Sua

There was once an old woman who had three sons, tall like steeples and of virtue mighty but dumb as fishes. The old woman had a plentiful household, with a fine piece of land, a stout manor and annexes, a vineyard and nice orchard, cattle and lots of poultry. Besides all

CANTO THE TENTHArgument Considering the counsel vainOf all the rank and file, The Gypsies chose those of schooled brainTo gather for a whileAnd judge what government is goodFor the entire Gypsihood.  1Now when the maw is well provided for,The mouth is ready and the tongue

Modernism has brought to paroxysm the need of personal mythologies, immanent to Western civilization. No wonder that some of the heroes and saints of the avant-garde came from those peripheral European territories still uncharted from a spiritual point of view. By the beginning

Honestly, Corneille bores me. We probably only love him (without believing in him) out of habit. We are forced to. They imposed him on us in school. I cannot stand Schiller. For a long time I thought Marivaux' plays were unserious games. Musset's comedies are thin,

Sometimes I happen to have beautiful utopian dreams. Sometimes I dream that it was not Lenin in that sealed car crossing Germany and going to Russia in 1917, rather there were three or four odious American capitalists: Russia, Europe would have been saved. Imagine all those

COMMUNISM IS THE GREATEST FAILURE IN THE HISTORY OF MANKIND At the recent congress of the delegations of Communist parties from all over the world, held in Berlin, many well-known things have been reiterated: satellite-countries will continue to live under the Soviet umbrella,

You like any book if you want to. You dislike any book if you want to. I believe literary criticism is useless, and I believe literature has no metaphysical significance. If I do literary criticism, I do it because I have nothing else to do. I do not feel I am committed

Alfredo Casella: Enescu is delicate and sensitive, communicative too, like all Latins. Despite his spontaneous and amazingly rich inventiveness, his creation illustrates a process of will, which no artist can overlook. I have seen such a perfect accord between intention

In a holographic note drawn up in Romanian in the third person, Brâncuşi speaks about himself as about someone else and makes an important remark in connection with his relationship with materials. Turned down in 1910, he exhibited fully carved stone and marble for the

You have turned the antic into the modern, Rousseau le Douannier once told Brâncuşi. Those words complete very accurately the characterization suggested by Dan Hāulicā: He produced the century's purest classicism out of the exotic. [1] The Romanian sculptor

About fifteen years ago, during the Brătianu Cabinet, I was editing 'The National Revolt'. It was an essentially combative paper, in strong opposition to the government. Our strength however lay not so much in the leading articles or in the polemic pieces as in

Very few people today will remember a famous newspaper that used to appear at some point in the capital, during the war of independence. I mean here 'The Romanian Nation' that Frédéric Damé and I published together. The life of that paper was as short as it