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EMINESCU'S GLOSSES: NATIONAL AND UNIVERSAL

"At national level, Eminescu proves to be a consistent representative of our country, first by the language used, then by style or artistic trend that he illustrates. His vocabulary shows him as a real product of Moldavia. Far from being offensive, many of his specific Moldavian words enhance the mesmerizing effect of his poetry. Even native Moldavian writers have never used this vocabulary after him. We could exemplify by the old usage of certain words such as to walk, to fill or uncomforted. All regionalisms become guarantors for Eminescu’s genuineness as an expression of our native land.

However, an even more important constituent of his national conscience turns out to be his literary style or the trend that he belongs to. This topic is considerably more complicated and requests plenty of further explaining. They say that Eminescu could be classified as a late romantic, but this formula seems most incorrect to us. Romanticism was not an explosive phenomenon, which occurred only once, but lasted for several successive periods, from late 18th century to late 19th. Therefore, Eminescu can be considered late only when we have in mind a specific romantic trend, not when thinking of the entire Romantic Movement. For him, Romanticism is less an expression of time than one of space, i.e. of the land that gave birth to him - Moldavia."

"Everything in his poetry is on the same level of perfection, indeed. His lyrical range is immense. Within it, intuition of the future, an assembly of mythical echoes, Romanian history and Romanian landscape, the deepest folklore influence coexists as well as ideas assimilated from philosophy, science and old wisdom. All inner frames of mind are here contained: elation, ecstasy, dreaming, gentleness, satirical lucidity, revolt and mordacity. All poetic forms are present from Alcaic stanza of Antiquity and harmonious composition of the sonnet to the most daring ways of expression by blank verse or rhymed prose (the lattest two anticipating literary forms typical only for our century). The most unpredictable sounds are stirred by his poetry: distant echoes, fading calls, purling waters, songs carried by the wind or greedily absorbed by distances, whispering voices, leaves rustling, sighing weeds, murmuring springs, bursting waterfalls, smothered wailing apparently coming out of Earth’s depths or bottomless abyss, but, meanwhile, tremendous thunders, crushing storms and roaring waves. In his poetry, the shepherd’s flute is lulling one asleep, clarinet is crying, violoncello is moaning, organ is bursting out and apocalyptic trumpets are thundering. All these sounds are infinitely intertwined with feelings of every kind and all tinges of inner life: longing, loss, ugliness, idleness, voluptuous sleaziness, loneliness, thus every of them reaching the highest degree of perfection."

(Translated by Junona Tutunea)

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