Haralamb Lecca
Haralamb George Lecca | |
---|---|
travel writing | |
Literary movement | Symbolism Naturalism Junimea |
Notable awards | Adamachi Prize (1898, 1901) Bene Merenti (1899) |
Haralamb George Lecca (Romanian pronunciation:
Lecca's poetry, recognized as formally accomplished in its context, won him literary awards from the
His conflicts with actors and managers resulted in his sacking from
Biography
Early life
Born in
-
Constantin Lecca, Haralamb's grandfather. Portrait by Gheorghe Tattarescu
-
The Lecca children, by Constantin Lecca
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Cleopatra Lecca-Poenaru, Haralamb's aunt; by Constantin Lecca
Haralamb's uncles, settled in
Haralamb Lecca was an Oltenian by birth, his work sometimes included in regionalist anthologies. However, as noted by Oltenian scholar C. D. Fortunescu, this was a stretch. Lecca, he argues, "do[es] not owe anything to this region, [...] only the happenstance of [his] birth here, or a short period in [his] childhood, has ever put [him] into contact with us."[1] From 1880, Haralamb was listed among the interns of Pontbriant–Schewitz Institute of Bucharest, in the same class as actor Ion Livescu,[14] but later finished primary school in his native town, and high school in Craiova.[5][15] A reserve Sub-lieutenant in the 6th Artillery Regiment, he may also have had a stint clerking in the Ministry of Finance.[16] In 1897, he studied medicine at the University of Paris (inspiring him to write poems about dissection),[17] but returned to matriculate at the University of Bucharest, where he studied law.[5][18] However, in January 1901, he was reportedly studying letters at the Free University of Brussels.[19] He graduated from the law faculty in Bucharest, but only after along hiatus,[20] and reportedly held both a Medical Doctor degree and a doctorate in letters.[21]
Symbolist debut and Hasdeu circle
While he was still in Paris,[22] Bogdan Petriceicu Hasdeu's Revista Nouă published Lecca's first poem, În cimitir ("In the Graveyard"),[5][23] and awarded Lecca its annual literary prize.[24] According to Nicolae Iorga, Lecca's "poetic fecundity" soon took over, turning that magazine into a literary tribune rather than the scientific organ designed by Hasdeu.[25] Following this, Lecca, an occasional literary columnist at Adevărul,[26] became was one of the main contributors to Ioan Slavici's Vatra from 1894 and, from 1899, to Aurel Popovici's daily, Minerva,[27] his work also appearing in N. Petrașcu and D. C. Ascanio's Literatură și Artă Română.[21][28] At the time, Lecca was translating from Tennyson's Enoch Arden, from a French version.[29] He printed this in 1896, followed a while after by selected verses from Romania's German-speaking queen, Carmen Sylva.[5][30]
His collections of poetry, generally known by numbered titles, began in 1896 with Prima, prefaced by Hasdeu.
Lecca attained superior technical quality when it came to meter ("impeccable", according to Mora),[24] but even his skill was panned by Iorga, who noted that Lecca had "nothing to surprise us with in his rhymes or rhythms".[38] Lecca was appreciated by critics in his 1890s context, winning the Romanian Academy's V. Adamachi Prize in 1898,[5][24] and a Bene Merenti medal, conferred by King Carol I, in 1899.[39] While Ilarie Chendi protested against Lecca's "deranged inspiration", he qualified his verdict by insisting that it was nonetheless the inspiration of a "refined artist".[38] Inspiring in turn fellow authors such as Alexandru Toma,[40] Lecca's poems were held in high regard by Hasdeu. Although he initially rejected Lecca as a mere "imitator",[41] he welcomed him at his Editura Socec salon, where Lecca met Radu D. Rosetti, Cincinat Pavelescu, Ludovic Dauș, and the more senior George Ionescu-Gion.[22]
As Rosetti reports, Lecca was for a while employed as a regular journalist by Gazeta Poporului, while he himself worked at Țara; the two would jibe at each other using notes and epigrams in each one's newspaper.[42] Lecca was also an amateur draftsman, who contributed 89 vignettes to his own Octava, 18 of which were copied from other artists.[43] He and Hasdeu shared this preoccupation, as well as a passion for the occult, spiritism, and mediumship, with Lecca going into trances, attempting to draw for Hasdeu the "real face of Christ".[44] During such séances, attended by the poet, Hasdeu was inspired to build his folly castle in Câmpina,[45] where he later displayed a group photograph of Lecca, Rosetti and Ovid Densusianu.[46] In January 1899, when Hasdeu created his "Society of the Press", a pioneering writers' syndicate, Lecca, Ascanio and Chendi were among the founding members.[47]
Being heavily indebted to
Rise to fame
Lecca became a staff dramaturge for the National Theater by 1900,[54][55] and, according to actor Petre I. Sturdza, was superlative as a translator of verse drama, though "not so much of a poet".[56][57] In May 1900, the satirical poet Vasile Dumbrăveanu referred to him as a "loser", noting that he was driving the National Theater into debt.[54] The Convorbiri Literare editors—and ultimately their literary society, Junimea—came to regard Lecca as an occasional ally, despite his debut with their rival Hasdeu.[58] In the same magazine, Dumitru Evolceanu published in 1896 an essay which gave appreciation to Lecca as a poet, but his verdicts were ridiculed by fellow Junimist Duiliu Zamfirescu.[59] Eventually, Lecca remained with the ideologically incompatible Literatură și Artă Română, as its "playwright par excellence", then with its partial successor, Revista Idealistă.[60]
"The most productive auteur of the time",[61] he produced a long string of plays: Tertia. Casta diva ("Tertia. Chaste Goddess", 1899); Quarta. Jucătoriĭ de cărțĭ ("Quarta. Card Players", 1900); Quinta. Suprema forță ("Quinta. The Force Supreme", 1901); Septima. Câiniĭ ("Septima. The Dogs", 1902); Cancer la inimă ("Cancer of the Heart", 1903).[5][62] Another work, published in 1904 (and again in 1905),[43] was titled I.N.R.I—sometimes described as a poem,[21] it is in fact a Gospel-themed scenario,[63] and features his "spiteful address to mankind".[64] According to literary historian Mircea Popa, the series contains little of artistic value, featuring characters with unclear psychological states and plots not always sufficiently endowed with motive.[5] His actor friend Livescu nevertheless recalled that they enjoyed success at the National Theater, in particular Quarta, which starred Aristide Demetriade and "included no banalities or filler".[65] Upon rediscovering the play in 1933, critic Barbu Lăzăreanu upheld Lecca as the "master of incisiveness"—Quarta's second act is almost entirely constructed from quick exchanges around the poker table.[66] Similarly, the impresario M. Faust-Mohr reminisces that Quarta and Quinta were commercial hits on their first staging.[67] The latter, contrasting a cynical seducer to an idealistic lady,[68] won Lecca another Adamachi award, in 1901.[69] Hoping for international success since at least 1900,[19] Lecca had the play translated into Hungarian and French.[70]
Many of the plays veered from social into political commentary, progressively influenced by the schools of
Iorga found his a literature about "
1900s scandals
Around 1900, Lecca was under contract with
Lecca had quarrels with critic Mihail Dragomirescu, who maintained that he was a nonentity (although he conceded that Lecca wrote good dialogue).[88] His staunchest defenders include Apostolescu, who analyzed Lecca in studies of comparative literature,[89] and dramatist Victor Anestin, who proclaimed (controversially so) that Lecca stood above Ion Luca Caragiale.[90] In 1902, the Symbolist doyen Alexandru Macedonski reported that Caragiale saw his cousin as culturally irrelevant, deeming his plays as "attempts, but not literature."[91] According to Florea: "A strange figure, interesting for its epoch, regarded as an arbiter of elegance, 'the man of extremities and extremes', [...] Haralamb Lecca [was] either indignantly repelled or eulogized, with sympathies and antipathies bearing the same seal of disproportionate partiality."[51]
Driven by material needs and his pedagogical principles, the writer, using the pseudonym "Sybil", took up roles in his own plays—although, Livescu recalls, "he had no talent for this".
Immediately after,
Having obtained a government position as deputy director of theaters, then also inspector general of theaters,
Marginalization and return
Lecca's threat to Eliade, that he would no longer allow his own work to be performed in Bucharest, was taken seriously by its recipient, who effectively banned him from setting foot the National Theater.[111] However he was again employed in December, when he prepared a stage version of Arthur Conan Doyle's Final Problem, published as a book in 1915.[112] Over the following months, Lecca also pursued engagements abroad, his Quinta taken up by Italia Vitaliani's troupe in Florence (March 1909). Although Lecca and the Romanian press claimed it was a hit, critic Mario Ferrigni called it "useless and absurd torture", concluding that Lecca was "one giant prankster".[113] At around that time, Septima was performed at the National Theater Sofia, Kingdom of Bulgaria, opening to poor reviews in Savremenik magazine.[4]
His other translation work, published independently, covered prose: in 1904, texts by Camille Flammarion; in 1908, Maurice Maeterlinck's Intelligence of Flowers, Guy de Maupassant's Une vie, Henryk Sienkiewicz's Quo Vadis and Hermann Sudermann's Tale of the Idle Millstone; in 1909, book two of Gulliver's Travels.[5][114] The same year, he joined the Romanian Writers' Society, then under the presidency of Mihail Sadoveanu.[47][115] He also put out his translation of Boule de Suif, much criticized by Mihai Codreanu for failing to render Maupassant's meanings and turns of phrase, a "perseverance in bad translation."[116]
At around that time, Lecca married Natalia Botezat,[117] with whom he lived for a while in Bârlad.[49] His move there was announced on July 13, 1911.[118] That year, Lecca rendered into Romanian Jules Verne's Around the World in Eighty Days,[119] while his earlier work inspired Zicu Araia, who adapted his Romanian Enoch Arden into Aromanian.[120] Returning the same year with the retrospective Poezii ("Poems"),[5][121] he was described by Viața Romînească as having "some skill", as opposed to his generation colleague, Rosetti, who was "untalented". They both were prominently featured by Luceafărul, which, the chronicler noted, was "exaggerated" for poets of such status.[122] Facla, the more left-wing Symbolist review, was more categorical, describing Lecca as "overreaching and trite".[123]
Lecca also contributed the political essays and conferences in Noi, Românii ("Us Romanians"), where he attacked the mores and psychology of his era. Lecca pined for what he saw as better days, referring to the cultural work of Hasdeu, George Ionescu-Gion, and psychologist Nicolae Vaschide, whose work he introduced for the public.[124] In part written as a satire, Noi, Românii attacked particular social groups: Transylvanian immigrants, for "posing as martyrs" and "bit by bit [...] form[ing] their own state within the state"; state employees, for being "somnolent" and interested in social gatherings more than actual work; and amateur actors, for "dishonor[ing] the work" of professionals.[124] His hostility for amateurs was shared by Livescu, who notes that Quarta was being "mutilated" by a company in Pitești, which reduced the number of roles from "a great number" to "seven–nine".[125]
Such fragmentary memoirs, admired by Florea for their "moving portrayal of Hasdeu", were nevertheless dismissed in 1913 by chronicler
Under contract with Alexandru Davila, who managed a private company of actors, he acted in his versions of La Femme de Claude,[35] and Henri Bernstein's Le Détour. Reviewing the latter for Adevărul, Emil Fagure argued that Lecca (billed as "Câmpinaru") was "very witty" in his portrayal of Cyrill, who "fits him wonderfully."[128] He also began working with actress and manager Marioara Voiculescu, translating for her Leopold Kampf's On the Eve.[129] In October 1912, Lecca appeared in Romain Coolus' Cœur à cœur, though, according to reviewer Al. Cobuz, he only provoked unintentional laughter: "his voice was coarse and not modulated, his gesturing abrupt and rough."[51] The two directors had already had a major row over Filotti's contract,[130] and the collaboration between them did not last long, with Davila becoming one of Lecca's "violent critics".[131]
Wartime, illness, and death
Ahead of the Balkan Wars, Lecca was recalled into active service at Bucharest Arsenal,[16] then eventually under arms. He participated in the 1913 expedition to Bulgaria, and published a memoir of his experience—this was strange, according to Iorga: "few expected [Lecca] to be interested in such topics".[132] Titled Dincolo ("Beyond"), it was dismissed with a pun by Opinia: "Sure enough, talent is beyond the scope of Mr Lecca's work."[133] By then, interested in the emerging Romanian school of cinema, had also been working on a screenplay the "peasant drama" Răzbunarea ("Revenge"). The eponymous film, produced by Leon Popescu[134] and starring Voiculescu, premiered upon Lecca's return to Bucharest, in June 1913. A scandal ensued, when Mihail Sorbul of Seara noticed that Lecca had plagiarized from his recently deceased uncle, Caragiale, rehashing Năpasta with only minor changes of names and settings.[134][135] Together, Lecca and Voiculescu wrote a film version of Fédora, first shown in a private screening around the same time as Răzbunarea—postponed by Popescu's furious withdrawal from the project, its release came in 1915.[136]
In 1914, Lecca published versions of Père Goriot by Honoré de Balzac and Jack by Alphonse Daudet, as well as working on Giovanni Boccaccio's Decameron (published after his death, in 1926).[5][137] Around 1915, he released another work in drama, Zece monologuri ("Ten Monologues").[43] He returned to the National Theater Bucharest, where Tertia was again performed that year,[138] while also working on staging and adapting Ilderim, by Carmen Sylva and Victor Eftimiu (premiered March 1916).[139] In July 1916, shortly before Romania's declaration of war, he ran for the presidency of the Writers' Union, but lost to his old Junimea rival, Duiliu Zamfirescu.[140]
Subsequently, during the campaigns of World War I, Lecca was a Captain of the Ammunition Department in the 22nd Division,[16] which withdrew with the rest of the army into Western Moldavia. Also during that interval, a revue of his, Dandanaua ("The Mishap") was being staged by Maximilian in German-occupied Bucharest—it was cancelled after reports that it was mocking the occupiers.[141] While recovering at Podu Iloaiei in winter 1916, Lecca showed signs of a debilitating illness (sometimes described as a war injury),[142] confessing to Ludovic Dauș that he was slowly dying, but still hoping to find a miracle cure. Decommissioned in summer 1917, he was living in Iași, with Natalia Lecca as his nurse.[22] Among his last works was another volume of poetry, Simpla ("The Simple One").[21] Almost completely paralyzed in 1918, he continued to be conscious and responsive although, as Iorgulescu recalls, he was socially dead.[35]
Upon the end of the war, his writing was no longer considered relevant. As poet and critic Benjamin Fondane argued in 1921: "It took Haralamb Lecca ten years to realize how much his art was fake."[143] While a noted influence on comedies by A. de Herz,[144] Lecca was, according to Florea, "forgotten even before he stopped writing"—this, "even though the history of Romanian drama at that particular moment cannot abstract him. [...] Lecca's writing for the stage opened the way for urban-themed drama."[51] He died on March 9, 1920, at his home in Bucharest (on Strada Suvenir, No 9); his brother Octav was present.[145] He was buried at Bellu Cemetery, in Plot 92b,[142] with no cultural official on show.[146] By the 1930s, his tomb was untended, the marble plaque on it having cracked.[147]
Legacy
In 1933, at Caracal, Lecca's fellow citizens put up his bust, sculpted by Ioan C. Dimitriu-Bârlad.[148] This reverence contrasted with his posthumous decline in literary importance. Sturdza argued that, "of all that Lecca wrote—in verse and drama—, and he wrote a lot for his day, today [in 1940] nothing endures, not even in the memory of his own generation."[56][57] In 1921, his rendition of Hero and Leander, at Regina Maria Theater, played to an "almost empty" venue, despite starring Tony Bulandra.[149] Quinta, also at Regina Maria (with Bulandra and wife Lucia Sturdza), still enjoyed success and, critic Paul I. Prodan noted, would still be relevant "for as long as social laws remain the same."[150] According to Aderca, it was still well-liked only because "tearjerkers and lampoons [...] always will enjoy great success among the masses." Lecca, he notes, had "the prestige of the recently deceased".[79] Also in the 1920s, an attempt to stage I.N.R.I failed, due to opposition from both the Romanian Orthodox Church (who found it blasphemous) and critics such as Garabet Ibrăileanu (who raised aesthetic objections).[63] Mora claimed in 1929 that "the time shall come for the work of Haralamb Lecca [...] to impose itself".[24]
In 1930, Rosetti also proposed that Lecca's plays be revived "with today's actors, costumes, techniques", and that Casta-Diva be reprised by the Bucharest National Theater.[151] As noted in 1936 by playwright Mihail Sebastian, plays by Lecca and Emil Nicolau had been revived and were routinely staged by Bucharest theaters. This lack of comparable, more recent, plays, meant that Lecca was "a classic against his will."[152] In a 1942 column, writer Alexandru Kirițescu suggested that Ioana, one of Dauș's newer works for the stage, was needlesly prolonging Lecca's brand of "salon drama", a genre that "requires neither observational skill nor wit".[153]
Notes
- ^ a b C. D. Fort., "Recenzii. Cărți. Antologia poeților olteni, de I. C. Popescu-Polyclet", in Arhivele Olteniei, Nr. 45–46/1929, p. 546
- ^ a b "Noutăți. Știri literare", in Unirea. Foaie Bisericească-Politică, Nr. 28/1907, p. 253
- ^ Iorga (1934), p. 97
- ^ a b Elena Siupiur, "Rapports littéraires roumano-bulgares entre 1878–1916", in Revue Des Études Sud-est Européennes, Nr. 4/1972, p. 704
- ^ ISBN 973-697-758-7
- ^ Botar & Tîlvănoiu, p. 51; Călinescu, pp. 592, 1008; Florea, p. 955; Țilică, pp. 30–31
- ^ Țilică, p. 29
- ^ Țilică, pp. 29–30
- ^ Țilică, pp. 30–31
- ^ George Potra, Petrache Poenaru, ctitor al învățământului în țara noastră. 1799–1875, pp. 12, 214. Bucharest: Editura științifică, 1963. See also Țilică, p. 30
- ^ Călinescu, p. 445; Șerban Cioculescu, "Caragiale și Eminescu", in Revista Fundațiilor Regale, Nr. 10/1938, pp. 11–12
- ^ Botar & Tîlvănoiu, pp. 51, 52. See also Țilică, p. 30
- ^ Botar & Tîlvănoiu, p. 56; Călinescu, p. 1008; Țilică, pp. 30–31
- ISBN 973-29-0018-0
- ^ Botar & Tîlvănoiu, p. 51; Florea, p. 955
- ^ a b c Botar & Tîlvănoiu, p. 56; Călinescu, p. 1008
- ^ Călinescu, pp. 592, 1008; Florea, pp. 955, 956
- ^ Botar & Tîlvănoiu, p. 51; Florea, p. 955; Țilică, p. 30
- ^ Familia, Nr. 3/1901, p. 33
- ^ Botar & Tîlvănoiu, p. 51
- ^ Universul Literar, Nr. 36/1929, p. 363
- ^ Universul Literar, Nr. 36/1929, p. 363
- ^ Botar & Tîlvănoiu, p. 51; Florea, pp. 941–942, 955; Țilică, p. 30
- ^ Universul Literar, Nr. 36/1929, p. 362
- ^ Iorga (1934), p. 11
- ^ (in Romanian) Simona Chițan, "Ieri și azi: Literarul, prin filele vremii", in Adevărul Literar și Artistic, April 19, 2011
- ISBN 973-577-159-4
- ^ Botar & Tîlvănoiu, p. 53; Dragomirescu, p. 52; Florea, pp. 955, 958; Iorga (1934), p. 44
- ^ Nicolae Iorga, Tennyson (conferință la Societatea Anglo-Română), pp. 12, 14. Vălenii de Munte: Așezământul Tipografic Datina Românească, 1939
- ^ a b Angheluță et al., p. 46
- ^ Angheluță et al., p. 45; Botar & Tîlvănoiu, p. 51; Florea, pp. 955–956; Livescu, p. 163; Rosetti, p. 95
- ^ Călinescu, pp. 592, 1008; Florea, p. 956
- ^ Călinescu, p. 592
- ^ Rosetti, p. 101
- ^ a b c Mihail Iorgulescu, "Cronica dramatică. Haralamb Leca", in Sburătorul, Nr. 51/1920, pp. 566–568
- ^ (in Romanian) Adrian Jicu, "Un model de critică științifică: H. Sanielevici", in Cultura, Nr. 70, May 2007
- ^ Florea, p. 956
- ^ a b Florea, p. 956; Iorga (1934), p. 138
- ^ "Parte oficială. Ministerul cultelor instrucțiuneĭ publice", in Monitorul Oficial, No. 174, November 4/16, 1899, p. 6010. See also Rosetti, p. 97
- ^ Eugen Lovinescu, Istoria literaturii române contemporane, II. Evoluția poeziei lirice, p. 160. Bucharest: Editura Ancona, 1927
- Editura Academiei, 1968
- ^ Rosetti, pp. 95–96
- ^ a b c d Angheluță et al., p. 45
- ^ Cincinat Pavelescu, "Mărturisiri", in Revista Fundațiilor Regale, Nr. 3/1942, pp. 525–626
- ^ Octav Oncea, "B. P. Hașdeu și Octav Băncilă", in Hierasus, Vol. 10, 1997, pp. 318–320
- ^ a b Apostolescu, p. 197
- ^ a b (in Romanian) Cassian Maria Spiridon, "Secolul breslei scriitoricești", in Convorbiri Literare, July 2012
- ^ Ion Sân-Giorgiu, "Spiritul german în literatura română", in Revista Fundațiilor Regale, Nr. 4/1941, p. 127
- ^ a b c Botar & Tîlvănoiu, p. 53
- ^ a b c Florea, p. 958
- ^ a b c d e f Florea, p. 955
- ^ "Bibliografii", in Albina. Revistă Populară, Nr. 6/1905, p. 168. See also Angheluță et al., p. 46
- ^ Rosetti, pp. 99–100
- ^ a b Vasile Dumbrăveanu, "Epigrame", in Foaia Populară, Nr. 19/1900, p. 3
- ^ Botar & Tîlvănoiu, p. 53; Florea, p. 955
- ^ OCLC 895492449
- ^ a b Botar & Tîlvănoiu, p. 55
- ^ Dragomirescu, p. 52; Iorga (1934), p. 20
- ^ Eugen Lovinescu, T. Maiorescu și posteritatea lui critică. I: V. Alecsandri, M. Eminescu, A. D. Xenopol, pp. 92–93, 99. Bucharest: Casa Școalelor, 1943
- ^ Dragomirescu, pp. 52–54
- ^ Faust-Mohr, p. 6
- ^ Angheluță et al., pp. 44–45; Botar & Tîlvănoiu, pp. 53–54; Călinescu, p. 1008; Florea, p. 958
- ^ a b Victor N. Popescu, "Cronica Internă. Idei și Fapte. Teatrul religios", in Biserica Orthodoxă Romană. Jurnal Periodic Eclesiastic, Nr. 5–6/1939, p. 371
- ^ Rosetti, pp. 97–98
- ^ Livescu, p. 58
- ^ Barbu Lăzăreanu, "Carnetul nostru. Cartoforii", in Adevărul, October 24, 1933, p. 1
- ^ Faust-Mohr, pp. 12, 23
- ^ Prodan, pp. 146–148
- ^ "Cronica Săptămâniĭ", in Albina. Revistă Enciclopedică Populară, Nr. 27/1901, p. 746
- ^ Tîlvănoiu et al., p. 68
- ^ Florea, p. 958; Iorga (1934), p. 199
- ^ Livescu, p. 62
- ^ Constantin Bacalbașa, Bucureștii de altă dată, Vol. III, pp. 24–25. Bucharest: Universul, 1936
- ^ Livescu, pp. 61–63, 78, 102. See also Faust-Mohr, pp. 41, 57
- ^ Maximilian, pp. 45–46
- ^ Iorga (1934), p. 199
- ^ Iorga (1934), p. 300
- ^ Iorga (1934), pp. 199–200
- ^ a b c Felix Aderca, "Cronica dramatică. Teatrul Regina Maria: Suprema Forță", in Sburătorul, Nr. 8/1921, p. 198
- ^ Florea, pp. 958–959
- ^ Faust-Mohr, p. 12. See also Botar & Tîlvănoiu, p. 54
- ^ Botar & Tîlvănoiu, pp. 53–54; Faust-Mohr, p. 41
- ISBN 978-606-572-000-8
- ^ Botar & Tîlvănoiu, p. 53; Straje, pp. 153, 392
- ^ Livescu, p. 34
- ^ Dragomirescu, p. 98; Straje, p. 392; Țilică, p. 30
- ^ Lovinescu (1926), p. 251
- ^ Florea, p. 958. See also Dragomirescu, pp. 54–56
- ^ Lovinescu (1926), pp. 201–202
- ^ Florea, pp. 958, 959
- ^ Adrian Marino, Alexandru Macedonski, "Pietre de Vad. Idei literare macedonskiene", in Manuscriptum, Vol. VI, Issue 4, 1975, p. 41
- ^ a b c Livescu, p. 63
- ^ Tîlvănoiu et al., pp. 69–70
- ^ Jorjŭ Delamizilŭ, "Duelul de la Teatrul din Craiova", in Furnica, Nr. 63, November 1905, p. 6
- ^ a b Sandu Teleajen, "Teatrul Național din Iași", in Boabe de Grâu, Nr. 11/1932, p. 552
- ^ Remus Zăstroiu, "Orașul Iași la 1900. O perspectivă culturală", in Philologica Jassyensia, Vol. IV, Issue 2, 2008, p. 273
- ^ Filotti, pp. 69–71
- ^ Rosetti, p. 97
- ^ "Litere-Științe-Arte", in Opinia, September 26, 1907, p. 2
- ^ Botar & Tîlvănoiu, p. 53; Filotti, p. 71; Livescu, pp. 62–63; Nae Saltinbancu, "Știri. Teatrale", in Furnica, Nr. 119, December 1906, pp. 10–11
- ^ Maximilian, p. 131
- ^ Tîlvănoiu et al., pp. 79–80
- ^ Virgil Tempeanu, "Agata Bârsescu și Franz Grillparzer. Traducătorii români ai lui Grillparzer", in Preocupări Literare, Nr. 8/1941, p. 322
- ^ Angheluță et al., pp. 45–46; Călinescu, p. 1008
- Universul Literar, Nr. 45/1913, p. 6
- ^ Barbu Theodorescu, "Teatrul francez în România", in Revista Fundațiilor Regale, Nr. 2/1940, pp. 332, 345
- ^ Florea, p. 955; Țilică, p. 30
- ^ Coco, "Dac'ar renviea Christos?", in Furnica, Nr. 189, April 1908, p. 3
- ^ Livescu, pp. 95, 138
- ^ Faust-Mohr, p. 127
- ^ Prințul Ghytza, "Sport-petreceri-teatru", in Furnica, Nr. 195, June 1908, p. 6
- ^ Angheluță et al., p. 45. See also Florea, p. 958
- ^ Eugen Porn, "Noutăți. 'Succesele' D-lui Haralamb G. Lecca în Italia", in Noua Revistă Română, Nr. 24/1909, p. 370
- ^ Angheluță et al., p. 46; Călinescu, p. 1008
- ^ "Cronică. Constituirea Societății scriitorilor români", in Luceafărul, Nr. 19/1909, p. 443
- Viața Romînească, Nr. 9/1909, pp. 468–469
- ^ Călinescu, p. 592; Florea, p. 955
- ^ "Renseignements utiles. Déplacements et villégiatures des abonnés de Gaulois", in Le Gaulois, July 13, 1911, p. 4
- ^ Angheluță et al., p. 46. See also Botar & Tîlvănoiu, p. 54
- ^ (in Romanian) Florin Faifer, "Samarineanul", in Convorbiri Literare, December 2003
- ^ Angheluță et al., p. 46; Florea, p. 956
- Viața Romînească, Nr. 12/1911, p. 491
- ^ Remus Zăstroiu, "Elemente de critică literară în periodicele socialiste dintre 1900 și 1916", in Anuar de Lingvistică și Istorie Literară, Vol. 18, 1967, pp. 143–144
- ^ a b Apostolescu, pp. 197–198
- ^ Livescu, p. 186
- ^ Angheluță et al., p. 45; Călinescu, p. 1008; Florea, pp. 956, 958
- ^ Botar & Tîlvănoiu, pp. 54–55; Rosetti, p. 96
- ^ Emil Fagure, "Cronica teatrală. Teatrul Modern.—Pentru întâia oară: 'Înconjurul', comedie în 3 acte de Henri Bernstein, tradusă de d. H. G. Lecca", in Adevărul, September 20, 1912, pp. 1–2
- ^ Emil Fagure, "Cronica teatrală. Teatrul Modern.—Compania Marioara Voiculescu — Deschiderea stagiunei: Seara de pomină, dramă în 3 acte de Leopold Kampf, tradusă de d. H. G. Lecca", in Adevărul, September 15, 1912, pp. 1–2
- ^ Filotti, p. 70
- ^ Florea, pp. 959–960
- ^ Iorga (1934), p. 248
- ^ "Mici polemici", in Opinia, December 4, 1913, p. 1
- ^ a b (in Romanian) Ștefan Oprea, "Trei Năpaste cinematografice", in Convorbiri Literare, July 2012
- ^ (in Romanian) Călin Căliman, "'Scenaristul' Caragiale", in Contemporanul, Nr. 6 (723), June 2012, p. 34
- ^ (in Romanian) Călin Stănculescu, "Scriitori străini în lumea filmului românesc", in Viața Românească, Nr. 9–10/2010
- ^ Călinescu, p. 1008. See also Angheluță et al., p. 45
- Universul Literar, Nr. 36/1915, p. 7
- ^ George Ranetti, "Piesa Reginei", in Furnica, Nr. 30, March 1916, p. 2
- ^ (in Romanian) "Duiliu Zamfirescu — pagini de corespondență", in România Literară, Nr. 23/2015
- ^ Maximilian, p. 209
- ^ a b Botar & Tîlvănoiu, p. 56
- ^ B. Fundoïanu, "Par delà les frontières. Roumanie: un siècle de théâtre", in Choses de Théâtre, Vol. I, 1921–1922, p. 227
- ^ Victor Eftimiu, Fum de fantome. Evocări, p. 61. Bucharest: Editura Casei Școalelor, 1940
- ^ Botar & Tîlvănoiu, p. 56; Călinescu, pp. 592, 1008
- ^ Rosetti, p. 94
- ^ Gheorghe G. Bezviconi, Din alte vremi. Articole, p. 13. Bucharest: Tipografia Litera, 1940
- ^ "Oltenia culturală. Din Caracal", in Arhivele Olteniei, Nr. 69–70/1933, p. 426; "Desvelirea monumentului lui Haralamb G. Lecca" in Ilustrațiunea Română, Nr. 45/1933, p. 12. See also Rosetti, pp. 93–94
- ^ Felix Aderca, "Cronica dramatică. Teatrul Regina Maria: Hero și Leandru", in Sburătorul, Nr. 16/1921, p. 388
- ^ Prodan, pp. 145–146
- ^ Rosetti, pp. 101–102
- ^ Mihail Sebastian, "Notă despre literatura dramatică", in Revista Fundațiilor Regale, Nr. 9/1936, pp. 679–680
- ^ Alexandru Kirițescu, "Viața Teatru. Cronica teatrală. Studio: Ioana, piesă în 3 acte de Ludovic Dauș", in Viața, October 19, 1942, p. 2
References
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