Buddhist Cantos from Bucharest. II. Ion Pillat's

Buddhist Cantos from Bucharest. II. Ion Pillat’s Indic Poetry of Transmigration [Asia in Europe III] Eugen CIURTIN Faculty of Social Sciences and Humanities, Mahidol University, Bangkok Institute for the History of Religions, Romanian Academy, Bucharest Personal e-mails: [email protected], [email protected] Buddhist Cantos from Bucharest. II. Ion Pillat’s Indic Poetry of Transmigration [Asia in Europe III] This contribution in three parts analyses for the first time Ion Pillat’s Buddhist poetry of his debut volume (Visări budiste [Buddhist Reveries] from Visări păgâne [Pagan Reveries], (Bucharest: Minerva – Institut de Arte Grafice și Editură, 1912) compared against plausible European and Asian religious and literary sources, contexts, and significance, in order to palliate the callous non-sense of some literary critics and the cultural prejudice inflicted by some scholars of religion. The five poems –A Buddhist Prayer (a title subsequently changed to A Prayer to the Buddha), Samsara [saṃsāra], Towards Nirvana, Karman and A Hymn of Worship – are illustrative of the wider topics and literary moves of an ‘Asian Renaissance’, and highlight the Buddhist legacy of Eugène Burnouf (1801-1852), a professor of the Collège de France who would become the founding father of modern Buddhist Studies worldwide and whose Magna Carta of Buddhist Studies would also have a Romanian echo, from Odobescu (who moreover frequented his classes) to Eminescu (who authored more and better Buddhist cantos) or Georgian (the first to critically edit Sanskrit texts) to young Pillat, a schoolboy, then student in Paris since 1905, to become the first translator into Romanian of another pupil of Sanskrit India in Paris and Harvard in 1910-1914, T. S. Eliot. Keywords: Ion Pillat, Asia in Europe, Buddhist writings in Pāli and Sanskrit, European literature, karman, saṃsāra, Romanian literature, T. S. Eliot. Before moving to Paris in 1905 or back in Bucharest direct influence for young Pillat, was Alecsandri’s exotic for the holidays before 1912, Pillat might have had some poem Cucoarele [The Cranes] (1868), which placed them acquaintance with gleanings from Buddhist literature in “the Brahmanical India” (India Brahmină) from where as ventilated in various Romanian literary circles. A few “frowning beast, leopards, tigers, gigantic serpents [...] poets and scholars started to imagine Indic landscapes lie by night in wait for elephants”1 (which by the way is and read Buddhist texts in translation, from Alecsandri, a zoological hyperbole and not quite the case in India). Hasdeu, Baronzi and Pogor to Maiorescu, Eminescu, George Baronzi (1828-1896) is not only the author of the Georgian, Vlahuță, Goilav, Găină and Voiculescu. From sketch from 1890 of an epic coined Daciada (a title also the previous poetical echelon, considered at times a met in one Ioan N. Șoimescu in 18852), but most strangely 1 TRANSILVANIA 1/2020 TRANSILVANIA of a booklet titled Indian Poets on Love, Fatherland, God3. is superior to the Christian moral, Islam is the purest Less serious, but influential was Vasile Pogor (1834-1906), monotheism, and Paganism eminently apt to create art Junimea’s factotum, who dared to lecture on ‘budism’ in all genres”12. Sanskrit and Buddhism in Pillat have had (Buddhism) with the single help of Burnouf4. in fact Romanian predecessors too. Between a valiant In early 1886, Alexandru Vlahuță delivered a two- era of erudition which has interspersed magnificent hour lecture on Eminescu’s poetry at the Bucharest Asian scholars with many adjoining fleuristes ( Jules Athenaeum, offering already some hints regarding the Mohl’s coinage of the 1820s, adopted by Burnouf13) and Buddhist narratives and doctrines as known to and used the more mature sources of Francophone reader Ion by Eminescu, without a single doubt one of the literary Pillat, one may find Sanskrit – mostly indo-germanisch masters of and a prevailing influence for Pillat. From – in Hasdeu’s prose or in Eminescu’s poetry. In fact, the audience, a rather large one at that time, a much Sanskrit was a presence in Romanian literature since lesser known author, one pseudonymous Gheorghe 1863, when Sanskrit words or possibly phrases made a de la Plevna5, have sent a report across the mountains cameo appearance in a Romanian noted novel. In Duduia for the Romanian daily Gazeta Transilvaniei in Austro- Mamuca (1863), Hasdeu introduced some Oriental Hungarian Brașov6: we find Vlahuță “reads some instances – among them even a Tibetan dream (“vis strophes from Melancolia [Melancholy] and passes to tibetan” [...] “curat o pagină din Hoffmann sau Edgar Rugăciunea unui Dac [Prayer of a Dacian], where people Poe!”), which includes a flight to Tibet – curiously, across see obscurity. But it goes without saying it is obscure for the Atlantic14. “Feldeșul” von R., the German friend to those uncultured, who contend themselves with «their whom the narrator prepares a farce, receives such a talent and inspiration» and don’t want to learn any reply in his “national language” which, for the Romantic longer [nu vor să mai învețe carte]. One who will not know Aryanophile scholar, would be Sanskrit15. the Buddhist theories wouldn’t understand it”7. This tiny While entering for only one year Liceul ‘Sf. Sava’ in support for appraising Buddhist elements in Romanian 1904, Pillat just missed the single Romanian professor poetry – first and foremost in Eminescu, Coșbuc, Pillat, at that time that would have had strong expertise in Voiculescu and Blaga – was given no chance by some things Indian: Constantin Georgian (1850-1904), the literary critics to really become nonsensical during the first Romanian scholar to critically edit and translate past 133 years: să mai învețe carte, as in all provinces of Sanskrit texts, an encouraging figure of high-school learning, is still much at stake if they indeed nu vor. years for another poet of Pillat’s generation who would Vlahuță was right, even if at that moment he make a first appearance under Indic garment: Vasile might have been entirely unacquainted with a previous Voiculescu (1884-1963)16. Moreover, Pillat might have manuscript version of Rugăciunea unui dac, which been acquainted with Constantin Georgian through his Eminescu simply titled Nirvana8. Grigore Goilav, a Brătianu family connections early in the 1880s17. Both colleague of Eminescu in Cernowitz | Cernăuți (also Pillat and Voiculescu acknowledged the starting point born in 1850), will translate into Romanian in 1895 and early circumstances of their Indian readings in Edwin Arnold’s Victorian ‘life of the Buddha’ of 18799. public university lectures. Closer to Pillat’s estate of Miorcani on Prut (Dorohoi county of Moldavia) and the Austrian-German variety of Indic studies than to Bucharest and French culture, III. Indic poetics of transmigration: a scrutiny Vasile Găină (1868-1907) is, after Constantin Georgian and Teohari Antonescu10, one of the first Romanian To dedicate to a fully-named contemporary writers to have contributed some embryonic Buddhist lady (moreover a relative) a poem titled “samsara” studies, notably studying the theological relationship of (saṃsāra, the standard Sanskrit and Pāli for “[cycle Buddhism and Christianity11. of] transmigration”) would have been ridiculous and Pillat’s first poems were known to Maiorescu, useless – in 1912, in 1812 and above all in 12 – in Asia. Nor who moreover published Rugă budistă in Convorbiri such lyrical manoeuvre were that natural in Western literare of 1912, after having more than four decades of Europe, even in the footsteps of Sir Edwin Arnold’s exposure to Buddhist ideas in his Junimea circles and globally acclaimed Light of Asia (1879)18 as full colonial being, when Pillat met him in his famous Bucharest mimicking of Aśvaghoṣa’s Buddhacarita19, whom Pillat residence of Strada Mercur, by all means an emeritus. might have read, I would assume, or know par ouï-dire The ambience and the more theoretic judgement on while in Paris, if not in Bucharest, in its 1895 Romanian things Buddhist in Junimea were famously described by translation20. Nonetheless, the very theme the poem itself George Panu (1848-1910) right before Pillat’s debut: “at narrates mirrors – when compared against proper Indic Junimea I heard discussions on all the religions of the material, suitably Buddhist, Jain, and Hindu – a distinct world [...] never from the point of view of practicing a South Asian overtone. It cannot really be more than mere religion, but from that of its philosophy. One point on coincidence (precisely not a reading, a literary option, or which almost everybody agreed was that Buddhism a lyrical development), but this is met in various strands 2 of Buddhist Theravāda and Mahāyāna canonical or later vision will be that of an extremely generalized maternity. texts, and has real, albeit understudied, Jain and Hindu This was perfectly preserved, actually cited in the early equivalents which show how all the three Indic religions and middle period Mahāyāna: Laṅkāvatāra-sūtra VIII.245 embraced and represented in full the consequences has it as expressed by the Buddha to Mahāmati: of the doctrine of transmigration21. All the five Pillat’s Buddhist reveries do preserve a sense of the panoramic “In the long course of saṃsāra, there is not one view of transmigration22, which has had or would have among living beings with form who has not been a distinct role in Eminescu, Rebreanu and Cărtărescu, [your] mother, father, brother, sister, son, or in general with seven or less ‘reincarnations’ (which daughter, or some other relative. Being connected is not consistent23). At times, as G. Bogdan-Duică has with the process of taking rebirth, one is kin to all already pondered in 1912 (being himself a reader of Indic wild and domestic animals, birds, and beings born literature24), Pillat’s poetry becomes as modern as to from the womb”29. be ascribed the appellation of ‘cinematographic’25. This hesitant poetic acuity may be seen, as recommended Again, in Theravāda realms, this is echoed by the by the poetics of the early Indic texts themselves, as the Southeast Asian legend of the buddhas of the present most radical familiarization with the most unfamiliar.

Load more