Din tejghea făcând tribună, legiune de coțcari, [35], Still determined to pursue a career in the press, Macedonski founded a string of unsuccessful magazines with patriotic content and titles such as Vestea ("The Announcement"), Dunărea ("The Danube"), Fulgerul ("The Lightning") and, after 1880, Tarara (an onomatopoeia equivalent to "Toodoodoo"). [21] After spending the last months of his life protesting against the authorities, Macedonski-father fell ill and died in September 1869, leaving his family to speculate that he had been murdered by political rivals. [24] Macedonski's visit was meant to be preparation for entering the University of Bucharest, but he spent much of his time in the bohemian environment, seeking entertainment and engaging in romantic escapades. [200] In a manner deemed "excessive" by historian Lucian Boia, the Romanian writer was paying homage not just to Mackensen, but also, indirectly, to German Emperor Wilhelm II and the Reichsheer. [135] Although it was positively reviewed by Mercure de France magazine,[136] Bronzes was largely unnoticed by the French audience, a fact which Tudor Vianu attributes to Bogdan-Pitești's lack of qualification for the cultural mission Macedonski had trusted him with. "[162] Rachilde believed the work to display "the fragrance of Oriental spices [...] rose marmalade and a slice of bear meat. [174] Polemics surrounding his case nevertheless continued: in late 1912, as part of a National Theater adaptation of Alphonse Daudet's Sapho, actor Cazimir Belcot borrowed from Macedonski's appearance and mannerisms to portray a failure. "[64] This was most likely an allusion to the views of Junimist figure Titu Maiorescu, being later accompanied by explicit attacks on him and his followers. [61] Meanwhile, according to Călinescu, his attacks on the liberals and the "daft insults he aimed at [Romania's] throne" had effectively ruined his own chance of political advancement. [179] Meanwhile, the poet's literary club, set up at his house in Dorobanți quarter, had come to resemble a mystical circle, over which he held magisterial command. [332] Oceania-Pacific-Dreadnought is noted for anticipating television, the ship being equipped with electrically-operated "large and clear mirrors" that display "images from various parts of the Earth". [280] According to Vianu, Macedonski had traversed "the lowest point" of his existence, and had been subject to "one of the most delicate mysteries of poetic creation. See also Vida, p.55, Anghelescu, p.11; Cioculescu, p.63-64, 67, 134; Vianu, Vol.II, p.366, 373, Anghelescu, p.11, 12; Vianu, Vol.II, p.364, 367-368, Anghelescu, p.11; Călinescu, p.808; Cernat, p.8, 29; Vianu, Vol.II, p.368-369; Vol.III, p.280, 476-478, Anghelescu, p.11; Vianu, Vol.II, p.368-369, 371, Boia, p.190-191, 245; Cernat, p.12, 42; Vianu, Vol.II, p.369-370. [364] Another of Alexandru Macedonski's sons, Nikita, was also a poet and painter. [156], Macedonski's eldest son Alexis continued to pursue a career as a painter. Of Macedonski's numerous residences, the one in Dorobanți was demolished when the Academy of Economic Studies (ASE) was expanded. [246] Critics generally argue that the volume is without value. [326] The central figure is a banker, Dorval, who identifies himself with Napoleon Bonaparte to the point where he sees episodes in his biography as mirrors of early 19th-century battles. One of them is Rondelul crinilor ("The Rondel of the Lilies"), which proclaims fragrances as the source of beatitude: În crini e beția cea rară, "In lilies one finds that exceptional drunkenness". And now he is merely insane. S-a dus pe cel mai jalnic drum... [74] Nevertheless, both plays failed to impose themselves on public perception, and were withdrawn from the program by 1888. “Alexandru Macedonski; poet, esotericist and dandy, was one of the most colourful and provocative figures of late 19th century Romanian Literature. [41] At age 22, he worked on his first play, a comedy titled Gemenii ("The Twins"). [218] Macedonski's language alternated neologisms with barbarisms, many of which were coined by him personally. "[248] It reads: Când acum poporul vedem că studiază Despite having stated his interest in innovation, Macedonski generally displayed a more conventional style in his Excelsior volume. [345] Iorga, who became better known as a historian, later retracted some of the statements he had made against the poet during the 1890s. Macedonski's mother, Maria Fisența (also Vicenț or Vicența), was from an aristocratic environment, being the scion of Oltenian boyars. T. Stamatiad, as well as by post-Junimist critic Mihail Dragomirescu, who offered Macedonski a good reception in his Convorbiri Critice magazine. 1870–1880. "[318] According to Vianu, the book builds on Macedonski's earlier themes, replacing Naturalist observation with a metaphysical speculation about idealism. Paraphrased by Sandqvist, p.197, 199. Le poète, à lui seul, assure le passage du romantisme au symbolisme et au dernières expériences poétiques, tout en revendiquant le statut de pionnier européen du vers libre. [241] Various critics have compared Eminescu's poetic discourse with that of the Symbolist leader, concluding that the two poets often display very similar attitudes. [190], 1916 was also the year when Romania abandoned her neutrality and, under a National Liberal government, rallied with the Entente Powers. Krasztev, "From a Deadlocked Present...", p.43, Călinescu, p.525; Vianu, Vol.II, p.366, 413-415, Anghelescu, p.21-22; Ornea, p.263; Vianu, Vol.II, p.368, Anghelescu, p.25-26, 30-31; Perpessicius, p.63; Sandqvist, p.201, Călinescu, p.528; Cernat, p.89; Vianu, Vol.II, p.436-437, 444, Vianu, Vol.

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