334:, the latter confesses being intrigued by the large number of human victims who claim to have sinned only because of women, and indicates that he considers a method for verifying the truth in this claim. Dardarot decides to send "the little one", Aghiuță ("Hell's Bells" or "Dickens"), into an extended investigation on Earth. Although received with displays of fatherly affection by Dardarot, the boy is reluctant to perform such tasks, since, as the narrator informs, he is not on his first mission among humans: previously, he had served an old woman, and forced by her to expend his energy on the futile task of straightening a curly hair. Unimpressed, Dardarot provides him with 100,000 gold coins (the bounty confiscated from a stingy mortal), with the indication that he is to marry and live with his human wife for ten years. Transformed into a handsome young mortal and evicted from Hell by his moody overlord, Aghiuță decides to head for Bucharest, a city with "room for parties" and many business opportunities. He arrives in the Wallachian capital and books a room at
1304:." He adds: "Even if the comedic effect springs from an estranging, corporal, obscene, quasi-sexual effect, provided by the strange 'fatherly love'-based relationship between the little devil and his emperor, the body, or better said the various allusions to its components ('ear', 'tail') play a part that undermines with irony the structures attributable to this reality." Also according to Rotiroti, the hierarchy of significance is modified by the earthly episodes within the plot, particularly since Aghiuță's new identity is that of an outsider who holds a succession of roles, and since his foreign name is itself meant to suggest the strangeness of Phanariote times. The latter attribute, he believes, is illustrated and enhanced by the use of terms directly borrowed from other languages and regularly surfacing throughout the text.
510:. He abandons his horse and runs up a hill and into a vineyard, pleading with the keeper to provide him with shelter. The latter, who presents himself as Negoiță, reluctantly accepts to do so when Ianulea assures him that his pursuers are not boyars. In exchange for his help, Ianulea lets him on his secret identity, and promises to reward him. He explains: "Whenever you hear that the devil's got into a woman, a wife, or a girl, whatever, no matter the place where they live and no matter what station in life they have, you should know it's about me that they're talking. You go right away to the respective house for I won't leave the woman until you chase me out... Naturally that seeing you cure their precious jewel they will offer you a reward".
1034:, argues: "The Romanian novella does not move very far away from Machiavelli's, except in matters of lexical richness, as well as in scale and number of pages." Evidencing the thematic relationship and the tripartite structure of both stories, Rotiroti concludes: "The parallelism between the two novellas is perfect". He believes that Caragiale imagined a partial translation from Machiavelli, discarding those fragments he identified as weak, and turning the Florentine peculiarities into things that a modern Romanian audience could find alluring. Tatiana-Ana Fluieraru also proposes that Caragiale's story, unlike his other late pieces which reuse older themes, is an "actual reconstruction" of the source.
586:
presence, and asks instead for "my old man", a certain
Captain Manoli Ghaiduri. The soldier is immediately sent for, and reveals himself to be the girl's secret love interest, a "splendid" Greek from the princely guard. While the princess persistently asks Manoli to mangle the intruding healer, the latter thinks of a ruse: suggesting that the girl's illness needs specialized help, he asks permission to consult with Acrivița Ianulea, "the widow of the wretch", whom he recommends as a better doctor than he. His demand has an instant effect on the princess: instead of shrieking and shouting, she begins cluttering her teeth. Within three days, she is spontaneously relieved of her symptoms.
1316:
616:
439:, "Ianulea's woman") undergoes a sudden change in character from "gentle and amendable" to "tougher and uppity", entitling herself master of the household and exercising control over her husband's affairs. She is also increasingly jealous, constantly spying on her husband and ordering her servants to do the same, but does not feel accountable for her own actions. She therefore hosts lavish parties and
403:
1115:
320:
961:, Caragiale mentioned and credited his predecessor, first in his correspondence about the unfinished text, and ultimately within the footnotes of the published version. In one of his messages to Zarifopol, he invited his younger friend to review both texts and see "if I have been doing justice with the story of my Kir Ianulea." However, he also made a point of claiming that the
519:
884:
594:, and recount her longing for Ianulea. She promises to follow his advice, and Negoiță returns to court, before deciding to head out of the city for good. He receives yet more presents from the princely family, as well as emotional thanks from Manoli Ghaiduri. As Negoiță rides out on his way to Oltenia, the devil takes control of another young lady, the daughter of
1064:, is shrouded here in particular details which serve to depict Phanariote Bucharest, with its roads, its means of transportation, its costumes. Even if the good devil Kir Ianulea is the usual weak and enamored husband, Acrivița, the greedy and overbearing woman, and Negoiță, the shrewd peasant, are almost entirely for real." Tudor Vianu viewed
1130:(described by the critic as "an innocent devilish prank"). Cioculescu also notes: "Caragiale is clearly superior to Machiavelli as a storyteller; the thing responsible for this comfortable handicap is the illustrative power of dialogue, which allows characters to gain contour." Gabriela Chiciudean tracked resemblances between
42:
1272:
The importance of various other linguistic elements within the narrative has also been highlighted by other researchers of
Caragiale's work. An early observation made by Zarifopol, and cited by Cioculescu in agreement with his own arguments, has it that the author introduced references to himself and
426:
and merchants alike. The details of his account become well-known, his deeds magnified by popular imagination, and, as a consequence, the entire neighborhood is convinced that beans should never be eaten after radishes. Meanwhile, Ianulea begins courting Acrivița, the daughter of unsuccessful trader
1359:
tendency" and move toward "rehabilitating women". This perspective was received with reserve by
Cioculescu: "kir Ianulea's wife, far from suggesting an intent for rehabilitation on Caragiale's part, illustrates the unbearable, exasperating character of a woman who is almost literally infernal. Only
658:
Mariana Cap-Bun to have grown aware of his own international recognition by 1900-1910: this revelation, Cap-Bun argues, is what prompted him to diversify his approach and seek to contribute works with a universal appeal, primarily by reworking old narrative themes. In his 1941 synthesis of literary
589:
Negoiță does however proceed to
Negustori, learning that Acrivița was chased out of her home by the creditors and moved back in with her father. Once there, he claims to be a debtor of Ianulea's, presenting her with 100 gold coins and a deed to the Cuțitul de Argint vineyard. He manages to intrigue
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motifs. According to researcher
Tatiana-Ana Fluieraru, the change also constituted a radical break with the modern themes of Caragiale's consecrated works, since, as opposed to his traditionalist counterparts, "nothing seemed to recommend Ion Luca Caragiale for the rendition of popular stories and
598:. This is Acrivița's opportunity to follow Negoiță's advice, and, as soon as she enters the room, the demon flees in panic. The story ends on Aghiuță's return to Hell, where he requests from Dardarot not to ever accept either Negoiță and Acrivița into Hell, and assign them instead to Heaven: "let
585:
prince's daughter is also being tormented by a demon. Although much troubled, the healer follows princely envoys, and is warmly greeted by the prince (who casually addresses him in Greek, unaware that Negoiță is in reality a local peasant). Nevertheless, the princess strongly rejects the healer's
1157:
origin. In reference to these cultural references, Lupi wrote: "The language is rich in the
Turkisms and Graecisms of the Phanariote age and greatly contributes in rendering local color to the narrative which is true to historical reality." George Călinescu focused on the presence of such words
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hatred, with the euphoria of the storyteller and the playwright who knows how to stage a situation for his characters . But the lack of misogyny does not at all imply that the author, who so well depicts the circumstances of kir
Ianulea's exasperation, is an advocate of women. That Acrivița is
556:, shouting and divulging all sorts of embarrassing secrets. The vineyard keeper promises to relieve her suffering in exchange for 100 gold coins, and Ianulea subsequently fulfills his promise. He scolds Negoiță for accepting such a small amount, and informs that he should make his way for
480:
on a silver platter, kir
Ianulea would have brought it to her on a silver platter"). As a result, Ianule's fortune is steadily depleted, and he comes to rely on expected proceeds from his investment in the business of his brothers-in-law, while steadily falling into debt. While his
948:
The
Romanian writer was by then an outspoken admirer of the Renaissance thinker, and his various records mention Machiavelli with words of high praise. According to literary historian Constantin Trandafir, the only other person for whom "Caragiale reserved as many superlatives" is
389:, and then purchasing his own vessel. After further such adventures, Aghiuță-Ianulea claims, he had been able to amass a fortune and settle in a peaceful country. He also boasts knowledge of several languages without access to formal studies, and claims that his knowledge of
1295:
has subsequently become commonplace among investigators of his work. According to
Cioculescu: "This is, after all, the only place where the author reveals his entirely justified philological pride." Rotiroti theorizes the importance of words in defining the fairy tale's two
244:
aristocratic young women as part of a scheme to reward his one-human benefactor, the peasant Negoiță. The narrative ends with a fall-out between Negoiță and Ianulea, and the latter's hasty return to Hell upon being threatened by a potential reunion with Acrivița.
476:. Tricking Ianulea with displays of her affection, she also persuades him to provide a dowry for her two unmarried sisters, as well as capital for her two brothers' respective businesses. Ianulea proceeds to service this and other whims ("had she asked for the
239:
as his city of residence. The main part of the story recounts his unhappy marriage to the tyrannical and dishonest Acrivița, his realization that his future among humans was compromised, and his narrow escape from his creditors. The third part shows the devil
1126:, which contribute to the overall difference in size between the source and the replica version. The "pleasure of the anecdote" is identified by Cioculescu as the basis for Ianulea's detailed account about his origins, including the recipe for avoiding
1376:
Mariana Cap-Bun ranks Acrivița's portrayal as "much more evil than the devil" alongside several "strong female characters" in Caragiale's stories and drama, arguing that this motif ultimately owed its inspiration to Shakespeare (and especially to
174:, it has become recognized as one of Caragiale's leading contributions to short prose, and is often described as one of the seminal works written by him during the last decade of his life. While its narrative structure is largely based on
1225:
differs from Caragiale's early works, where specialized or erroneous language is used for comedic effect; in this case, he argues, the Romanian author attempted not to ridicule his characters, but to reflect their background and origin.
1381:, which is known to have been treasured by the Romanian author). She also finds that, as Caragiale's career drew to a close, this focus too modified to include the "excessively cruel and weird"—the unassailable meanness characterizing
985:, Cap-Bun noted: "the new filters were so efficient that one can hardly recognize the new grains growing from the sedimentary beds of the source culture to be responses to the primary texts." Machiavelli's original mixes characters in
464:
monk. Acrivița also claims that the unnamed friend plots to "break" her household by committing adultery with Ianulea. This enrages Ianulea, and the couple begin shouting abuse at each other, while their stunned guests look on.
1017:. In contrast to Belphegor, Caragiale's protagonist is feeble, shy, and, Șerban Cioculescu argues, a "sympathetic" figure. These differences were still deemed insufficient by Călinescu and by his contemporary, the influential
1360:
the fact that she does not resort to murder imposes the reserve of this 'almost'." In addition to her many psychological defects, Cioculescu argues, Caragiale hinted to Acrivița's innate negativity by mentioning her
1029:
a "larger version" of Machiavelli's account, while Lovinescu saw it as one of the pieces where Caragiale "brought only his storyteller's art, and nothing from his invention". Giovanni Rotiroti, an Italian critic and
393:
will put Wallachian locals to shame. In the end, Ianulea threatens Marghioala not to share his secret with anyone else, aware that such a warning will only entice her to spread the story around the neighborhood.
1242:
is concerned." This perspective prompted Călinescu to conclude that "Caragiale's genius" was in exposing and "rehabilitating" the earliest stage of a degenerative process, by reflecting the language of the
2304:
968:
A number of significant thematic and stylistic differences exist between the 1549 story and the 1909 Romanian version, which is almost four times as large as Machiavelli's; as noted early on by scholar
443:
sessions in her husband's house, and irritates him by defaming her own friends. During one such gathering, she informs her guests that a female acquaintance of hers has been fornicating with one of the
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The new guest intrigues Aghiuță's new landlord, who sends the old and cunning housekeeper Marghioala to engage him in conversation and find out his story. Recommending himself as Ianulea "of
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as Caragiale's deepest exploration into his favorite object of derision: the Romanian middle class. This middle-class prehistory, Vianu notes, completes his earlier contributions to
1238:
process, where Caragiale's main plays reside: "This natural style has later fallen through obsolescence into the immediately inferior class, as things will usually happen when the
1497:
are two of Caragiale's most valuable stories in danger of being forgotten by readers, whereas his plays are being turned into "giant, intimidating clichés." In 2002, dramatist
965:
story no longer belonged to its creator: "since always, the stories belong to everybody, but the manner of recounting them belongs, no matter what the age, to the raconteur".
1162:, proposing that they were used by the author as both a means of adding "color" and a method for illustrating "spiritual nuances", concluding: "The narrative revolves around
435:, he decides to marry her, and their wedding is an occasion for Ianulea to display his insatiable taste for luxury. The day after their union, Acrivița (also referred to as
816:
inaugurated "a new territory" in Caragiale's work, where the fantasy element was being "reduced to the dimensions of the human." According to novelist and theater critic
743:"). Such writings drew critical attention for subtly merging the supernatural elements into a realistic whole. Calling attention to this special trait, Călinescu likened
1214:("sweets"). In order to add to the authenticity of his novella, Caragiale also contemplated inserting into it several fragments of poems by the late 18th-century author
812:
where "the fantasy realm enters human reality , being less exploited as a vision, and more as an oddity." Writing in 2002, researcher Gabriela Chiciudean proposed that
847:
Reportedly drafted in three days, the tale is believed to have taken some three weeks to perfect. On January 12, 1909, Caragiale wrote to his friend and biographer
602:
make up with them as best he can." He also demands and obtains a period of rest to last three centuries, as "those little affairs down on earth left me dog-tired."
2331:
248:
Caragiale's tale has been the target of critical interest since its publication, being discussed for its relation to Machiavelli's original story, its particular
945:("A Very Enjoyable Novella about the Archdevil Belphegor"). However, he also checked other variants, and informed himself about a German-language translation.
472:(παρηγοριά του κόσμου, "consolation of the world"). Unbeknown to him, Acrivița has by then begun selling various objects of value in his property to feed her
1076:, his satire of social customs, and his ridicule of established political opinion. Vianu further noted that the story pinpoints the original middle-class
917:, published in his 1549 collected works. Machiavelli's text was however preceded by a shorter version, signed Giovanni Brevio and first printed 1545 as
260:, as well as the various allusions to concrete social realities. Among the latter are its original insight into the urban culture of Romania in the pre-
235:
is assigned the mission of assessing the evil and negativity of women. In order to accomplish this task, he must live the life of a mortal, and chooses
566:. This happens exactly as predicted by the devil, who, upon exiting the girl's body, informs the peasant that he no longer considers himself indebted.
2402:
1641:
1373:'fundamentally evil' is instantly apparent to any reader; that she is not a typical representative of all women is also very correctly assessed."
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1277:
origins in his portrayal of Aghiuță-Ianulea. This is thought to be the case for the character's stated pride that, despite being a foreigner (an
2541:
2411:
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2596:
2198:
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to be one of the first and few works of fiction to make "an object of aesthetic contemplation" out of the Phanariote age (second only to
1339:("The Anthology of Cultured Fairy Tales"), placed it in direct comparison not just to Machiavelli's text, but also to an episode in the
757:, which similarly recounts how the Devil finds refuge in a modern, albeit rural, setting. Writing a decade after Călinescu, philologist
2463:
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and displaying more interest in the techniques of classical storytelling. The retired playwright, who lived in voluntary exile to the
232:
1221:
Language and its uses plays a relevant part in the plot, providing additional clues and supporting elements. In Călinescu's opinion,
2581:
2531:
2451:
2261:
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was completed, jokingly adding: "With God's help, I have finally finished off the devil!" The story was soon after published in the
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sources. Caragiale himself was very pleased with the results of his activity, and called the resulting tales his best works ever.
1536:
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planters. He provides an elaborate story about his early years, claiming that both his parents died at sea, while taking him on
2576:
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330:
The narrative opens with the rally of all devils, as ordered by "the Overlord of Hell" Dardarot. Probably a replica version of
2371:
1817:
1540:
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her by suggesting that, should she ever hear of a demon possessing a woman or girl, she is to walk up to the victim, call out
2521:
2279:
2566:
370:
2591:
2472:
1576:
1527:. According to theater critic Gabriela Riegler, Macrinici used this mix to produce an artistic statement about modern
1476:
1418:
1044:(1786–1789), or, in Cioculescu's account: "toward the end of the 18th century and the beginning of the next, in still-
1038:
790:
531:
445:
2367:
497:
2018:
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as an uncivilized and unregulated community). However, he also criticized Caragiale's own belief that texts such as
1089:
2526:
2511:
1442:
1300:
fields". The original and concrete one is Hell, where "semantics are organized in pyramid fashion, and ordered as
1056:
Gino Lupi finds that the Phanariote references touch every aspect of Caragiale's retelling, producing a fresco of
2571:
2546:
2536:
1315:
861:
99:
888:
461:
1425:. The narrative's recovery of the foreign-influenced and often vilified past was viewed with reserve by 1930s
41:
892:
642:
between 1905 and his 1912 death, dedicated his final literary contributions to short prose (from novellas to
2516:
1262:
832:
754:
449:
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of the Levant, working the pretext ("a subject fulfilling the orders of a king") into "labyrinthic paths".
826:
457:
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908:
708:
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655:
338:, before renting a cluster of townhouses and gardens in Negustori area (the merchants' district, close to
181:
2444:
Il processo alla scrittura. Pratiche e torie dell'ascolto intorno all'esperienza poetica della traduzione
2239:
2027:
1783:
1261:
were stylistically accomplished because their Romanian was harmonious, believing that "spontaneity" and "
1519:
1472:
1454:
1378:
1069:
809:
502:
283:
2300:
1355:). In Șerb's assessment, the main difference between such prose and Caragiale's text was the latter's "
817:
729:
2429:
2305:" 'Sînt pentru ceea ce se numește, de la Mozart încoace, drama giocosa' (II). Interviu cu Radu Cosașu"
2227:
2586:
2421:
1544:
1514:
1493:
1468:
1426:
1141:
A primary method used by Caragiale in rendering depth to his narrative is the recovery of antiquated
1057:
1018:
1014:
913:
647:
549:
339:
176:
1747:
1498:
1324:
758:
735:
295:
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1826:
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belongs to the final period in Caragiale's career, during which he was mainly focusing on writing
2275:
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version. A separate French-language version was published before in the 17th century, as part of
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Ianulea's only option is to flee Bucharest in a haste and escape his creditors. As he rides past
490:
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163:
159:
155:
82:
78:
33:
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anecdotes." She also notes that, in respect to his thematic choices, the writer remained "quite
507:
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crumbles, Acrivița's itinerant siblings return with bad news: one has lost his ship in front of
1433:, who found the story the most objectionable one among Caragiale's writings. In 1939, composer
796:
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2447:
2433:
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2223:
1787:
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1528:
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structure borrowed directly from the novella with elements from comedies by Caragiale's uncle
1274:
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990:
926:
922:
762:
740:
390:
378:
150:
68:
1387:
2460:
2387:
1524:
1364:, exploiting the Romanian tradition according to which distinct marks on one's face are bad
1352:
1215:
1150:
1002:
635:
477:
473:
407:
269:
1397:
615:
560:, where they are going to repeat their act with the daughter of a local administrator, the
422:κύρ), becomes the center of interest in high society, being invited to events organized by
2467:
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2398:
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contributed an essay tracking down and assessing the Levantine narrative motifs retold by
1410:
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1097:
1053:
1022:
1013:), making Belphegor's mission relate to the supposed evils of womanhood and the morals of
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696:
677:
249:
1857:
Cap-Bun, p.187; Chiciudean, p.397; Călinescu, p.502; Cioculescu, p.203; Rotiroti, p.24sqq
1434:
303:
1409:
Interpretations of Caragiale's story continued to be present in cultural debates of the
1037:
Caragial's localized adaptation takes place, according to Călinescu, during the rule of
381:
caused by eating beans after radishes. He recounts having been kept on as a servant and
1239:
1235:
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1073:
1049:
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739:(the latter of which he believes to be "one of the most perfect stories written in the
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419:
358:
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265:
261:
197:
865:. In 1910, it was ultimately included in Caragiale's last anthumous prose collection,
2500:
1430:
1356:
1077:
954:
941:), Caragiale's version was primarily based on a French translation from Machiavelli:
837:
801:
700:
639:
482:
221:
1635:
937:. Although the story had already been circulating in a Romanian variant (printed in
2284:
1814:
1751:
1230:
therefore records the origin of speech patterns which are natural for 18th-century
998:
684:
being among eight of his last thirty-two stories to choose Levantine subjects over
654:"his most significant literary production of that period". Caragiale is thought by
643:
544:
The devil leaves the vineyard, and the focus moves on Negoiță. Catching rumor of a
907:
as their protagonist. A better known Italian-language incarnation of the theme is
761:
proposed that there is an "evolutionary thread" going from the fantasy stories by
671:
in general, and in particular with producing "artistic Balkanism" on the basis of
468:
The Ianuleas eventually reconcile and the kir is placated, addressing his wife as
402:
1166:
episodes." Among the dated "violently southern" terms mentioned by Călinescu are
2479:
2207:
2022:
1446:
1135:
1085:
1045:
982:
712:
692:
672:
599:
582:
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350:
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209:
171:
29:
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1449:(it was one of the last Romanian shows to be performed in the city before the
1414:
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518:
382:
366:
362:
167:
110:
1088:
were being laid down, creating a political reservoir". Writing later, critic
500:, he notices that he is being pursued by armed guards, sent by the Bucharest
2368:"Intercultural Fantasies of Female Cruelty: Reflections on Gender and Power"
1467:
in particular has served to inspire a number of Caragiale's followers among
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as "our father's most accomplished masterpiece". Also according to Cosașu,
1767:
276:, and the possible intention on Caragiale's part to depict Ianulea as his
1438:
1369:
1266:
1265:" towered over "melody" throughout the narrative, reaching the point of "
1163:
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1123:
938:
820:, the story joins up with some other samples of Caragiale's short prose (
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331:
299:
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189:
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by the brutal captain of the ship, and having survived a number of near
1902:
Călinescu, p.502; Cioculescu, p.262; Rotiroti, p.24; Trandafir, p.30-31
1458:
856:
664:
620:
570:
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414:
Rumor spreads of Ianulea's fortune and the young man, referred to as a
204:
as a whole. Caragiale primarily adapts Machiavelli's theme, which is a
201:
58:
1234:
and traders, and which only become ridiculous at the other end of the
1122:
The newer version is also noted for its characteristic offshoots into
1392:
1391:(1890) and by the violent bouts of hysteria displayed by Ileana, the
1250:
1245:
1081:
668:
213:
1335:
Poet and folklorist Ioan Șerb, who included Caragiale's text in his
663:
also identified Caragiale's maturity with a growing interest in the
1637:
Le plaisir de conter - le dernier Caragiale, Caragiale et le conte
1368:. Cioculescu wrote: "Actually, Caragiale builds his theme without
1320:
1231:
994:
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432:
427:
Hagi Cănuță, who is beautiful and well-proportioned, but has mild
423:
227:
Structured around its protagonist and named after his main alias,
205:
1479:. Declaring himself a disciple of Caragiale, writer and humorist
1385:
being complemented by the murderous thoughts of Anca in the play
899:
The central theme in Caragiale's story is directly borrowed from
208:
about the innate unreliability of women, to the realities of the
1365:
46:
Cover of a 1969 standalone edition of the story, published by
1084:
penetration, when the bases for a large section of the local
925:
claimed that these writings were all based on a since-lost
577:. His blissful relaxation is interrupted abruptly when the
1645:
1475:
Romanian authors, with new elements being added after the
1052:
and the Negustori suburb". Italian literary historian and
973:, Caragiale's text grew as a "symbolic novel". Describing
212:
epoch, focusing his attention on the interactions between
1866:
Cap-Bun, p.187; Cioculescu, p.203, 262; Rotiroti, p.24-25
1566:
2357:
Istoria literaturii române de la origini pînă în prezent
1575:) and "Kyr Ianulea" (translated by Alina Cârâc), in the
1281:, in Cioculescu's interpretation), he is both versed in
957:
and his personal friend. Like with several other of his
776:
Another literary historian, George Bădărău, argued that
180:, a story by 16th century writer and political thinker
220:
while offering additional insight into the process of
903:
Renaissance stories which have the devilish creature
162:
novella or short story, published by Romanian author
2486:, Vol. I–II, Editura Minerva, Bucharest, 1970-1971.
349:
stock", the young man explains that he is from near
192:
to evolve into a social fresco of late 18th-century
1289:. The notion that Ianulea is in effect Caragiale's
124:
116:
106:
94:
89:
74:
64:
54:
23:
1523:, a celebrated novel by Caragiale's estranged son
943:Nouvelle très plaisante de l'archidiable Belphégor
711:writings, making Caragiale a direct descendant of
2228:"Mircea Eliade, 13 martie 1907 - 22 aprilie 1986"
1587:), Cioculescu (p.204-207) and Rotiroti (p.23-51).
1509:("A Friend as Old as Time?"), the text merged an
569:As thanks for his service, Negoiță is granted an
2562:Works originally published in Romanian magazines
2557:Works originally published in literary magazines
581:orders him on mission to Bucharest, where the
282:. The story has had its own sizable impact on
1583:, Nr. 6/2000. Also summarized in Chiciudean (
1441:version of the story, which premiered at the
1060:: "The episode, which is bare and concise in
290:, notably serving to inspire writers such as
8:
2087:
2085:
1627:
1625:
1623:
1621:
1619:
1617:
1615:
1613:
1611:
1605:Cap-Bun, p.185-187; Vianu, Vol. I, p.313-315
552:neighborhood, where a rich girl has come to
2323:
2321:
2319:
2040:Cioculescu, p.206. See also Trandafir, p.31
1943:Cioculescu, p.204; Rotiroti, p.25-27, 48-49
1647:Réseau de chercheurs Littératures d’Enfance
2256:, Pendragon Press, Hillsdale, 2000, p.62.
2002:
2000:
1760:Editura de stat pentru literatură și artă
921:. In the 19th century, Scottish academic
695:, the interval was primarily marked by a
2372:Free International University of Moldova
2147:
2145:
2066:
2064:
1951:
1949:
1930:
1928:
1926:
1720:Vianu, Vol. I, p.313-315; Vol. II, p.205
1707:
1705:
1314:
1113:
882:
614:
517:
401:
318:
2446:, Marco Lugli Editore, Florence, 2002.
2108:
2106:
1990:
1988:
1695:
1693:
1691:
1689:
1687:
1685:
1666:
1664:
1662:
1660:
1658:
1656:
1642:Agence universitaire de la Francophonie
1555:
1429:such as philosopher and fantasy author
1110:Characteristic anecdotes and vocabulary
808:("Read Them at Night"), as a sample of
20:
1920:Cap-Bun, p.186-187; Chiciudean, p.397
887:Depiction of Hell in an 18th-century
646:), and, according to literary critic
166:in 1909. Borrowing the elements of a
149:
18:Short story by Ion Luca Caragiale
7:
753:, a prose piece by his contemporary
456:, and even, after being banished to
188:employs additional elements such as
2403:December 1 University of Alba Iulia
2254:Nicolae Bretan, His Life, His Music
489:, the other has been robbed at the
1848:Cap-Bun, p.185-187; Rotiroti, p.23
977:and the various other portions of
14:
2332:"Cometa... în drum spre Arnoteni"
2288:, Vol. III, Nr. 105, January 2006
1884:Cap-Bun, p.187; Cioculescu, p.203
596:Wallachia's Orthodox Metropolitan
256:elements, its ambivalent take on
691:According to literary historian
431:. Although she can offer him no
40:
2380:, Nr. 1-2/2007, p. 185-196
298:, and being turned into a 1939
1650:; retrieved September 20, 2009
1535:was notably staged in 2002 by
723:shares such traits with other
1:
2542:Romanian magic realism novels
1417:writer and cultural activist
2602:Short stories set in Romania
2597:20th-century Romanian novels
659:history, influential critic
634:, moving away from stricter
2507:Works by Ion Luca Caragiale
2476:, Nr. 3/2008, p. 29-31
2023:"La început a fost Filimon"
1762:, Bucharest, 1959, p.XXV.
1577:Romanian Cultural Institute
1531:and "Romanian mediocrity".
1419:Nicolae Constantin Batzaria
1341:One Thousand and One Nights
1118:People from Bucharest, 1825
1048:Bucharest, where one finds
780:stands alongside two other
769:, and to the dark prose of
619:Photograph of Caragiale in
606:Style, themes and symbolism
2618:
2139:Cioculescu, p.204, 205-206
715:authors and a disciple of
1780:Fantasticul în literatură
1533:Un prieten de când lumea?
1507:Un prieten de când lumea?
39:
28:
2582:Fictional businesspeople
2532:Historical short stories
1505:into a new play. Titled
498:Cuțitul de Argint Church
397:
264:period, the recovery of
231:recounts how one of the
2418:, 2002, p. 397-398
2340:, Nr. 140, October 2002
2280:"Omagiu de 26 ianuarie"
1815:"I. L. Caragiale - azi"
1634:Tatiana-Ana Fluieraru,
1541:Andrei Mureșanu Theater
1337:Antologia basmului cult
1302:signified of signifiers
893:Sfântul Elefterie Vechi
836:) in anticipating the "
513:
147:Romanian pronunciation:
2577:Fictional Greek people
2552:Romanian short stories
2459:Constantin Trandafir,
1332:
1311:and female empowerment
1210:("jealous woman") and
1145:, with Phanariote-era
1119:
896:
624:
573:estate and assigned a
541:
411:
327:
151:[kirjaˈnule̯a]
2522:Fantasy short stories
2386:Gabriela Chiciudean,
2091:Cioculescu, p.204-205
1893:Cioculescu, p.203-204
1839:Vianu, Vol. II, p.191
1729:Vianu, Vol. II, p.205
1520:Craii de Curtea-Veche
1455:Northern Transylvania
1413:and beyond. In 1932,
1379:Shakespearean tragedy
1318:
1117:
886:
827:La hanul lui Mânjoală
800:), and together with
719:. In his assessment,
618:
521:
458:Căldărușani Monastery
405:
322:
315:Introductory episodes
2567:Bucharest in fiction
2408:Philologica Yearbook
2058:Călinescu, p.502-503
2006:Vianu, Vol. I, p.313
1786:, Iași, 2003, p.46.
1754:, Teodor Vîrgolici,
1103:Upstarts Old and New
1100:'s celebrated novel
1058:historical Bucharest
1025:. The former judged
981:as early samples of
919:Novella di Belfagorx
914:Belfagor arcidiavolo
878:Belfagor arcidiavolo
765:(ca. 1840), through
177:Belfagor arcidiavolo
2442:Giovanni Rotiroti,
2432:, Bucharest, 1974.
2337:Observator Cultural
2310:Observator Cultural
2252:Hartmut Gagelmann,
2211:, December 30, 2008
1827:Convorbiri Literare
1784:Institutul European
1451:Second Vienna Award
1343:and an anecdote in
1042:Nicholas Mavrogenes
1007:Christian mythology
987:Ancient Greek myths
971:Mihail Dragomirescu
931:Jean de La Fontaine
909:Niccolò Machiavelli
842:Latin American Boom
810:Romanian literature
717:William Shakespeare
592:parigboria tu kosmu
535:Nicholas Mavrogenes
506:to lock him into a
470:parigboria tu kosmu
182:Niccolò Machiavelli
48:Editura Tineretului
2592:1909 short stories
2466:2011-10-08 at the
2414:2016-03-03 at the
2397:2011-07-23 at the
2330:Gabriela Riegler,
2233:2011-07-28 at the
2201:2009-04-27 at the
2192:"Scriitorii de la
2169:Cap-Bun, p.195-196
1820:2011-09-26 at the
1679:Cap-Bun, p.185-187
1517:, as well as with
1333:
1198:("bankrupt man"),
1170:("stubborn man"),
1134:and the classical
1120:
897:
869:("New Sketches").
686:Romanian folkloric
625:
623:costume (ca. 1900)
546:demonic possession
542:
491:Leipzig Trade Fair
412:
398:Ianulea's marriage
328:
288:culture of Romania
272:influences on the
164:Ion Luca Caragiale
160:historical fiction
83:historical fiction
34:Ion Luca Caragiale
2527:Historical novels
2512:Romanian novellas
2461:"Numai Caragiale"
2422:Șerban Cioculescu
2363:, Bucharest, 1986
2301:Svetlana Cârstean
2224:Nicolae Manolescu
2190:Florentina Tone,
2160:Cioculescu, p.207
2151:Cioculescu, p.206
2130:Rotiroti, p.40-44
2121:Rotiroti, p.33-39
2049:Chiciudean, p.397
1982:Rotiroti, p.48-51
1955:Cioculescu, p.204
1934:Cioculescu, p.205
1875:Cioculescu, p.203
1802:Chiciudean, p.398
1670:Cioculescu, p.262
1529:depersonalization
1345:Romanian folklore
1186:("gentlemanly"),
1182:("corporation"),
1128:bowel obstruction
1015:medieval Florence
989:(the presence of
927:Renaissance Latin
923:John Colin Dunlop
889:Romanian Orthodox
833:O făclie de Paște
822:Pastramă trufanda
818:Mircea Ghițulescu
806:Cetiți-le noaptea
763:Costache Negruzzi
741:Romanian language
730:Pastramă trufanda
727:tales, primarily
648:Șerban Cioculescu
514:Negoiță's fortune
446:Wallachian Prince
418:("sir", from the
379:bowel obstruction
132:
131:
2609:
2572:Fictional demons
2547:Romanian fantasy
2537:Satirical novels
2484:Scriitori români
2458:
2430:Editura Eminescu
2385:
2366:Marina Cap-Bun,
2353:George Călinescu
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1353:Hunedoara County
1283:Romanian culture
1216:Costache Conachi
1202:("bankruptcy"),
1194:("senile man"),
1136:frame narratives
1080:: "the epoch of
901:Western European
862:Viața Românească
859:-based magazine
661:George Călinescu
650:, produced with
554:speak in tongues
448:'s sons, with a
284:local literature
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125:Publication date
107:Publication type
100:Viața Românească
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1494:Cănuță om sucit
1477:1989 Revolution
1411:interwar period
1407:
1395:protagonist of
1313:
1206:("hurriedly"),
1112:
1098:Nicolae Filimon
1023:Eugen Lovinescu
881:
840:" of the 1960s
804:'s 1930 volume
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1443:Romanian Opera
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1347:(collected by
1327:. Painting by
1325:Dudescu family
1312:
1306:
1275:Greek-Romanian
1269:" literature.
1236:Westernization
1190:("accursed"),
1174:("business"),
1143:Romanian lexis
1111:
1108:
1070:Romanian drama
1011:heresy of Peor
951:Mihai Eminescu
880:
871:
849:Paul Zarifopol
791:Arabian Nights
786:Calul dracului
771:Gala Galaction
759:Ștefan Cazimir
736:Calul dracului
644:sketch stories
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474:gambling habit
454:Russian Empire
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371:Holy Sepulchre
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1431:Mircea Eliade
1428:
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1349:Ovidiu Bârlea
1346:
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1330:
1329:Mihail Töpler
1326:
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839:
838:magic realism
835:
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829:
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823:
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815:
811:
807:
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802:Ion Minulescu
799:
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575:boyar's title
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483:credit rating
479:
478:Colțea Belfry
475:
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27:
24:"Kir Ianulea"
22:
16:
2483:
2471:
2443:
2426:Caragialiana
2425:
2407:
2389:
2376:
2356:
2335:
2308:
2293:
2285:Dilema Veche
2283:
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2183:
2174:
2165:
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2135:
2126:
2117:
2096:
2075:
2054:
2045:
2036:
2026:
2019:Mihai Zamfir
2011:
1978:
1969:
1960:
1939:
1916:
1907:
1898:
1889:
1880:
1871:
1862:
1853:
1844:
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1825:
1807:
1798:
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1755:
1752:Nicolae Gane
1743:
1734:
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1716:
1675:
1646:
1636:
1601:
1592:
1584:
1580:
1567:
1558:
1547:as Ianulea.
1532:
1518:
1511:intertextual
1506:
1502:
1492:
1488:
1484:
1483:referred to
1464:
1463:
1435:Sabin Drăgoi
1427:nationalists
1422:
1408:
1396:
1386:
1382:
1375:
1370:misogynistic
1340:
1336:
1334:
1308:
1290:
1271:
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1093:
1090:Mihai Zamfir
1065:
1061:
1036:
1026:
999:Rhadamanthus
978:
974:
967:
962:
958:
953:, Romania's
947:
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918:
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895:, Bucharest)
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821:
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775:
773:(ca. 1920).
766:
750:Stan Pățitul
748:
744:
734:
728:
724:
720:
703:interest in
701:Neoclassical
690:
681:
678:cosmopolitan
651:
627:
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591:
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543:
501:
495:
469:
467:
436:
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377:—victims of
354:
344:
329:
304:Sabin Drăgoi
302:by composer
277:
247:
228:
226:
185:
175:
141:
140:
135:
134:
133:
98:
95:Published in
15:
2587:1909 novels
2480:Tudor Vianu
2390:Kir Ianulea
2276:Radu Cosașu
1632:(in French)
1568:Kir Ianulea
1503:Kir Ianulea
1489:Kir Ianulea
1485:Kir Ianulea
1481:Radu Cosașu
1465:Kir Ianulea
1423:Kir Ianulea
1357:progressive
1309:Kir Ianulea
1259:Kir Ianulea
1255:stereotyped
1253:, commonly
1228:Kir Ianulea
1223:Kir Ianulea
1160:Kir Ianulea
1158:throughout
1132:Kir Ianulea
1094:Kir Ianulea
1092:also found
1086:bourgeoisie
1066:Kir Ianulea
1050:Manuc's Inn
1027:Kir Ianulea
983:metafiction
975:Kir Ianulea
874:Kir Ianulea
853:Kir Ianulea
824:, but also
814:Kir Ianulea
778:Kir Ianulea
767:Kir Ianulea
755:Ion Creangă
745:Kir Ianulea
721:Kir Ianulea
713:frame story
709:Elizabethan
705:Renaissance
697:Neoromantic
693:Tudor Vianu
682:Kir Ianulea
673:picturesque
656:comparatist
652:Kir Ianulea
628:Kir Ianulea
600:Saint Peter
351:Mount Athos
336:Manuc's Inn
325:Manuc's Inn
292:Radu Cosașu
254:picturesque
250:Neoromantic
229:Kir Ianulea
186:Kir Ianulea
172:frame story
142:Kyr Ianulea
136:Kir Ianulea
90:Publication
30:Short story
2501:Categories
2347:References
1573:wikisource
1393:incestuous
1331:(ca. 1800)
1263:naturalism
1240:folk dress
1212:zumaricale
1164:hysterical
1046:Phanariote
979:Schițe noi
959:Schițe noi
867:Schițe noi
794:-inspired
784:sections (
782:Schițe noi
725:Schițe noi
583:Phanariote
524:Phanariote
460:, with an
387:shipwrecks
383:boy seaman
367:pilgrimage
363:olive tree
355:Sfântagora
242:possessing
210:Phanariote
168:fairy tale
117:Media type
111:periodical
2401:, in the
2377:Intertext
2370:, in the
1768:475837103
1562:Based on
1469:modernist
1415:Aromanian
1383:Ianuloaia
1362:esotropia
1319:Maria, a
1292:alter ego
1178:("guy"),
1176:ipochimen
1147:archaisms
1021:reviewer
1019:modernist
905:Belphegor
797:Abu-Hasan
550:Colentina
528:Wallachia
526:court of
441:card game
437:Ianuloaia
429:esotropia
375:Jerusalem
279:alter ego
237:Bucharest
218:Romanians
194:Wallachia
190:anecdotes
2464:Archived
2412:Archived
2395:Archived
2388:"Despre
2231:Archived
2208:Adevărul
2199:Archived
2194:Adevĕrul
1818:Archived
1501:adapted
1453:granted
1439:operetta
1401:(1892).
1321:boyaress
1298:semantic
1287:polyglot
1279:Albanian
1172:daraveră
1168:capsoman
1155:Hellenic
1124:anecdote
1062:Belfagor
1054:Romanist
963:Belfagor
939:Moldavia
788:and the
667:and the
579:kaymakam
571:Oltenian
563:kaymakam
537:and his
462:Orthodox
391:Romanian
347:Arvanite
332:Astaroth
300:operetta
286:and the
258:feminism
196:and the
85:, satire
75:Genre(s)
69:Romanian
65:Language
2492:7431692
2473:Familia
2438:6890267
1543:, with
1459:Hungary
1388:Năpasta
1323:of the
1208:zuliară
1200:selemet
1188:proclet
1151:Turkish
1001:) with
891:mural (
665:Balkans
636:Realism
632:fantasy
611:Context
558:Craiova
452:of the
410:in 1802
369:to the
270:Turkish
202:Balkans
200:-ruled
198:Ottoman
156:fantasy
154:) is a
79:fantasy
59:Romania
55:Country
2490:
2450:
2436:
2260:
1790:
1766:
1756:Nuvele
1585:passim
1525:Mateiu
1405:Legacy
1285:and a
1251:ghetto
1246:mahala
1232:boyars
1196:mufluz
1184:levent
1039:Prince
1003:Jewish
935:Contes
669:Levant
621:Balkan
539:boyars
532:Prince
450:consul
424:boyars
357:), in
214:Greeks
2470:, in
2334:, in
2307:, in
2282:, in
2237:, in
2205:, in
2025:, in
1824:, in
1640:, at
1551:Notes
1515:Iorgu
1398:Păcat
1366:omens
1192:matuf
1180:isnaf
1082:Greek
1009:(the
995:Minos
991:Pluto
851:that
487:İzmir
433:dowry
420:Greek
266:Greek
206:fable
120:print
2488:OCLC
2448:ISBN
2434:OCLC
2258:ISBN
1788:ISBN
1764:OCLC
1491:and
1471:and
1447:Cluj
1273:his
1072:and
1005:and
997:and
876:and
857:Iași
830:and
733:and
707:and
699:and
522:The
406:The
310:Plot
294:and
216:and
158:and
128:1909
2405:'s
2374:'s
1579:'s
1539:'s
1461:).
1457:to
1445:in
1351:in
1153:or
1149:of
1106:).
933:'s
911:'s
747:to
680:",
548:in
503:Aga
416:kir
373:in
342:).
268:or
139:or
32:by
2503::
2482:,
2428:,
2424:,
2359:,
2355:,
2318:^
2303:,
2278:,
2226:,
2144:^
2105:^
2084:^
2063:^
2021:,
1999:^
1987:^
1948:^
1925:^
1782:,
1758:,
1704:^
1684:^
1655:^
1644:,
1610:^
1218:.
993:,
844:.
530::
493:.
306:.
224:.
184:,
81:,
2392:"
2196:"
1571:(
1296:"
353:(
145:(
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