[edit] References

(Romanian) G.M.Cantacuzino. Notă biografică at the Iaşi Faculty of Architecture site
Tudor Arghezi, Scrieri. Proze, Minerva, Bucharest, 1985
Lucian Boia, History and Myth in Romanian Consciousness, Central European University Press, 2001
George Călinescu, Istoria literaturii române. Compendiu, Minerva, Bucharest, 1983
Dennis Deletant, Communist Terror in Romania, C. Hurst & Co., London, 1999 ISBN 1850653860
Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990
Kathleen Kuiper, Merriam-Webster's Encyclopedia of Literature, Merriam-Webster, Springfield, Massachusetts, 1995 ISBN 0-87779-042-6
Eugen Marinescu (ed.), Din presa literară românească (1918-1944), Ed. Albatros, Bucharest, 1986
D. Murăraşu, Din presa literară românească (1900-1918), Ed. Albatros, Bucharest, 1970
(Romanian) Alexandra Olivotto, "Cele mai nocive cărţi din cultura românească" (an overview of pro-totalitarian themes in Romanian literature), in Cotidianul
Z. Ornea, Anii treizeci. Extrema dreaptă românească, Ed. Fundaţiei Culturale Române, Bucharest, 1995
Vladimir Tismăneanu, Stalinism for All Seasons: A Political History of Romanian Communism, University of California Press, 2003 ISBN 0-52-023747-1
Tudor Vianu, Scriitori români, Vol. III, Ed. Minerva, Bucharest, 1971
Mark Willhardt, Alan Michael Parker (ed.), Who's Who in 20th Century World Poetry. Routledge, London, 2000 ISBN 0-415-16355-2
(Romanian) Gheorghe Zbuchea, Despre problema basarabeană în politica externă a României în anii 1912-1916