Ștefana Velisar Teodoreanu
Ștefana "Lily" Velisar Teodoreanu | |
---|---|
psychological novel, sketch story, memoir | |
Literary movement | Poporanism |
Ștefana Velisar Teodoreanu (born Maria Ștefana Lupașcu, also credited as Ștefania Velisar or Lily Teodoreanu; October 17, 1897 – May 30 or 31, 1995) was a
An anti-communist like her husband, Velisar helped writers and political figures persecuted by the
Biography
Origins and debut
Born in the Swiss resort of
During the campaigns of World War I, she was in living with her Delavrancea cousins, Cella and Henrieta, in Iași; it was through them that, ca. 1916, she first met the student and aspiring writer, Ionel Teodoreanu, son of lawyer-politician Osvald Teodoreanu.[2][6] According to her own account, he was instantly attracted to her dark complexion and "shiny black eyes", but also admired her literary attempts, and encouraged her to continue.[2] By May 1919, verses attesting his love for her appeared in Însemnări Literare magazine.[7]
She married Ionel in 1920,
With the Teodoreanu brothers and Sadoveanu, Ștefana was a frequent guest of the Viața Românească salon.[2] Her first published work appeared in 1929, hosted by Tudor Arghezi in Bilete de Papagal magazine; she also contributed to Revista Fundațiilor Regale and Familia.[3] Her pen name "Velisar" had been used in her husband's major work, the novel La Medeleni (1925), for a character directly modeled on Lupașcu.[1] Ștefana herself appears in another novel by her husband Bal mascat, published around the time of her debut.[14]
World War II novels
Relocating to Bucharest in 1938,[15] the family now owned a mansion on Romulus Street, west of Dudești.[16] They also owned a house on Mihai Eminescu Street, Dorobanți, which Ionel reportedly received from the Federation of the Jewish Communities, for his services as a lawyer.[17] Velisar herself became a published novelist shortly before World War II, with the 1939 Calendar vechi ("Old Calendar"), which won her a prize from the Romanian Intellectuals' Association.[10][14] It was followed in 1940 by Viața cea de toate zilele ("Everyday Life") and in 1943 by a lyrical sketch-story notebook, Cloșca cu pui ("Hen and Fledglings").[2][3][14][18]
Her prose, seen by critics as of quintessentially "feminine perfume",[14] and even "overwhelmingly maternal",[19] had noted tendencies toward ornamentation and lyricism.[3] In July 1939, modernist reviewer Eugen Lovinescu wrote that her "so very tender talent" stood apart from other feminine authors emerging at the time: she adhered to neither the "psychological eroticism" of Cella Serghi and Lucia Demetrius, nor to the "most incendiary sensuality" of Sorana Gurian.[20] According to researcher Elena Panait, at both a character construction level and in terms of literary message, the works display Velisar's readings from Rabindranath Tagore, Leo Tolstoy, and Ivan Turgenev.[5] She remained a passionate reader of Tagore into old age.[2][21]
Viața cea de toate zilele, written in the first person, shows the muted torment of Baba, a homemaker trapped in a provincial setting, and injured in an accident. The sterility of her life in the târg ends with Baba's gesture of liberation, a return to the freedom and self-imposed discipline of the countryside.[22][23] This provincial and earthbound note has been read by scholar Aurel Martin as a regionalist ethos, showing Velisar's own cultural attachment to Western Moldavia.[24] Rich in Christian symbols, down to the final scene (featuring an "inadvertent" sign of the cross), Viața cea de toate zilele is seen by Panait as "communicating [Velisar's] faith in general human values such as solidarity, tolerance, power of maternal and marital love."[25] That optimistic message is toned down in Cloșca cu pui, which includes depictions of women in unresolved despair.[14]
At the height of World War II, under the
Communist clampdown and translation work
As a novelist, Velisar was published again after the coup of August 1944, with Acasă ("Home", 1947).[2][3][30] Also centered on a woman protagonist, it was noted by critic Liana Cozea for its "cruelty [...] doubled by understanding and sad compassion".[31] At the time, her marriage to Teodoreanu was becoming strained, as he became known for his sexual escapades, then fell passionately in love with Bessarabian actress Nadia Gray. Gray did not answer to his advances, which caused Teodoreanu to start drinking heavily.[32]
By then, both Teodoreanus were witnessing with worry the rise of the Romanian Communist Party. Around 1946, their home on Romulus Street was hosting members of the National Liberal Party and other anti-communists, including Mihail Fărcășanu and their godson, Dinu Pillat; it was the last Romanian domicile of Fărcășanu and wife Pia before they defected to the West.[2] Velisar and the Delavranceas also aided another defector, the young literary critic Monica Lovinescu, giving her recommendations and credentials to use in Paris.[33] The couple's house was eventually confiscated during the 1947 nationalizations.[34] A cousin of the Teodoreanus, Alexandru Teodoreanu, was arrested for "high treason" in 1948. Ionel visited him at Uranus prison, and defended him in court, but Alexandru was sentenced and sent to Aiud Prison.[35]
The
In 1957, with
Return and final decades
At the time, Velisar had rekindled her friendship with Sadoveanu, visiting him during the final months of his life.[21] With his widow Valeria and literary historian Zoe Dumitrescu-Bușulenga, Velisar began attending an Orthodox prayer group and literary circle at Văratec Monastery.[40] It was also there that, in the new climate of détente, she welcomed Pia Pillat, whom the communists allowed to revisit Romania, and her brother Dinu, who had also been released from jail.[2] Released during the amnesty of the 1960s, Păstorel died of cancer just as the censors were allowing him to print a collected works edition.[9]
Velisar's work in translation diversified, when she and C. Duhăneanu put out a version of Canaima by
Velisar's final Bucharest residence was a poorly maintained townhouse in
Velisar eventually died five years after the
Notes
- ^ a b c d e (in Romanian) Basarab Nicolescu, "Stéphane Lupasco și francmasoneria română", in Convorbiri Literare, March 2012
- ^ a b c d e f g h i j k l m n o p q r s t u v w x (in Romanian) Cornelia Pillat, "Ștefana Velisar Teodoreanu. Corespondență inedită: scrisori din roase plicuri", in România Literară, Nr. 20/2001
- ^ ISBN 973-697-758-7
- ^ ISBN 973-569-209-0
- ^ a b Panait, p. 115
- ^ a b c (in Romanian) Constantin Ostap, "Păstorel Teodoreanu, reeditat in 2007", in Ziarul de Iași, February 6, 2007
- ISBN 973-8294-72-X
- ^ Nastasă, pp. 208–209
- ^ a b (in Romanian) G. Pienescu, "Al. O. Teodoreanu", in România Literară, Nr. 27/2007
- ^ a b Panait, p. 116
- ^ Ostap (2012), pp. 53, 55
- ^ Nastasă, pp. 379–380, 392
- ^ Mihail Sadoveanu, "Roxelana", in Revista Fundațiilor Regale, Nr. 1/1946, p. 62
- ^ a b c d e Eugenia Mureșanu, "Vitrina cărții. Cronica literară. Ștefana Velisar-Teodoreanu: Cloșca cu pui", in Viața Ilustrată, Nr. 4/1942, pp. 27–28
- ^ Ostap (2012), pp. 55–56
- ^ Lazu, pp. 70–71, 325
- ^ Lazu, pp. 153, 189, 325
- ^ Burța-Cernat, p. 61; Panait, pp. 115–117
- ^ Burța-Cernat, p. 44
- ^ Eugen Lovinescu, "Note asupra literaturii noastre feminine", in Revista Fundațiilor Regale, Nr. 7/1939, p. 181
- ^ a b c (in Romanian) Mihail Constantineanu, "Sadoveanu în ultimul an de viață—Neverosimila vacanță", in România Literară, Nr. 27/1999
- ^ a b Petru Comarnescu, "Note. Viața cea de toate zilele, romanul d-nei Ștefana Velisar-Teodoreanu", in Revista Fundațiilor Regale, Nr. 1/1941, pp. 220–223
- ^ Panait, pp. 117–123, 125
- ^ a b c Panait, p. 125
- ^ Panait, p. 123
- ^ Burța-Cernat, pp. 61–62. See also Panait, pp. 115–116
- ^ Panait, pp. 117–125
- ^ (in Romanian) Monica Grosu, "Din tainele arhivelor", in Luceafărul, Nr. 15/2011; Lucian Vasile, "Manipularea din presă în prima lună din al doilea război mondial", in Historia, April 2011
- ^ Valeria Căliman, "Viața și atitudinea Gazetei Transilvaniei în anii de luptă împotriva Diktatului de la Viena", in Cumidava, Vol. XXI, 1997, pp. 201–202, 206
- ^ Burța-Cernat, pp. 61–62; Panait, pp. 116–117
- ^ a b Panait, pp. 116–117
- ^ a b c (in Romanian) Vlaicu Bârna, "Evocări: Prin ani și peste ani cu Ionel Teodoreanu", in România Literară, Nr. 32/1996
- ISBN 978-3-11-021773-5
- ^ Ostap (2012), p. 57
- ^ Ostap (2012), pp. 53–54
- ^ a b Lazu, p. 71; Ostap, p. 57
- ^ ISBN 973-36-0165-9
- ^ "Bibliografia folclorului romînesc pe anul 1958", in Revista de Folclor, Nr. 3–4/1960, p. 135
- ^ Ostap (2012), pp. 53–56; Florina Pîrjol, "Destinul unui formator de gusturi. De la savoarea 'pastilei' gastronomice la gustul fad al compromisului", in Transilvania, Nr. 12/2011, pp. 21, 25
- ^ (in Romanian) "Revista presei", in Observator Cultural, Nr. 167, May 2003; Grigore Ilisei, "Un model de cărturărie românească – Zoe Dumitrescu-Bușulenga", in Convorbiri Literare, April 2010
- ^ Panait, pp. 125–126
- ^ Burța-Cernat, p. 62
- ^ Lazu, pp. 45–46
- ^ a b (in Romanian) Antonio Patraș, "Între viață și cărți", in Ziarul Financiar, March 16, 2011
- ^ (in Romanian) Andreea Deciu, "Un compendiu cehovian", in România Literară, Nr. 47/1999
- ^ (in Romanian) Constantin Coroiu, " 'Salonul Nr. 6 e pretutindeni' ", in Convorbiri Literare, December 2006
- ^ Lazu, p. 46
- ^ Lazu, pp. 46, 189, 325
References
- Bianca Burța-Cernat, Fotografie de grup cu scriitoare uitate: proza feminina interbelică. Bucharest: ISBN 978-973-23-2946-7
- ISBN 978-606-8337-37-1
- Lucian Nastasă, Intimitatea amfiteatrelor. Ipostaze din viața privată a universitarilor "literari" (1864–1948). Cluj-Napoca: Editura Limes, 2010. ISBN 978-973-726-469-5
- Constantin Ostap, "Cu gândul la 'Teodoreni'...", in Dacia Literară, Nr. 3–4/2012, pp. 53–57.
- Elena Panait, "'Retro-Modernism' in Viața cea de toate zilele by Ștefana Velisar Teodoreanu", in Cultural Intertexts, Vol. 4, 2015, pp. 115–126.