Cultural and linguistic communication

MIHAI EMINESCU’S GENIUS IN LITERARY CRITICISM

Ludmila BRANIŞTE1

1Associate Professor, PhD, „Alexandru Ioan Cuza” University of Iasi, Corresponding author: [email protected]

Abstract term was understood as “the spiritual principle The work of a , representative of the culture of a of a body”; thus, the man was supposed to be nation, is always likely to prompt quite a few varied living under the protection of his own genius. In analytic and interpretative studies since his artistic writings old texts the notion is also used with the meanings “say” something essential and inexhaustible. ’s genius proved to be an inexhaustible ferment of “a spirit of places” and “a tamer of bad of questioning and reflection. He is surrounded by a large influences”. According to Horace (“Epistles”), number of points of view, including the distinctive and the difference between two brothers is integrative-generalizing approaches as well as unilateral, conditioned by the difference of their geniuses. schematic and declarative rather than truly demonstrative ones. After a brief history of numerous efforts to define the Thus, the notion is meant to be a distinctive notion of genius (from the Antiquity until the modern feature of a person. Cicero stated that the genius times), limiting it to the field of literary theory and critics, is a gift; due to it the man is related to gods. In this study discusses the critical assessment by T. Maiorescu, C. Dobrogeanu-Gherea, C. Topovici, Edgar Papu, T. Vianu the case of mythical Orpheus the notion acquires and George Munteanu. A special attention is fairly given the meaning of “a divine poetic talent”. The to the ample critical summary by G. Călinescu (Works by Greek culture also produced a notion close to Mihai Eminescu, vol. I, II), the highest level of assessment that of the genius – a polysemantic word daimon as far as the interpretative and argumentative structure is concerned; it manages to penetrate into the depths of the with the meaning of a special spiritual entity, like unique aesthetic identity seen as a confession of the an interior voice of conscience, presupposing spiritual and artistic vocation of the Romanian people. “fate” and “destiny”. Let us adduce Eminescu’s Keywords: genius, identity, critic formula, bohemian verse from “Satire V”1. spirit, rusticity, analytic substantiality, interpretation. Here the manly love is an expression of a Mihai Eminescu entered in the national and dramatic anxiety of the interior demon which universal self-consciousness as a personality of provokes desires and passions. a paramount importance. His creative effort and Another notion appearing in antiquity is that enormous sacrifice in order to obtain an authentic of inspiration – a supernatural state of spirit. artistic value provide him a place among the Plato calls it “poetic enthusiasm” which occurs geniuses of the world. due to the active presence of a god in the process From the days of his life until now, as any of creation. In his theory on poetic inspiration exceptional personality, Eminescu has always Plato associates it with a kind of delirium which awakened the interest of his admirers and the is provoked by muses when they capture ’ curiosity of scholars in the literary field; they souls and create the state of enthusiasm. were overwhelmed by the idea of deciphering The Middle Ages, hostile to individuality, his work and his mysterious soul. He has been could not encourage the flourishing of personality. studied through the prism of various theories Plato’s idea of genius remains the dominant one; and concepts for more than a century. The ’s however, the spirit which captures a poet work and personality, recognized as the supreme acquires negative connotations. embodiment of a creative spirit, was analyzed The Renaissance – the epoch of the awakening from the point of view of various theories on of human personality and the affirmation of its genius. capacities – offers the type of a universal man The word genius comes from the Latin genius with a vast knowledge in various fields. The which means “generator, creator”. Initially, the superior man is a complex personality gifted by

300 Volume 5 • Issue 4, October / December 2015 • International Journal of Communication Research MIHAI EMINESCU’S GENIUS IN LITERARY CRITICISM

nature. The personality of Leonardo da Vinci to ideals. Thus, the impression of indifference, the enriches the notion of genius with new lack of practical sense, the detachment and the characteristics. Those formulated by Plato are solitude generate the myth of an unhappy “young amplified with the power of observation genius” that appears in Germany. The artist with (Leonardo da Vinci creates by studying nature a superior vocation cannot have another fate than rather than by imitating the Antiquity), technical a tragic one in this world. The reminiscences of inventiveness, capability, novelty and these theories occur both in Eminescu’s works uniqueness. and in studies on the poet’s creations. In the article Instead of the Hellenic enthusiasm and the “Eminescu and his poems” T. Maiorescu presents Latin inspiration, Giordano Bruno introduces the him as an illustration of Schopenhauer’s theses, notion of poetic fury (furor poeticus). Bruno’s discussing a typical portrait of the “impersonal superior man has quite a few aspects in common rise” of a poet. with Eminescu’s concept of man. His lyrical hero According to the study mentioned above, the is disgusted by anything; it is a rebel spirit which features of a genius include contradiction rises with the help of the poetic fury above between the poet and the conventional world, human mediocrity and evil. In one of his sonnets, melancholy, childish naivety, predestination, G. Bruno reveals the idea of the sacrifice of a indifference, etc. Captured by the thinker who suffers because of his own mighty ideal world, being in love with the eternal gift. There is also a curious prediction of the poet prototypes, he rejects the imperfect reality trying and philosopher’s fate which lead him to the fire; to find refuge “in a world which is more suitable the same motives can be found in Mihai for him, the world of reflections and poetry” Eminescu’s “Satire I” and “Satire IV”2. (translation by L. Branişte) (Maiorescu, 1889). The decline of the Renaissance and the period Analyzing love lyrics and poems about nature, of French classicism laid the concept of genius C. Dobrogeanu-Gherea demonstrates that the aside for some time. The precepts of Aristotle are foundation of Eminescu’s character consists in revived. As for the poetic creation, the spirit is optimism and realism rather than pessimism considered to be directed by human mind rather (Dobrogeanu-Gherea, 1967), thus imposing than by genius. The poetic creation is identified another image of the poet’s personality. The with skillful application of rules. It goes without relation between optimism and pessimism with saying that these concepts could hardly be the dominance of one of the two attitudes, consonant with Eminescu’s ideals. together with their reconciliation or opposition, As far as the modern epoch is concerned, it is which gave birth to the largely discussed characterized by subjective idealism, the contradictions typical of the poet’s works and philosophy of the universal spirit by Kant, Fichte personality, was perpetuated in the majority of and Hegel, the model of a superior man suggested the interpretations of Eminescu’s writings. by Schlegel brothers, etc., the model of The post-Eminescu period is characterized by the Romantic genius defined, first and foremost, a great admiration for the poet that can be by the visionary power of fantasy. The contents accounted for by both his tragic and untimely of the Romantic art is regarded by Hegel as a death and his original works. Even though they reaction to the classicist strictness, whereas at the were understood partially and superficially, they social level it is a reaction to the consolidation of produced a strong impression upon the majority the bourgeois regime. of the contemporaries, first and foremost, due to As far as romantic aesthetics is concerned, their sonority, musicality and rhythm. A number true poetry is a product of genius and poetic of contemporaries judged him by appearance inspiration. Such an artist cannot follow narrow and accidental manifestations that in some aesthetic rules and social conventions of the time; interpretations were considered to be dominant this causes a discord with the world. In the in the poet’s spirituality. This leads to the atmosphere of egoism and horrible customs of elimination of the individual traits, the creation the developing capitalism the genius appears to of a mysterious atmosphere around the poet and, be totally disinterested – a dreamer aspiring only finally, the falsification of his moral profile.

Volume 5 • Issue 4, October / December 2015 • International Journal of Communication Research 301 Ludmila BRANIŞTE

At the beginning of the 20th century Eminescu’s discussion can partially be distinguished, as we spirituality was considered in new decadent see it, from the theory of the “impersonal rise” theories by C. Lombroso and S. Freud presenting by T. Maiorescu. Even though the poet lived in dubious arguments as far as genius is concerned. concrete circumstances, he still remains within According to C. Lombroso’s theory, genius is a the parameters of the notion of genius which is sign of mental disorders, or, if referred to a referred to by the famous biographer. The image person, a “superior degenerate”. Following these of a “healthy idler” whose agitation will result ideas, C. Vlad, N. Zaharia etc. attempted to show in “his talent and imagination later revealing in the hereditary character of Eminescu’s illness him a great poet of nature” (translation by L. and to equalize “madness” and “its product” – a Branişte) (Călinescu, 1973) appears at the very work of art. The authors under discussion arrive beginning of this new edition. At first, the at an absurd conclusion: Eminescu was a genius rusticity of the adolescent Mihai does not rise due to an illness which ruined him. These questions; he facilitates the biographer’s tendentious and discreditable interpretations intentions to remake the image of a “precocious were completely and eloquently disproved by madman” and a “pallid lonely troubadour”. further studies. The works by T. Vianu However, later on these two qualities are even (“Eminescu’s poetry”) and G. Călinescu (“Mihai more stressed: Eminescu’s genius is declared and Eminescu’s life”, “Mihai Eminescu’s works”) illustrated by his works, whereas the rusticity is took part in the process of the demystification of sometimes rather far-fetched. The difficult Eminescu’s personality, as well as that of an situation which Eminescu faced in – the poet objective scholarly research on the poet’s works. ate what he could and slept where he managed G. Călinescu’s study focuses upon the to – is explained, for example, by the fact that the presentation of a true living poet, energetically poet was “a young man accustomed to the rejecting some offensively exaggerating legends elements of nature; a healthy and primitive according to which Eminescu became the rustic” (translation by L. Branişte) (Călinescu, prototype of all human talents and virtues after 1973), thus avoiding the real cause of the situation his death. G. Călinescu managed to impose a revealed by Augustin Z. N. Pop by means of grand Eminescu as a universal genius dominated documentary evidence. by the romantic and naturist vision, a giant in The poet’s rusticity, instinct and predilection comparison to Maiorescu’s model, on both his for all that is natural can hardly be denied. contemporaries and the posterity by means of a However, the biographer’s intentions to detailed study of the works published both substitute any kind of determinism with these during Eminescu’s life and after his death, with three characteristics (thus leaving room for the research based upon numerous documents. intuitive interpretations) is unacceptable. As for A sometimes spontaneous and intuitive way of the external aspect of Eminescu’s biography, interpretation could hardly enable the scholar to Călinescu’s interpretation allows us to follow the eliminate the idealist appreciations which had poet’s movement in time and space; at the same appeared earlier. A congenial bohemian spirit time, the analysis of the internal life of the poet, and the exaggeration of the so-called naturist according to O. Crohmălniceanu’s statement, principle form the basis of Eminescu’s biography “always remains the history of a genius published in 1932. A new edition of the poet’s condemned to fulfill his tragic destiny in the biography, improved due to a supplementary “narrow circle” of the contemporary world” documentation and reevaluation of some (translation by L. Branişte) (Crohmălniceanu, attitudes, came out in 1964; this time it manages 1964). to clarify quite a number of moments related to By analyzing M. Eminescu’s works, G. the interior world of the genius. Сălinescu demonstrates why Luceafărul is a In G. Călinescu’s opinion, “genius is a person masterpiece of our poetry and how much it who is distracted from the everyday life and contributed to the enrichment of the thesaurus lives his symbolic existence” (translation by L. of the national and world literature. The critic Branişte) (Călinescu, 1978). The idea under brings to the limelight the poet’s aspirations to

302 Volume 5 • Issue 4, October / December 2015 • MIHAI EMINESCU’S GENIUS IN LITERARY CRITICISM grandeur, his great power of imagination and an a certain concrete reality without rejecting other unusual way to see nature. In V. Popović’s aspects of his spirituality. opinion “life unfolds within an intellectual game, Engaging himself into the analysis of in a world created by the mind where things are Eminescu’s creation through the prism of different from those in real life” (translation by aesthetic categories, M. Cimpoi does not avoid L. Branişte) (Popović, 2014). On the other hand, the poet’s relations with the society, a concrete the naturist principle provides G. Сălinescu with social milieu in which he lived. The reputable the idea of regress, union with nature and critic affirms that “even though Eminescu Everything, by means of sleeping, self-discipline touched upon so many philosophic themes and and dreams which “embody the last stage of the motives.... the starting point of his poetry always conversion towards the absolute Spirit” was his native land, as well as some concrete (translation by L. Branişte) (Călinescu, 1969). social relations by which he was surrounded” Somnolence is considered to be the essence of (translation by L. Branişte) (Cimpoi, 1986). As for Eminescu’s works. Such interpretation leads to the relation between the real and the imaginary, regarding quite a few Eminescu’s symbols (such M. Cimpoi finds “both metaphysical and social as island, lake, sky, moon etc.) as the symbols of roots of Eminescu’s spirit” (translation by L. narrowing the cosmic consciousness and Branişte) (Cimpoi, 1986). disappearing in nonexistence. The sense of The decline of Eminescu’s opinions based on futility, ataraxia and disindividualization the civic enthusiasm (C. Popovici) and reaching total indifference that are based upon undifferentiated patriotism (I. Kojevnikov) is the aspiration towards the universal reintegration determined by some real and concrete factors present another coordinate of Eminescu’s (the defeat of the , social injustice, writings – death. Between these two coordinates miserable living conditions, and noxious moral of the instinctive nature – birth and death – G. and philosophic influences). In M. Cimpoi’s Călinescu places the third one – love. essay “Narcis and Hyperion” which brings to the In what follows G. Călinescu regards Eminescu limelight the idea of “reflecting yourself in your as “the fundamental poet of birth and death. own thinking” (Cimpoi, 1986) Eminescu initially There is the only elementary way of existence shares the beauty of reflection; later on his “magic between these two – it is love. However, Eminescu mirror” gradually turns into “a black bruise” in is a philosopher of nature and instinct; it is only which “thinking crushed by the social natural that he will not go down to social love mechanism” is tempted to be also mechanized. relations – he will always preserve his cosmic In course of time the poet “has nothing to do but top-down view looking for an Eros of automatic to sharpen his eye, guess the true identity and coupling, that of promoting a world of illusions prudently keep himself at a distance” (translation between two vain points” (translation by L. by L. Branişte) (Cimpoi, 1986), thus alienating Branişte) (Călinescu, 1970). Finally, according to and secluding himself to the Hyperionian G. Călinescu, Eminescu is a romantic genius who ataraxia and spiritual inspirations, breaking “in general lives under the moon” (translation himself off from “the world machine” and “the by L. Branişte) (Călinescu, 1970). reel of eternity” (translation by L. Branişte) Yet another aspect of Eminescu’s character – (Cimpoi, 1986). his real earthly life – was discussed by C. All that has just been said demonstrates that, Popovici, I. Kojevnikov and other soviet scholars. without rejecting the real causes which In their research they admit social determinism. determined the decline of the poet’s spiritual These interpretations present M. Eminescu as a state, M. Cimpoi stresses the metaphysic aspect romantic poet who “reflected the life of the of his thinking mentioning the fever of searching people oppressed by an unjust order” (Popovici, for the absolute – the fact that alienated him from 2001). I. Kojevnikov states that “it does not matter the “present lacking values” (translation by L. how abstract Eminescu’s thinking was, his poetry Branişte) (Cimpoi, 1986). was always connected with earthly life” A new point of view is also expressed by G. (Kojevnikov, 1979). Thus, Eminescu is linked to Munteanu. His interpretation presents a

International Journal of Communication Research 303 Ludmila BRANIŞTE reflection upon the position of a genius and of “genius will base his power upon a tragic polarity his Hyperionian way of life. The biographer’s of visions, including the representation of a preoccupation is “to diachronically follow the possible, desirable and imaginable harmonious appearance of some inclinations of a hero which order of the world, as well as upon the polarity remain unchanged to a certain extent regardless caused by the contemplation of the actual of the variety of contacts that bring them to the changeability of human condition” (Munteanu, fore” (translation by L. Branişte) (Munteanu, 1973). 1973). Rejecting G. Călinescu’s regard of Eminescu As opposed to G. Călinescu who subtly as a hereditary bohemian, G. Munteanu stresses interpreted the documents, G. Munteanu tends that “it can hardly be understood how Eminescu to use the sociological and psychological could live in such a way and be even more approach, first and foremost concentrating actively involved in his work” (translation by L. himself upon explaining Eminescu’s nature with Branişte) (Munteanu 1973). Eminescu could gain the help of biographic data and his works, in authority among his contemporaries (not order to avoid, as he highlighted, “suffocation in necessarily among a vast number of people) and shapelessly collected documents” (translation by impose his genius which became the dominant L. Branişte). Genius, according to G. Munteanu, of his personality only by means of inhuman is not a meeting point of extremes – it is a unique effort. But he chose to reject all praises and this characteristic, the highest capability to organize was not caused by false modesty or lack of human power of creation. Genius is not recognition of his own value (Mocanu, 2014). considered to be something rigid (as compared The most discussed issue remains that of to Călinescu’s interpretation), but modifying and Eminescu’s double nature. Some biographers developing; as for the biographer, he follows the claim that Eminescu had irreconcilable poet’s interior formation in the context of a contradictions – the results of the poet’s certain social conditions, relations with his metaphysical theory; others distinguish romantic contemporaries and authorities. contradictions. They are sometimes explained as The key moment from which G. Munteanu the contradictions of the epoch in which the poet proceeds consists in the fact that the critic sees lived: for example, M. Cimpoi mentioned “the maturity in Eminescu’s personality – a maturity native predisposition of Eminescu’s self to that anticipates his biological age at all stages of ambivalence”, genius being conceived as “the his life. Thus, the poet’s first love and his point of the junction of contradictions” beloved’s death are considered to be the (translation by L. Branişte) (Cimpoi, 1986). fundamental moments that could produce an Along with the interpretations mentioned impact on his whole life. The first love, as the above, other concepts included the titan biographer states, “prompted an inclination, contaminated with genius (C. Popovici), the titan which used to be latent, to the Orphic perception and genius (M. Călinescu), the cyclical form of of the world in the soul of the 13-year old flux and reflux (E. Papu), and genius asan adolescent”, remaining “Eminescu’s most aspiration towards the absolute (Rosa del Conte important fundamental experience as far as the (Del Conte, 1990)). They demonstrate the exaltation of life and paradises which it implies diversity of the researchers’ visions as well as the are concerned” (translation by L. Branişte) complexity of the poet’s personality which (Munteanu, 1973). The beloved’s death is seen as cannot be included in one single formula, not Eminescu’s “second fundamental experience” matter how vast it might be. “meant” to be opposed to the inclination towards Eminescu incorporated all of them. Each of the Orphic perception of the world – the ecstatic these sides of his personality glittered according and paradisical one, with the gnomism resulting to the circumstances of his personal and public form his doubt as to whether to be or not to be” life. This attention to Eminescu’s genius (translation by L. Branişte) (Munteanu, 1973). In personality and writings demonstrated by a line with these two important moments of number of important literary historians and Eminescu’s life, in G. Munteanu’s interpretation critics can be accounted for by the efforts to study

304 Volume 5 • Issue 4, October / December 2015 • MIHAI EMINESCU’S GENIUS IN LITERARY CRITICISM the poet’s artistic talent reflected in his writings CĂLINESCU, G. (1969) Opera lui Mihai Eminescu, by means of critical works – some of them are Bucureşti:Editura pentru Literatură. really valuable as far as analytical substantiality CĂLINESCU, G. (1970) Opera lui Mihai Eminescu, Bucureşti:Editura Minerva. and hermeneutical construction are concerned. POPOVICI, C. (2001) Eminescu. Viaţa şi opera, The characteristics of his thinking, feelings and Chişinău :Editura Litera. art include elevated contemplation, diversity of KOJEVNIKOV, I. (1979) Mihai Eminescu şi problema poetic motives, as well as nobility and romantismului în literatura română, Iaşi:Editura . profoundness of feelings. The differentiation of CIMPOI, M. (1986) Narcis şi Hyperion, Chişinău:Literatura the contents and the evolution of the form reveal Artistică. a vast synthesis of the poet’s feelings and his MUNTEANU, G. (1973) Viaţa lui Eminescu, Bucureşti:Editura Minerva. original way of communication. His art was MOCANU, M. (2014) Celălalt Eminescu, Philologica meant to nourish all Romanian poetry which Jassyensia, 2 (20). seems more blooming in the light of Eminescu’s DEL CONTE, R. (1990) Eminescu sau despre Absolut, Cluj- verse. Napoca:Editura Dacia. References MAIORESCU, T. (1889) Eminescu şi poeziile lui, (Endnotes) , 8 (XXIII). 1. Ea nici poate să-nţeleagă că nu tu o vrei... că-n tine/ E un demon DOBROGEANU-GHEREA, C. (1967) Studii critice, ce-nsetează după dulcile-i lumine. Bucureşti:Editura pentru Literatură. (How should she guess it is a demon in your heart that does CĂLINESCU, G. (1978) Mihai Eminescu. Studii şi articole, pursue/ Her charm with such strange thirsty fire; a demon in Iaşi:Editura Junimea. your heart, not you – translation by Corneliu M. Popescu). CĂLINESCU, G. (1973) Viaţa lui Mihai Eminescu, 2. If the butterfly wings its way to the sweet light that attracts it, Bucureşti:Editura Minerva. it is because it knows not that the fire is capable of consuming CROHMĂLNICEANU, O. (1964) Viaţa lui Eminescu de it; if the thirsty stag runs to be brook, it is because he is not George Călinescu, Gazeta literară, 17 iunie. aware of the cruel bow./ If the unicorn runs to its chaste nest, POPOVIĆ,V.(2014) As relações entre ciência e poesia na it is because he does not see the noose which is prepared for him. In the light, at the fount, in the bosom of my love’s light, I see obra do poetaromeno Ion Barbu: matemática como the flames, the arrows and the chains./ If my languishing is so jogo/Links Between Science and Poetry in the Works of sweet to me, it is because the heavenly face delights me so, and Romanian Poet Ion Barbu. Mathematics as a Game, because the heavenly bow so sweetly wounds;/ And because in Alea-Estudos Neolatinos [online], 16th of January 2015, that knot is bound up my desire, I suffer eternally through the Available from: http://dx.doi.org/10.1590/S1517- fire of my heart, the arrow in mind brest, and the yoke upon my 106X2014000100012. [Accessed: 22nd March 2015] soul. – translation by Paulo Eugene Memmo.

International Journal of Communication Research 305