Păstorel Teodoreanu en

Păstorel Teodoreanu
Păstorel Teodoreanu, or just Păstorel (born Alexandru Osvald

Alexandru Osvald
(Al. O.) Teodoreanu; July 30, 1894 – March 17, 1964), was a
Romanian humorist, poet and gastronome, the brother of novelist "Păstorel" Teodoreanu
Ionel Teodoreanu and brother in law of writer Ștefana Velisar
Teodoreanu. He worked in many genres, but is best remembered
for his parody texts and his epigrams, and less so for his Symbolist
verse. His roots planted in the regional culture of Western
Moldavia, which became his main source of literary inspiration,
Păstorel was at once an opinionated columnist, famous wine-
drinking bohemian, and decorated war hero. He worked with the
influential literary magazines of the 1920s, moving between
Gândirea and Viața Românească, and cultivated complex
relationships with literary opinion-makers such as George
Călinescu.
After an unsuccessful but scandalous debut in drama, Teodoreanu

perfected his work as a satirist, producing material which targeted
the historian-politician Nicolae Iorga and the literary scholar
Giorge Pascu, as well as food criticism which veered into fantasy Păstorel c. 1926
literature. As an affiliate of Țara Noastră, he favored a brand of
Born July 30, 1894
Romanian nationalism which ran against Iorga's own. Corrosive or
contemplative, Păstorel's various sketches dealt with social and Dorohoi, Dorohoi
political issues of the interwar, continuing in some ways the work County, Kingdom of
of Ion Luca Caragiale. In the 1930s, inspired by his readings from Romania
Anatole France and François Rabelais, he also published his Died March 17, 1964
celebrated "Jester Harrow" stories, mocking the conventions of (aged 69)
historical novels and Renaissance literature. His career peaked in Armenian Quarter,
1937, when he received one of Romania's most prestigious Bucharest, People's
awards, the National Prize. Republic of
Romania
Teodoreanu was employed as a propagandist during World War II,
Pen name Iorgu Arghiropol-
supporting Romania's participation on the Eastern Front. From
1947, Păstorel was marginalized and closely supervised by the Buzatu, Hidalgo
communist regime, making efforts to adapt his style and politics, Bărbulescu, Mița
then being driven into an ambiguous relationship with the Cursista, Nicu
Securitate secret police. Beyond this facade conformity, he Modestie, Mic dela
contributed to the emergence of an underground, largely oral, anti- Pirandola, Vălătuc
communist literature. In 1959, Teodoreanu was apprehended by Occupation Poet · columnist ·
the communist authorities, and prosecuted in a larger show trial of food critic · lawyer ·
Romanian intellectual resistants. He spent some two years in soldier ·
propagandist
Nationality Romanian
Period 1916–1964
prison, and reemerged as a conventional writer. He died shortly Genre aphorism, comedy,
after, without having been fully rehabilitated. His work was largely epigram, erotic
inaccessible to readers until the 1989 Revolution. literature, essay,
fable, fantasy, frame
Biography story, historical
novel, parody,
pastiche, sketch
Early life story, sonnet
Literary Symbolism,
The Teodoreanu brothers were born to Sofia Muzicescu, wife of movement Gândirea, Viața
the lawyer Osvald Al. Teodoreanu. The latter's family, originally Românească
named Turcu, hailed from Comănești; Osvald's grandfather had Signature
been a Romanian Orthodox priest.[1] Sofia was the daughter of
Gavril Muzicescu, a famous composer from Western
Moldavia,[2][3][4][5] and herself a teacher at the Music and
Declamation Conservatory in Iași.[6] When Păstorel was born, on
July 30, 1894, she and her husband were still living at Dorohoi. Ionel (Ioan-Hipolit Teodoreanu) and
Puiuțu (Laurențiu Teodoreanu) were his younger siblings, born after the family had moved to Iași.[4]
Osvald's father, Alexandru T. Teodoreanu, had previously served as City Mayor,[7] while an engineer
uncle, also named Laurențiu, was the first manager of the original Iași Power Plant.[8] The Teodoreanus
lived in a townhouse just outside Zlataust Church. They were neighbors of poet Otilia Cazimir[5] and
relatives of novelist Mărgărita Miller Verghy.[9]
From 1906, Alexandru Osvald attended the National High School Iași,[10] in the same class as the film
critic and economist D. I. Suchianu.[11] Young Păstorel had a vivid interest in literary activities and, critics
note, acquired a solid classical culture.[12][13] Literary historian Zigu Ornea, who spent time with Păstorel
in the 1950s, cautions that, in addition to being a "jolly carouser", he was outstandingly educated in the
classics, and could converse in Old French.[12] The final two years of his schooling were spent at Costache
Negruzzi National College, where he eventually graduated.[3][14] He became friends with a future literary
colleague, Demostene Botez, with whom he shared lodging at the boarding school. Years later, in one of his
reviews for Botez's books, Teodoreanu confessed that he once used to steal wine from Botez's own
carboy.[15] Botez himself recalled that Păstorel would leave him endearing notes confessing to his
weakness, noting that such exchanges helped to strengthen their friendship.[16] He recalled that all three
Teodoreanu brothers were outstanding and well-loved as boys, but also that Păstorel had made one enemy
—his mathematics professor, the subject of his pranks and innuendo.[2]
In 1914, just as World War I broke out elsewhere

in Europe, he was undergoing military training at
a Moldavian cadet school,[17] leading him to
graduate from the Artillery School of Bucharest in
1916.[3] Over the following months, Osvald
Teodoreanu became known for his support of
prolonged neutrality, which set the stage for a
minor political scandal.[18] When, in 1916,
Romania joined the Entente Powers, Alexandru
was mobilized, a Sub-lieutenant in the 24th
artillery regiment, Romanian Land Forces.[19] He
had just published his first poem, a sonnet of
unrequited love, uncharacteristic for his signature Zlataust Church, central to Teodoreanu's home
neighborhood
writing.[20] As he recalled, his emotional father accompanied him as far west as the army would allow.[21]
According to Botez, the war only helped to bolster Păstorel's "Quixotic irreverence toward life and its
cruelties".[16] The future writer saw action in the Battle of Transylvania, then withdrew with the defeated
armies into besieged Moldavia. His fighting earned him the Star of Romania and the rank of Captain.[3][21]
Meanwhile, Puiuțu Teodoreanu volunteered for the French Air Force and died in April 1918.[22] During
the same interval, Ionel, still in Iași, fell in love with Ștefana "Lily" Lupașcu, who became his wife.[1][23]
She was half French, and, through her, the Teodoreanus became cousins in law of Cella and Henrieta
Delavrancea (orphaned daughters of writer Barbu Ștefănescu Delavrancea);[23] and of Stéphane Lupasco,
the French philosopher.[24]
In 1919, upon demobilization, Alexandru returned to Iași. Like Ionel, he became a contributor to the
magazines Însemnări Literare and Crinul,[25] and also proofread for the former.[14] He took a law degree
from Iași University, and, in 1920, moved to the opposite corner of Romania, employed by the Turnu
Severin Courthouse.[26] He only spent a few months there. Before the end of the year, he relocated to Cluj,
where Cezar Petrescu employed him as a staff writer for his literary magazine, Gândirea.[27] The group's
activity was centered on Cluj's New York Coffeehouse.[28] Together with another Gândirea author, Adrian
Maniu, Teodoreanu wrote the fantasy play Rodia de aur ("Golden Pomegranate"). It was published by the
Moldavian cultural tribune, Viața Românească, and staged by the National Theater Iași in late 1920.[29]
Some months later, Teodoreanu was co-opted by theatrologist Ion Marin Sadoveanu into the Poesis literary
salon, whose members militated for modernism.[30]
Țara Noastră period
In short while, Al. O. Teodoreanu became a popular presence in literary circles, and a famous bon viveur.
The moniker Păstorel, candidly accepted by Teodoreanu, was a reference to these drinking habits: he was
said to have "tended" (păstorit) the rare wines, bringing them to the attention of other culinary experts.[31]
His first contribution to food criticism was published by Flacăra on December 31, 1921, with the title Din
carnetul unui gastronom ("From a Gastronomer's Notebook").[32] Teodoreanu integrated with the
bohemian society in several cities, leaving written records of his drunken dialogues with linguist Alexandru
Al. Philippide.[33] At Iași, the Teodoreanus, including Ștefana,[23] tightened their links with Viața
Românească, and with novelist Mihail Sadoveanu; Păstorel greatly admired the group's doyen, critic
Garabet Ibrăileanu.[34] A visitor, modernist poet-critic Felix Aderca, reported seeing Păstorel at Viața
Românească, "plotting" against the National Theater Bucharest, because, unlike the nationalist theatrical
companies of Iași, it only rarely staged Romanian plays. Aderca's antagonistic remarks, published in
Sburătorul, reflected growing tensions between the modernist circles in Bucharest and the cultural
conservatives in Iași.[35] Visiting Bucharest in or around 1923, Păstorel met Aderca at Casa Capșa
restaurant; the resulting fistfight was only interrupted by the intervention of a bystander, Ilarie Voronca.[12]
Bibliographers list the one-act comedy V-a venit numirea ("Your Appointment Has Been Received"),
written in 1922, as Teodoreanu's only solo work as a playwright;[36] he is known to have published another
"sketch drama", eponymnously known as Margareta Popescu. This was taken up in 1928 by Bilete de
Papagal, an experimental literary newspaper managed by poet Tudor Arghezi, with whom he toured
Moldavian towns in an anti-tuberculosis awareness campaign.[37] In 1923, he published his "Inscriptions
on a Coffeehouse Table" in the satirical magazine Hiena, which was edited by Gândirea's Pamfil
Șeicaru.[38] While receiving his first accolades as a writer, Păstorel was becoming a sought-after public
speaker. Together with Gândirea's other celebrities, he toured the country and gave public readings from
his works (1923).[27] He also made an impact with his welcome speech for Crown Princess Ileana and her
"Blue Triangle" Association of Christian
Women. The address culminated in a polite
pun: "I finally understood that the Blue
Triangle is not a circle, but a sum of concentric
circles, whose center is Mistress Ileana, and
whose radius reaches into our hearts."[39]
Teodoreanu was also involved in the cultural

and political quarrels of postwar Greater
Romania, taking the side of newcomers from
Transylvania, who criticized the country's
antiquated social system; they proposed an
"Integral nationalism".[40] In January 1925,
Păstorel began writing for the Transylvanian
review Țara Noastră and became, together
Romanian writers visiting Fălticeni in 1923. Păstorel is
with Octavian Goga and Alexandru "Ion
pictured top row, third from the right, between Ionel Gorun" Hodoș, its staff polemicist.[41] In the
Teodoreanu (second from the right) and Ion Marin mid-1920s, Păstorel's satire had found its main
Sadoveanu. Seated directly in front of them is Mihail victim: Nicolae Iorga, the influential historian,
Sadoveanu poet and political agitator. According to Goga
and Hodoș, Iorga's older brand of nationalism
was unduly self-serving, irresponsible, and
confusing. [42] Teodoreanu followed up with satirical pieces, comparing the omnipresence of Iorga "the
demigod" with the universal spread of novelty Pink Pills. He also ridiculed Iorga's ambitions in poetry,
drama, and literary theory: "Mr. Iorga doesn't get how things work, but he is able to persuade many others:
he is dangerous."[43] Teodoreanu was courted by the modernist left-wing circles, which were hostile to
Iorga's traditionalism, and was a guest writer for a (formerly radical) art magazine, Contimporanul.[44] His
mockery of Iorga was widely distributed at a time when his own father, Osvald, was chairing a regional
chapter of Iorga's Democratic Nationalists.[45]
Păstorel's editorial debut came only later. In 1928, Cartea Românească publishers issued his parody
historical novel, titled Hronicul Măscăriciului Vălătuc ("The Chronicle of Jester Harrow").[46] His Trei
fabule ("Three Fables") were taken up by Bilete de Papagal,[47] which also hosted his satirical advice
column "for music lovers" (instructing them how to misbehave at concerts).[37] While Teodoreanu
expected Hronicul to be an inside joke for him and his friends, it was a national best-seller.[48] It also
earned him a literary award sponsored by the Romanian Academy.[49] He made frequent appearances in
Bucharest, for instance participating at the Romanian Writers' Society functions—in November 1926, he
attended the banquet honoring Rabindranath Tagore, who was visiting Romania.[50]
In 1929 the National Theater, chaired by Liviu Rebreanu, staged a new version of Rodia de aur.[51] The
event brought Păstorel into collision with the modernists: at Cuvântul, theatrical reviewer Ion Călugăru
ridiculed Rodia de aur as a backward, "childish", play.[52] The verdict infuriated Teodoreanu, who,
according to press reports, visited Călugăru at his office, and pummeled him in full view. According to
Curentul daily, he threatened onlookers not to intervene, brandishing a revolver.[52] At Casa Capșa, where
he was residing ca. 1929,[52] Păstorel was involved in another publicized squabble, throwing cakes at a
table where Rebreanu sat together with the modernists Voronca, Camil Baltazar, and Ion Theodorescu-
Sion.[53] At the time, the Ilfov County tribunal received a legal complaint from Călugăru, who accused
Teodoreanu of assault and repeated death threats. History does not record whether Teodoreanu was ever
brought to court.[52] Contimporanul also took its distance from Teodoreanu, who received negative
reviews in its pages.[54]
Gastronomice years
Ștefan Dimitrescu's portrait of Ștefana and Ionel Teodoreanu in 1931, also by Dimitrescu
Păstorel, published in Mici satisfacții
(1931)
Caricature of Păstorel, by Ion Sava
Păstorel returned to food criticism, with chronicles published in Lumea, a magazine directed by literary
historian George Călinescu, in Bilete de Papagal, and in the left-wing review Facla.[32] He was involved
in the dispute opposing Ibrăileanu to philologist Giorge Pascu, and, in December 1930, published in Lumea
two scathing articles against the latter.[55] Pascu sued him for damages.[33] Also in 1930, he joined the
National Theater Iași directorial staff, where he supported the production of plays by Ion Luca
Caragiale;[56] his colleagues there were Moldavian intellectuals from the Viața Românească group: Mihail
Sadoveanu, Demostene Botez, Mihail Codreanu, Iorgu Iordan.[57] Like Sadoveanu and Codreanu, he was
inducted into the Romanian Freemasonry's Cantemir Lodge.[58] The formal initiation had an embarrassing
twist: Teodoreanu turned up inebriated, and, during the qualifying questionnaire, stated that he was
"damned well pleased" to become a Mason.[59]
The volume Strofe cu pelin de mai pentru/contra Iorga Neculai ("Stanzas in May Wormwood for/against
Iorga Neculai") was published in 1931, reportedly at the expense of Păstorel's friends and allies, since it
had been refused "by all of the nation's publishing houses".[57] However, bibliographies list it as put out by
a Viața Românească imprint.[47] The book came out just after Iorga had been appointed Prime Minister.
According to one anecdote, the person most embarrassed by the Strofe was Osvald Teodoreanu, who had
been trying to relaunch his public career. Osvald is said to have toured the Iași bookstores on the day Strofe
came out, purchasing all copies because they could reach the voters;[60][61] another version, favored by
poet Ion Larian Postolache, is that the public itself made sure to buy it as soon as the shops opened, thus
preventing the authorities from confiscating it. Postolache also recounts that Păstorel pulled an elaborate
prank on Iorga and Osvald, announcing that he would show up at Iorga's home to deliver a public apology;
he arrived late, pretended that he was in reality looking for a "Doctor Göldenberg", and left when told that
he was in Iorga's home.[62] Iorga then sued Păstorel for defamation, but gave up on his claim for
compensation.[63]
More officially, Teodoreanu published two sketch story volumes: in 1931, Mici satisfacții ("Small
Satisfactions") with Cartea Românească; in 1933, with Editura Națională Ciornei—Rosidor, Un porc de
câine ("A Swine of a Dog").[64] His work also included a translation of Alfred de Musset's play, Le
Chandelier, used by Ion Sava in his stage production at Iași (1932).[65] Eventually, Teodoreanu left
Moldavia behind, and moved to Bucharest, where he rented a Grivița house.[33] With help from the cultural
policy-maker, General Nicolae M. Condiescu,[66] he was employed as a book reviewer for The Royal
Foundations Publishing House, under manager Alexandru Rosetti.[67] He also became a professional food
critic for the literary newspaper Adevărul Literar și Artistic, with a column he named Gastronomice
("Gastronomics"), mixing real and imaginary recipes.[68] It was in Bucharest that he met and befriended
Maria Tănase, Romania's leading female vocalist.[69]
Still indulging in his pleasures, Teodoreanu was living beyond his means, pestering Călinescu and Cezar
Petrescu with requests for loans, and collecting from all his own debtors.[33] Ibrăileanu, who still enjoyed
Teodoreanu's capers and appreciated his talent, sent him for review his novel, Adela. Păstorel lost and
barely recovered the manuscript, then, in his drunken escapades, forgot to review it, delaying its
publication.[33] A collection of Al. O. Teodoreanu's lampoons and essays, of which some were specifically
directed against Iorga, saw print in two volumes (1934 and 1935). Published with Editura Națională
Ciornei, it carries the title Tămâie și otravă ("Frankincense and Poison"), and notably includes
Teodoreanu's thoughts on social and cultural policies.[70] The two books were followed in 1935 by another
sketch story volume, eponymously titled Bercu Leibovici. In its preface, Teodoreanu announced that he
refused to even classify this work, leaving classification to "morons and rubberneckers".[71] The following
year, the prose collection Vin și apă ("Wine and Water") was issued by Editura Cultura Națională.[72] Also
in 1936, Teodoreanu contributed the preface to Romania's standard cookbook, assembled by Sanda
Marin.[73]
Osvald Teodoreanu and his two living sons participated in the grand reopening of Hanul Ancuței, a
roadside tavern in Tupilați, relocated to Bucharest. The other members and guests were literary, artistic and
musical celebrities: Arghezi, D. Botez, Cezar Petrescu, Sadoveanu, Cella Delavrancea, George Enescu,
Panait Istrati, Milița Petrașcu, Ion Pillat and Nicolae Tonitza.[28] Păstorel tried to reform the establishment
into a distinguished wine cellar, and wrote a code of conduct for the visitors.[74] The pub also tried to
engender a literary society, dedicated primarily to the reformation of Romanian literature, and, with its
profits, financed young talents.[28] In April 1935, the club lost Istrati, with Păstorel representing the Writers'
Society at his funeral.[75] The Hanul Ancuței episode ended when Teodoreanu was diagnosed with liver
failure. Sponsored by the Writers' Society, he treated his condition at Karlovy Vary, in Czechoslovakia. The
experience, which meant cultural isolation and a teetotal's diet, led Teodoreanu to declare himself an enemy
of all things Czechoslovak.[33]
During his stays in Karlovy Vary, Păstorel corresponded with his employer, Rosetti, keeping with the
events in Romania, but wondering if Romanians still remembered him.[33] Upon his return, he was a
recipient of the 1937 National Prize for Prose. The jury comprised other major writers of the day:
Rebreanu, Sadoveanu, Cezar Petrescu, Victor Eftimiu.[71] Teodoreanu was especially proud about this
achievement: in his own definition, the National Prize was an endorsement "worth its weight in gold".[76]
He impressed the other literati at the celebratory dinner, where he was "dressed to the nines" and drank
with moderation.[60] After the event, Teodoreanu turned his attention to his poetry writing: in 1938, he
published the booklet Caiet ("Notebook").[77] The same year, Ionel joined his older brother in
Bucharest.[78]
World War II and communist takeover
The Teodoreanu brothers were public supporters of the authoritarian regime instituted, in 1938, by King
Carol II, contributing to the government propaganda.[79] The king returned the favor and, also in 1938,
Păstorel was made a Knight of Meritul Cultural Order, 2nd Class.[80] From autumn 1939, when the start of
World War II left Romania exposed to foreign invasions, Teodoreanu was again called under arms with the
24th artillery regiment.[81] His commanding officer, Corneliu Obogeanu, found him to be useless, and
ordered him to stay behind in Roman (a town which Teodoreanu described as unhygienic and "not at all
attractive");[82] though not in active service, he put on hold his regular food chronicles.[68] In a letter to
Rosetti, he noted that the only event of this second period under arms was the passage of refugees from
Poland, who were fleeing the Nazi invasion.[83] His military duties quickly dissolved into wine-drinking
meals. This was attested by Corporal Gheorghe Jurgea-Negrilești, an aristocrat and memoirist, who served
under Teodoreanu and remained his friend in civilian life.[59]
In 1940, Teodoreanu worked with Ion Valentin Anestin, writing the editorial "Foreword" to Anestin's
satirical review, Gluma, and published a series of aphorisms in Revista Fundațiilor Regale.[84] He and
Sadoveanu found additional employment at the Labor Ministry, as a councilor for the national leisure
service, Muncă și Voe Bună.[85] In September, Carol was ousted and the FRN dissolved, with the Iron
Guard establishing a "National Legionary State". Upon taking over as Labor Minister, Vasile Iașinschi, had
him immediately sacked.[85] A passing mention in the diaries of Mihail Sebastian informs that both Ionel
and Păstorel had tried to appease the Guard, and were pressing to have Sadoveanu join its ranks (Sebastian
partly attributes this account to Sadoveanu's daughter, Profira).[86]
Returning to Bucharest, Păstorel stayed at Carlton Tower, until the building was destroyed in the November
10 earthquake; for a while, Teodoreanu himself was presumed dead.[87] Shortly after, Romania, under
Conducător Ion Antonescu, became an ally of Nazi Germany. In summer 1941, the country joined in the
German attack on the Soviet Union (Operation Barbarossa). Teodoreanu took employment as an
Antonescu regime propagandist, publishing, in the newspaper Universul, a panegyric dedicated to pilot
Horia Agarici.[88] Țara newspaper of Sibiu hosted his scathing anti-communist poem, Scrisoare lui Stalin
("A Letter to Stalin").[89] His brother and sister in law followed the same line, the former with novels
which had anti-Soviet content.[90]
In November 1941, the National Theater Iași hosted dramatized stories by Caragiale and Păstorel's
commentaries, put together into a single play by Aurel Ion Maican.[91] A second edition of Bercu Leibovici
came out in 1942,[81][92] followed in 1943 by a reprint of Caiet.[93] Inhabiting a semi-basement in
Dorobanți,[92] Teodoreanu kept company with Jurgea-Negrilești. According to the latter, Păstorel had
friendly contacts with novelist Paul Morand, who was the diplomatic representative of Vichy France in
Bucharest. The story shows a high-strung Teodoreanu, who defied wartime restriction to obtain a bowler
hat and gloves, and dressed up for one of Morand's house-parties.[94] One of his stories was used for a
variety show which opened in July 1943 at Colorado Theater, Bucharest.[95] In December, the author was
scheduled to go on a literary tour of Odesa, in the Romanian-held Transnistria Governorate, but never
showed up for his train (allegedly, because he was "comatose" drunk).[96] In mid-1944, at the peak of
Allied bombing raids, Teodoreanu had taken refuge in Budești, a rural commune south of the capital. He
was joined there by Maria Tănase and her husband of the time.[69] In late June, he accompanied General
Ioan Rășcanu to Oltenița, for a festival commemorating Romania's national poet, Mihai Eminescu.[97]
After the August 23 Coup broke apart Romania's alliance with the Axis Powers, Teodoreanu returned to
regular journalism. His food criticism was again taken up by Lumea, and then by the general-interest
Magazin.[98] Lacking a stable home, he was hosted at The Royal Foundations Publishing House, and
could be seen walking about its library in a red housecoat.[99] At that stage, Romania was under a Soviet
occupation, with only a marginal presence of other Allied armies. Returning to dine at Capșa with friends
such as Henri Wald, Paul Georgescu, Mihail Petroveanu and Zaharia Stancu, Păstorel expressed his
conviction that Sovietization was irreversible: nu le arde americanilor țara noastră, nici nu știu măcar
unde suntem pe hartă ("the Americans couldn't care less about our country, they can't even locate us on a
map"); Wald recalled the moment as one of comedic perfection since, just moments after, a US Army
officer in a "superb uniform" entered the room, glanced around as if looking for someone, and left.[100]
Though Rodia de aur was taken up by the

National Theater Craiova in 1945,[101]
Teodoreanu's contribution to wartime
propaganda had made him a target for
retribution in the Romanian Communist Party
press. Already in October 1944, România
Liberă and Scînteia demanded for him to be
excluded from the Writers' Society, noting that
he had "written in support of the anti-Soviet
war".[102] Ionel and his wife also faced
persecution for sheltering wanted anti-
communists Mihail Fărcășanu and Pia Pillat-
Fărcășanu.[23] Păstorel's career was damaged
by the full imposition, in 1947, of a Romanian The restaurant section of a Romanian consumer
communist regime. In May 1940, Teodoreanu cooperative, 1950
had defined humor as "the coded language that
smart people use to understand each other
under the fools' noses".[103] Resuming his food writing after 1944, he began inserting subtle jokes about
the new living conditions, even noting that the widespread practice of rationing made his texts seem
"absurd".[104] Traditionally, his cooking recommendations had been excessive, and recognized as such by
his peers. He firmly believed that cozonac cake required 50 eggs for each kilogram of flour (that is, some
21 per pound).[74] The communists were perplexed by the Păstorel case, undecided about whether to
punish him as a dissident or enlist him as a fellow traveler.[105] Păstorel was experiencing financial ruin,
living on commissions, handouts and borrowings. He tried to talk Maria Tănase into using his poems as
song lyrics, and stopped seeing her altogether when her husband refused to lend him money.[69]
In 1953, aged 58 or 59, Păstorel married Marta Poenaru,[3] daughter of the renowned surgeon Constantin
Poenaru Căplescu[63] and more distantly descended from architect Pierre Charles L'Enfant.[106] Ionel
Teodoreanu died suddenly in February 1954, leaving Păstorel devastated.[81] In the aftermath, he assisted
Ștefana with destroying Ionel's manuscripts, burning each individual page after first reading it.[107] He
compensated for the loss of his brother by keeping company with other intellectuals of the anti-communist
persuasion. His literary circle, hosted by the surviving Bucharest locales, included, among others, Jurgea-
Negrilești, Șerban Cioculescu, Vladimir Streinu, Aurelian Bentoiu, and Alexandru Paleologu.[108]
Censorship and show trial
By 1954, Teodoreanu was being called in for questioning by agents of the Securitate, the communist secret
police. Pressure was put on him to divulge his friends' true feelings about the political regime. He avoided a
direct answer, but eventually informed Securitate about Maria Tănase's apparent disloyalty.[69] While
harassed in this manner, Teodoreanu was already earning a leading place in underground counterculture,
where he began circulating his new anti-communist compositions. According to literary critic Ion Simuț, the
clandestine poetry of Păstorel, Vasile Voiculescu and Radu Gyr is the only explicit negation of communism
to have emerged from 1950s Romania.[109] As other Securitate records show, the public was aware of
Teodoreanu's visits to the Securitate, but distinguished between him, who was "called over" to confess, and
those who made voluntary denunciations.[110]
As recalled by Ornea, Teodoreanu was still struggling financially. He walked about town in "shabby
clothes, though always with a smile and a joke blossoming on his cheek".[12] As noted by researcher
Florina Pîrjol: "the scion of bourgeois intellectuals, with his liberal values and his aristocratic spirit,
unsuitable for political 'taming', Al. O. Teodoreanu had a rude awakening into a world where, perceived as
a hostile element, he was unable to exercise his profession".[111] In trying to salvage his career, he was
forced to diversify his literary work. In 1956, his literary advice for debuting authors was hosted by the
gazette Tînărul Scriitor, an imprint of the Communist Party School of Literature.[112] He also completed
and published translations from Jaroslav Hašek (Soldier Švejk) and Nikolai Gogol (Taras Bulba).[81] In
1957, he prefaced the collected sonnets of Mihail Codreanu,[81] and issued, with Editura Tineretului, a
selection of his own prose, Berzele din Boureni ("The Storks of Boureni").[113] Samples of his communist-
era works were read out at the Bucharest Literary Week in December of that year.[114]
With Călinescu, Teodoreanu worked on La Roumanie Nouvelle, the French-language communist paper,
where he had the column Goutons voir si le vin est bon ("Let's Taste the Wine and See if It's Good").[115]
From 1957 to 1959, he resumed his food chronicles in Magazin, while also contributing culinary reviews in
Glasul Patriei and other such communist propaganda newspapers.[116] Alongside Victor Tulbure and
Mihai Beniuc, he gave poetry readings for the sporting staff of CS Dinamo București.[117] According to
literary reviewer G. Pienescu, who worked with Teodoreanu in the 1960s, the Glasul Patriei collaboration
was supposed to grant Păstorel a "certificate of good citizenship".[99] Under pressure from communist
censorship, Teodoreanu was re-configuring his literary profile. Dropping all references to Western cuisine,
his food criticism became vague, reusing agitprop slogans about "goodwill among men", before adopting in
full the communists' wooden tongue.[118] Although the country was still undernourished, Păstorel
celebrated the public self-service chain, Alimentara, as a "structural transformation" of the Romanian
psyche.[119] Meanwhile, some anti-communist texts, circulated by Teodoreanu among the underground
dissidents, were intercepted by the authorities. Those who have documented Teodoreanu's role in the
development of underground humor note that he paid a dear price for his contributions.[109][120]
On October 30, 1959, Teodoreanu was arrested,[111] amidst a search for incriminating evidence. The
Securitate relied on reports from its other informers, one of whom was Constantin I. Botez, the psychologist
and academic.[110] His manuscripts, including draft translations from William Shakespeare and a novel,
were confiscated.[1] The writer became one of 23 intellectuals implicated in a show trial, whose main
victims were writer Dinu Pillat and the philosopher Constantin Noica. Although grouped together, these
men and women were accused of a variety of seditious deeds, from engaging in "hostile conversations" to
keeping company with Western visitors.[121] One thing they had in common was their relationship with
Noica: they had all attended meetings in Noica's home, listening to his readings from the letters of a
banished philosopher, Emil Cioran.[122] In Teodoreanu's specific case, the authorities also recovered a fable
of his from the 1930s,[11] where he was ridiculing communism as the rally-call of rebellious donkeys.[1]
His newer poems were also recovered through the testimonies of some who had heard them. The presiding
judge, Adrian Dumitriu, asked Teodoreanu why he ever felt the need to contribute such works. Păstorel
noted that it was impossible for him to stop: "chickens lay eggs, and I compose epigrams"; he also added:
"if there's nothing else we can do [for our country], let's at least suffer for her sake."[123] Wald also
attributes him another quote, from his response to the judges: "I've been joking around for fifty years, and
you gentlemen, of all people, had to take me seriously?"[100]
Prison term, illness, and death
Teodoreanu received a sentence of six years in "correctional

prison", with three years of loss of rights, and permanent
confiscation of his assets.[124] Communist censors took over his
manuscripts, some of which were unceremoniously burned.[111]
These circumstances forced Marta Teodoreanu to work nights as
a street sweeper.[125] Held in confinement at Aiud prison,
Păstorel reportedly complained of having been brutalized by one
of the guards.[11] While in Gherla prison, Teodoreanu filed an
appeal: he admitted to having ridiculed communism, and to
having distanced himself from Socialist Realism, but asked to be
allowed a second chance, stating his usefulness in writing
"propaganda".[111] Reportedly, the Writers' Union, whose
President was Demostene Botez, made repeated efforts to obtain
his liberation. Teodoreanu was not informed of this, and was
shocked to encounter Botez, come to plead in his favor, in the
prison warden's office.[59] He was ultimately granted a reprieve
on April 30, 1962,[126] together with many other political
prisoners, and allowed to return to Bucharest.[108] Later that
year, he paid his friends in Iași what would be his final visit, the
memory of which would trouble him to his death.[56] The aging and ill Teodoreanu, c. 1962
Teodoreanu returned to public life, but was left without the right
of signature, and was unable to support himself and Marta. In this context, he sent a letter to the communist
propaganda chief, Leonte Răutu, indicating that he had "redeemed his past", and asking to be allowed back
into the literary business.[127] Păstorel made his comeback with the occasional column, in which he
continued to depict Romania as a land of plenty. Written for Romanian diaspora readers, just shortly after
the peak of food restrictions, these claimed that luxury items (Emmental, liverwurst, Nescafé, Sibiu
sausages) had been made available in every neighborhood shop.[128] His hangout was the Ambasador
Hotel, where he befriended an eccentric communist, poet Nicolae Labiș.[129] Helped by Pienescu, he was
preparing a collected works edition, Scrieri ("Writings"). The communist censors were adverse to its
publishing, but, after Tudor Arghezi spoke in Teodoreanu's favor, the book was included in the "fit for
publishing" list of 1964.[99]
Păstorel, having been diagnosed with lung cancer,[99] was receiving highly invasive treatment, which cause
him additional suffering. Writer Vintilă Russu-Șirianu, whose son was part of the hospital team, reports that
Teodoreanu "always made efforts to ease things for his doctors", humoring them with his quatrains even
moments after undergoing a bronchoscopy.[130] Upon entering the terminal stages of disease, he was
receiving palliative care at his house on Vasile Lascăr Street, in Bucharest's Armenian Quarter.[99]
Teodoreanu's friend and biographer, Alexandru Paleologu, calls his "an exemplary death". According to
Paleologu, Teodoreanu had taken special care to render his suffering bearable for those around him, being
"lucid and courteous".[81] Jurgea-Negrilești was present at one of the group's last meetings, recalling: "At
the very last drop [of wine], he got up on his feet... there was gravitas about him, a greatness that I find hard
to explain. In a voice that his pain had made hoarse, he asked that we leave him alone".[131]
Teodoreanu died at home, on March 17, 1964, just a day after Pienescu brought him news that censorship
had been bypassed;[99] in some sources, the date of death is given as March 15.[3][81] Reportedly, death
caught him reading volume sixteen of Ionel Teodoreanu's complete works.[107] He was buried, alongside
his brother, in the Delavrancea crypt at Bellu cemetery.[1][132] Six hundred people were in attendance,[3]
but, owing to Securitate surveillance, the funeral remained a quiet affair. The Writers' Union was only
represented by two former Gândirea contributors, Maniu and Nichifor Crainic. They were not mandated to
speak about the deceased, and kept silent, as did the Orthodox priest who was supposed to deliver the
service.[133] The writer had left two translations (Anatole France's Chronicle of Our Own Times; Prosper
Mérimée's Nouvelles), first published in 1957.[81] As Pienescu notes, he had never managed to sign the
contract for Scrieri.[99] Without children of his own, he was survived by his sister in law Ștefana and her
twin sons, and by cousin Alexandru Teodoreanu, himself a former, pardoned, detainee.[1][134] Ștefana lived
to age 97, and continued to publish as a novelist and memoirist, although from ca. 1982 she withdrew into
near-complete isolation at Văratec Monastery.[23] The last-surviving of her sons died without heirs in
2006.[1]
Work
Jester Harrow
Common themes
Culturally, Teodoreanu belonged to the schools of interwar nationalism, be they conservative (Gândirea,
Țara Noastră) or progressive (Viața Românească). Some exegetes have decoded proof of patriotic
attachment in the writer's defense of Romanian cuisine, and especially his ideas about Romanian wine.
Șerban Cioculescu once described his friend as a "wine nationalist"[135] and George Călinescu suggested
that Păstorel was entirely out of his element when discussing French wine.[136] On one hand, Păstorel
supported illusory claims of Romanian precedence (including a story that caviar was discovered in
Romania); on the other, he issued loving, if condescending, remarks about Romanians being a people of
"grill cooks and mămăligă eaters".[115] However, Teodoreanu was irritated by the contemplative
traditionalism of Moldavian writers, and, as Cioculescu writes, his vitality clashed with the older schools of
nationalism: Nicolae Iorga's Sămănătorul circle and "its Moldavian pair", Poporanism.[137]
Philosophically, he remained indebted to Oscar Wilde and the aestheticists.[138]
The frame story Hronicul Măscăriciului Vălătuc is, to at least some degree, an echo of "national
specificity" guidelines, as set by Viața Românească.[139] It is however also remembered as a most atypical
contribution to Romanian literature, and, critics argue, "one of his most valuable books",[140] a
"masterpiece".[141] Nevertheless, the only commentator to have been impressed by the totality of Hronicul,
and to have rated Păstorel as one of Romania's greatest humorists, is the aestheticist Paul Zarifopol. His
assessment was challenged, even ridiculed, by the academic community.[142] The consensus is nuanced by
critic Bogdan Crețu, who writes: "Păstorel may well be, as far as some care to imagine, peripheral in
literature, but [...] he is not at all a minor writer."[33]
According to Călinescu, Hronicul Măscăriciului Vălătuc parallels Balzac's Contes drôlatiques. Like the
Contes, Jester Harrow's tale reuses, and downgrades, the conventions of medieval historiography—in
Păstorel's text, the material for parody is Ion Neculce's Letopisețul țărâi Moldovei.[143] As both the writer
and his reviewers have noted, Teodoreanu mixed the subversive "counterfeiting" of Neculce's history into
his own loving homage to the Moldavian dialects and their verbal clichés.[144] Archaic Moldavian, he
explained in a 1929 interview, was highly distinct from officialese; he related to it as "the language I used to
speak, but forgot", the voicing of one's "deep melancholy".[145] He specified his models: the Moldavian
chroniclers, Neculce and Miron Costin; the modern pastiches, Balzac's Contes and Anatole France's Merrie
Tales of Jaques Tournebroche.[146] In addition, literary historian Eugen Lovinescu believes, Teodoreanu
was naturally linked to the common source of all modern parodies, namely the fantasy stories of François
Rabelais. Păstorel's "so very Rabelaisian" writing has a "thick, big, succulent note, that will saturate and
overfill the reader".[147] Ornea expressed his dissatisfaction with such views, arguing that Teodoreanu was
primarily a narrator in the "Moldavian style", and, even there, an original one.[12]
A narrative experiment, Hronicul comprises at least five parody "historical novels", independent of each
other: Spovedania Iancului ("Iancu's Confession"), Inelul Marghioliței ("Marghiolița's Ring"), Pursângele
căpitanului ("The Captain's Purebred"), Cumplitul Trașcă Drăculescul ("Trașcă the Terrible, of the Dracula
Clan"), and Neobositulŭ Kostakelŭ ("Kostakel ye Tireleſs"). In several editions, they are bound together
with various other works, covering several literary genres. According to biographer Gheorghe Hrimiuc, the
latter category is less accomplished than the "chronicle".[148] It notably includes various of Teodoreanu's
attacks on Iorga.[149]
Particular episodes
Although the presence of anachronisms makes it

hard to even locate the stories' time-frame, they
seem to be generally referencing the 18th- and
19th-century Phanariote era, during which
Romanians adopted a decadent, essentially anti-
heroic, lifestyle.[150] A recurrent theme is that of
the colossal banquet, in most cases prompted by
nothing other than the joy of company or a
carpe diem mentality, but so excessive that they
drive the organizers into moral and material
bankruptcy.[151] In all five episodes, Păstorel
disguises himself as various unreliable narrators.
He is, for instance, a decrepit General Coban
(Pursângele căpitanului) and a retired courtesan
(Inelul Marghioliței). In Neobositulŭ Kostakelŭ,
a "found manuscript", he has three narrative Domestic scene of boyardom in the Danubian
voices: that of the writer, Pantele; that of the Principalities (Die Gartenlaube, 1857)
skeptic reviewer, Balaban; and that of the
concerned "philologist", with his absurd critical
apparatus (a parody of scientific conventions).[152] The alter ego, "Harrow", is only present (and
mentioned by name) in the rhyming Predoslovie ("Foreword"), but is implicit in all the stories.[153]
Also in Neobositulŭ Kostakelŭ, Teodoreanu's love for role-playing becomes a study in intertextuality and
candid stupidity. Pantele is a reader of Miron Costin, but seemingly incapable of understanding his literary
devices. He reifies metaphoric accounts about a Moldavian Princedom "flowing with milk and honey":
"Had this been in any way true, people would be glued to fences, like flies".[154] Even the protagonist,
Kostakel, is a writer, humorist and parodist, who has produced his own chronicle of "obscenities" with the
stated purpose of irritating Ion Neculce (who thus makes a brief appearance within Harrow's
"chronicle").[155] The deadpan critical apparatus accompanying such intertextual dialogues is there to
divert attention from Teodoreanu's narrative tricks and anachronisms. Hrimiuc suggests that, by pretending
to read his own "chronicle" as a valid historical record, Păstorel was sending in "negative messages about
how not to decode the work".[156]
Neobositulŭ Kostakelŭ and Pursângele căpitanului comprise some of Păstorel's ideas about the Moldavian
ethos. The locals have developed a strange mystical tradition, worshiping Cotnari wine, and regarding
those who abstain from it as "enemies of the church".[157] The author also highlights the Moldavian boyars'
loose sexual mores: weak husbands are resigned cuckolds, Romani slaves are used for staging sexual
farces; however, as Zarifopol argues, this type of prose does not seek to be "aphrodisiac".[158] Inelul
Marghioliței depicts a boyar humiliating himself in front of his promiscuous young wife—according to
writer Crișan Toescu, this stands as a symbol of his entire class.[159] Some scenes of merrymaking are
played out for a melancholy effect. In Neobositulŭ Kostakelŭ, the antagonist is Panagake, whom the other
boyars detest. Kostakel exerts the collective retribution, by staging a situation in which he and a group of
servants have intercourse with Panagake's wife.[12] An outsider (Graeco-Romanian) and an usurper of
tradition, Panagake suffers defeat and ridicule, but his very presence in the narrative announces the end
coming end of universal joy.[160] As critic Doris Mironescu notes, characters experience an "entry into
time", except "theirs is not Great history, but a minor one, that of intimate disasters, of homemaking
tragedies and the domestic hell."[161]
Hronicul satirizes the conventions of Romanian neoromanticism and of the commercial adventure novel, or
penny dreadful, particularly so in Cumplitul Trașcă Drăculescul.[162] The eponymous hero is a colossal
and unpredictable hajduk, born with the necessary tragic flaw. He lives in continuous erotic frenzy, pushing
himself on all available women, "without regard as to whether they were virgins or ripe women, not even if
they had happened to be his cousins or his aunts".[163] Still, he is consumed by his passion for the nubile
Sanda, but she dies, of "chest trouble", on the very night of their wedding. The broken Trașcă commits
suicide on the spot. These events are narrated with the crescendo of romantic novels, leading to the
unceremonious punch line: "And it so happened that this Trașcă of the Draculas was ninety years of
age."[164]
Caragialesque prose
Teodoreanu's Mici satisfacții and Un porc de câine echo the classical sketch stories of Ion Luca Caragiale, a
standard in Romanian humor. Like him, Păstorel looks into the puny lives and "small satisfactions" of
Romania's petite bourgeoisie, but does not display either Caragiale's malice or his political agenda.[33][165]
His own specialty is the open-ended, unreliably-narrated, depiction of mundane events: the apparent suicide
of a lapdog, or (in Berzele din Boureni) an "abstruse" dispute about the flight patterns of storks.[166]
Another piece shows a patient decaying irreversibly, but enthusiastically, after a hack doctor prescribes him
alcohol for a misdiagnosed illness.[167] Alegeri libere ("Free Elections") was well-liked by the communist
literary establishment for discussing electoral fraud under the defunct Romanian monarchy.[168] Other texts
are diatribes with "bewildering imprecations": "one single page bears 57 proper nouns, from Plato to Greta
Garbo".[159]
Un porc de câine pushed the jokes a little further, risking to be branded an obscene work. According to
critic Perpessicius, "a witty writer can never be an obscene writer", and Păstorel had enough talent to stay
out of the pornographic range.[169] Similarly, Cioculescu describes his friend as an artisan of "libertine
humor", adverse to didactic art, and interested only in "pure comedy".[170] In his narrator's voice, Păstorel
mockingly complains that the banal was being replaced by the outstanding, making it hard for humorists to
find subject matters. Such doubts are dispelled by the intrusion of a blunt, but inspirational, topic: "Can it be
true that mayweed is an aphrodisiac?" [171] In fact, Un porc de câine expands Teodoreanu's range beyond
the everyday, namely by showing the calamitous, entirely unforeseeable, effects of an erotic farce.[172] The
volume also includes a faux obituary, honoring the memory of one Nae Vasilescu. This stuttering tragedian,
whose unredeemed ambition was to play Shylock, took his revenge on the acting profession by becoming a
real-life usurer—an efficient if dishonorable way to earning the actors' fear and respect.[173]
Critics have rated Teodoreanu as a Caragialesque writer, or a "Moldavian", "thicker", more archaic
Caragiale.[33][174] Hrimiuc suggests that Caragiale has become an "obligatory" benchmark for
Teodoreanu's prose, with enough differences to prevent Păstorel from seeming an "epigone".[175] Hrimiuc
then notes that Teodoreanu is entirely himself in the sketch S-au supărat profesorii ("The Professors Are
Upset"), fictionalizing the birth of the National Liberal Party-Brătianu with "mock dramaticism", and in fact
poking fun at the vague political ambitions of Moldavian academics.[176] As a Caragiale follower,
Teodoreanu remained firmly within established genre. Doris Mironescu describes his enrollment as a flaw,
placing him in the vicinity of "minor" Moldavian writers (I. I. Mironescu, Dimitrie D. Pătrășcanu),[177] and
noting that his "obvious model" was the memoirist Radu Rosetti.[178] The other main influence, as
pinpointed by literary critics, remains Teodoreanu's personal hero, Anatole France.[179] In Tămâie și
otravă, Teodoreanu is, like France, a moralist. However, Călinescu notes, he remains a "jovial" and
"tolerable" one.[180]
Symbolist poetry
Păstorel had very specific tastes in poetry, and was an avid reader of the first-generation Symbolists. Of all
Symbolist poets, his favorite was Paul Verlaine,[181] whose poems he had memorized to perfection,[60][182]
but he also imitated Henri de Régnier, Albert Samain and Jean Richepin.[183] Like Verlaine, Teodoreanu
had mastered classical prosody, so much so that he believed it was easier, and more vulgar, for one to write
in verse—overall, he preferred prose.[184] He was entirely adverse to Romania's modernist poetry, most
notably so when he ridiculed the work of Camil Baltazar;[185] even in his lyrical work of the 1930s,
Teodoreanu recovered older, consecrated Symbolist synaesthesia and lyrical tropes, such as the arrival of
autumn and the departure of loved ones.[186]
In Caiet, he is also a poet of the macabre, honoring the ghoulish genre invented by his Romanian Symbolist
predecessors. According to critics such as Călinescu[187] and Alexandru Paleologu, his main reference is
Alexandru Macedonski, the Romanian Symbolist master. Paleologu notes that Păstorel is the more "lucid"
answer to Macedonski's unlimited "Quixotism".[188] Together with the carpe diem invitation in Hronicul,
Caiet is an implicit celebration of life:
Mormintele ne-așteaptă cu gurile căscate The graves they do await us, open crevasses,
Și mergem toți spre ele pe-un drum sau And we head down to them, whichever road
pe alt drum, one takes,
Cum merg hipnotizate gazele de fum, To meet those golden-skinned and gemstone-
Spre șerpi cu solzi de aur și ochi de inlaid snakes,
nestemate.[189] Hypnotized by them, inert, we are flue gasses.
Such themes preoccupied him again as he was dying of cancer, including in what may have been his last
sonnet:
Peste milenii, poate că hîrca mea Over millennia, who knows?, this skull that was
deșartă so silly,
Din pulberea rămasă din visul ei de May hold in it the seed of an ambitious lily,
artă To spring out in the light, as if my dreams of art.
Să scoată la lumină printre scaieți un
crin May then this head of mine in second-life be
blessed:
A cărui mireasmă pe alții să desfete Its fragrance as a flower may help it find some
Și numai doar atuncea voi fi trăit din tart,
plin And with that die a second time, a lily on her
Murind a doua oară la sînul unei breast.
fete.[130]
Teodoreanu's contribution to Romanian poetry centers on an original series, Cântecèle de ospiciu ("Tiny
Songs from a Hospice"), written from the perspective of the dangerously insane. As Călinescu notes, they
require "subtle humor" from the reader.[187] For instance, some veer into delirious monologues:
S-a ascuns în mine-un cal, There's this horse that's going free—
Rătăcit de herghelie, He was out drinking with his herd,
Când îl adăpa, pe mal... But now hides inside of me...
Însă nimenea nu știe Still seems none but none caught word
Că eu am în mine-un cal.[187] About that, the horse inside me.
Scattered texts and apocrypha
According to Ornea, Păstorel had an "inimitable charm",

but much of his work could not be considered relevant for
later generations.[12] As a poet of the mundane, he shared
glory with the other Viața Românească humorist, George
Topîrceanu. If their jokes had the same brevity,[177] their
humor was essentially different, in that Topîrceanu
preserved an innocent worldview.[190] In this class of
poetry, Teodoreanu had a noted preference for orality, and,
according to interwar essayist Petru Comarnescu, was one
of Romania's "semi-failed intellectuals", loquacious and
improvident.[191] As an impish journalist, he always
favored the ephemeral.[192] Păstorel's work therefore
includes many scattered texts, some of which were never
collected for print. Gheorghe Hrimiuc assessed that his
aphorisms, "inscriptions" and self-titled "banal paradoxes"
must number in the dozens, while his epigram production
Caricature of Nicolae Iorga, by Ion Sava
was "enormous".[193]
In his attacks on Nicolae Iorga, the epigrammatist Păstorel

took the voice of Dante Aligheri, about whom Iorga had written a play. Teodoreanu's Dante addressed his
Romanian reviver, and kindly asked to be left alone.[194] Anti-Iorga epigrams abound in Țara Noastră
pages. Attributable to Teodoreanu, they are signed with various irreverent pen names, all of them
referencing Iorga's various activities and opinions: Iorgu Arghiropol-Buzatu, Hidalgo Bărbulescu, Mița
Cursista, Nicu Modestie, Mic dela Pirandola.[195] On the friendly side, the fashion of exchanging epigrams
was also employed by Teodoreanu and his acquaintances. In one such jousting, with philosopher
Constantin Noica, Teodoreanu was ridiculed for overusing the apostrophe (and abbreviation) to regulate his
prosody; Teodoreanu conceded that he could learn "writing from Noica".[196]
Other short poems merely address the facts of life in Iași or Bucharest. His first ever quatrain, published in
Crinul, poked fun at the Imperial Russian Army, whose soldiers were still stationed in Moldavia.[25] A later
epigram locates the hotspot of prostitution in Bucharest: the "maidens" of Popa Nan Street, he writes, "are
beautiful, but they're no maidens".[197] In 1926, Contimporanul published his French-language calligram
and "sonnet", which recorded in writing a couple's disjointed replies during the sexual act.[54] Teodoreanu's
artistic flair was poured into his regular letters, which fictionalize, rhyme and dramatize everyday
occurrences. These texts "push into the borders of literature" (Hrimiuc),[181] and are worthy of a "list of
great epistolaries" (Crețu).[33] Călinescu believes that such works should be dismissed, being "without
spirit", "written in a state of excessive joy, that confuses the writer about the actual suggestive power of his
words".[74]
Urban folklore and communist prosecutors recorded a wide array of anti-communist epigrams, attributed (in
some cases, dubiously)[12][108][120] to Al. O. Teodoreanu. In early 1947, the outlawed National Peasants'
Party (PNȚ) was putting out leaflets featuring political satires of the new regime; PNȚ man Liviu Tudoraș
argues that two such works were by Teodoreanu.[198] Păstorel the purported author of licentious comments
about communist writer Veronica Porumbacu and her vagina,[199] and about the "arselicking" communist
associate, Petru Groza.[120][200] The latter is also ridiculed in one piece which is more generically about
government policies after the Soviet occupation of Romania:
Armistițiul ne-a impus The Armistice compelled our nation

Să dăm boii pentru rus! To send oxen to the Russians!
Ca să completam noi doza, Just to top the bill, I tell,
L-am trimis pe Petru Groza![61][201] We sent them Petru Groza[202] as well!
Other epigrams ridiculed the intellectual abilities of Groza's cabinet members, and especially the Minister of
Agriculture, Romulus Zăroni:
Caligula imperator Caligula Imperator

A făcut din cal senator! Made his horse a senator!
Domnul Groza, mai sinistru, Mister Groza, way more sinister,
A făcut din bou – ministru![61] Appointed an ox as minister.
Elsewhere, Păstorel asks listeners to answer him a riddle: who has failing grades for conduct in school "but
holds sway over the country"? The prize for respondents is "20 years behind bars."[203] One other piece,
written after the Tito–Stalin split of 1949, alleges that Georgi Dimitrov had been murdered by the
Soviets.[204] Tradition also credits him with the corrosive joke about the Statue of the Soviet Liberator, a
monument which towered over Bucharest from 1946:
Soldat rus, soldat rus Russian grunt, my Russian grunt,

Te-au ridicat atât de sus, Did they put you up higher
Ca să te vadă popoarele For all the nations to admire?
Sau fiindcă-ți put picioarele?[109][200] Or could it be that your feet stunk?
Elsewhere, Teodoreanu derided the communists' practice of enrolling former members of the fascist Iron
Guard, nominal enemies, into their own Workers' Party. His unflattering verdict on this unexpected fusion
of the political extremes was mirrored by co-defendant Dinu Pillat, in the novel Waiting for the Last
Hour.[205] Teodoreanu's famous stanza is implicitly addressed to "Captain" Corneliu Zelea Codreanu, the
Guard's founder and patron saint:
Căpitane, O Captain,
Nu fi trist! Be not sad!
Garda merge înainte Your Guardsmen are not yet dead,
Prin partidul comunist![109] They live on as commie lads![206]
The political epigrams also record Teodoreanu's reception of the "Secret Speech", which marked the onset
of De-Stalinization:
La Kremlin s-a dat semnalul In the Kremlin they issued a call,

Și-am văzut c-așa stă treaba And so it is that we all,
Ani de zile, genialul Got to see that The Genius was not.
L-am pupat în fund degeaba![207] What a waste it has been kissing his butt!
In cultural memory
With his constant networking, Păstorel Teodoreanu made a notable impact in the careers of other writers,
and, indirectly, on visual arts. Some of his works came with original drawings: illustrations by Ion Sava (for
Strofe cu pelin de mai);[60] a portrait of the writer, by Ștefan Dimitrescu (Mici satisfacții); and graphics by
Ion Valentin Anestin (Vin și apă).[208] One of the first to borrow from Hronicul was George Lesnea, the
author of humorous poems about Moldavia's distant past,[209] and a recipient of the Hanul Ancuței literary
prize.[28] At age twelve, long before he had met Păstorel, Alexandru Paleologu was writing epigrams
modeled on Strofe cu venin—which he kept around, but never published.[210] A young author of the 1940s,
Ștefan Baciu, drew inspiration from both Gastronomice and Caiet in his own humorous verse.[211]
In the late 1960s, when liberalization touched Romanian communism, most restrictions on Teodoreanu's
work were lifted. In July 1969, the Prosecutor General filed appeals for both Teodoreanu and Vladimir
Streinu, effectively ensuring their rehabilitation; during this procedure, the authorities claimed that
Teodoreanu's epigrams had been burned in 1960, and, as such, that any definitive evidence of wrongdoing
had been lost before the author's prosecution.[212] Editura Tineretului had by then published a volume
called Hronicul Măscăriciului Vălătuc, which in fact sampled much of his lifetime work, while leaving out
most of the mock-historical texts. Scholar Marcel Duță gave a poor review to this "minuscule anthology",
noting that it had failed to underscore Păstorel's cultural relevance.[213]
1972 was a breakthrough year in Teodoreanu's recovery, with a selection of his poems and a new edition of
Hronicul; the latter was to become "the most readily reedited" Teodoreanu work, down to 1989.[214]
Prefacing the former, D. I. Suchianu noted with pessimism that "those who understood [Teodoreanu] are all
pretty much dead"; at the time, Păstorel's political works were still not publishable, and a full corpus of
writings was therefore impossible.[11] Later communism only brought a bibliophile edition of his
Gastronomice, with drawings by Done Stan, and a selection of food criticism, De re culinaria ("On
Food").[215] In 1988, at Editura Sport-Turism, critic Mircea Handoca published a travel account and
literary monograph: Pe urmele lui Al. O. Teodoreanu-Păstorel ("On the Trail of Al. O. Teodoreanu-
Păstorel").[33][216] Since 1975, Iași has hosted an epigrammatists' circle honoring Teodoreanu's memory.
Known as "Păstorel's Free Academy", it originally functioned in connection with Flacăra Iașului
newspaper, and was therefore controlled by the communist authorities.[217]
After the Romanian Revolution of 1989 lifted communist restrictions, it became possible for exegetes to
investigate the totality of Teodoreanu's contributions. Already in January 1990, critic Dan C. Mihăilescu
observed that communist censors had created a "wineless Păstorel", part of a "retouched literary
history".[218] From 1994, he was periodically honored in his native city by the Vasile Pogor literary
society.[134] Though the Romanian Cultural Foundation put out an edition of Hronicul as one of a
"forgotten books" series, other competing editions were already being sold in the early 1990s.[12] His anti-
communist apocrypha have been featured in a topical volume, edited by Gheorghe Zarafu and Victor
Frunză in 1996, but remain excluded from the standard Teodoreanu collections (including one published by
Rodica Pandele at Humanitas).[109] Also, under the new regime, food writing was again a profession, and
Păstorel became a direct inspiration for gastronomes such as Radu Anton Roman or Bogdan Ulmu, who
wrote "à la Păstorel".[32] As such, Doris Mironescu suggests, Teodoreanu made it into "a sui-generis
national pantheon" of epigrammatists, with Lesnea, Cincinat Pavelescu, and Mircea Ionescu-Quintus.[177]
Formal public recognition came in 1997, when the Museum of Romanian Literature honored the
Teodoreanu brothers' memory with a plaque, unveiled at their childhood home in Iași.[219] A street in the
industrial part of the city was also named after him.[220] However, the Zlataust building was partly
demolished by its new owners in 2010, a matter which fueled political controversies.[5][7][221]
Notes
1. (in Romanian) Constantin Ostap, "Păstorel Teodoreanu, reeditat in 2007" (http://www.ziaruld
eiasi.ro/pulsul-orasului/pastorel-teodoreanu-reeditat-in-2007~ni48es), in Ziarul de Iași,
February 6, 2007
2. Botez, p. 4
3. (in Romanian) Mihai Haivas, "Personalități dorohoiene: Alexandru Oswald Teodoreanu
(Păstorel) fiu al Dorohoiului (1)" (https://web.archive.org/web/20220705080204/https://www.
dorohoinews.ro/cultura-1615-Personalit%C4%83%C5%A3i-dorohoiene--Alexandru-Oswald
-Teodoreanu-%28P%C4%83storel%29-fiu-al-Dorohoiului-%281%29.html), in Dorohoi
News, March 15, 2014
4. Teodoreanu & Ruja, p. 7
5. (in Romanian) Vasile Iancu, "Memoria culturală, prin grele pătimiri" (https://web.archive.org/
web/20140419014353/http://convorbiri-literare.dntis.ro/IANCUmai11.htm), in Convorbiri
Literare, May 2011
6. Smaranda Sburlan, "Doamna Iașilor", in Femeia, Issue 2/1994, p. 24
7. (in Romanian) Gina Popa, "Se stinge 'ulița copilăriei' " (https://web.archive.org/web/2010050
5022045/http://www.evenimentul.ro/articol/se-stinge-ulita-copilariei.html), in Evenimentul,
March 31, 2010
8. Ostap (2012), pp. 53, 56–57
9. (in Romanian) Elena Cojuhari, "Viața și activitatea Margaretei Miller-Verghy în documentele
Arhivei Istorice a Bibliotecii Naționale a României" (http://www.bibnat.ro/dyn-doc/publicatii/R
evista%20BNR%201_2_2009.pdf), in Revista BNR, Issues 1–2/2009, pp. 46, 62
10. Ciobanu, p. 244; Teodoreanu & Ruja, pp. 7–8
11. Ostap (2012), p. 54
12. Z. Ornea, "Cronica edițiilor. Păstorel Teodoreanu", in România Literară, Issue 40/1992, p. 11
13. Călinescu, p. 777; Ciobanu, p. 244; Hrimiuc, pp. 293, 295–296; Teodoreanu & Ruja, p. 13
14. Ciobanu, p. 244
15. Călinescu, p. 777; Ciobanu, p. 244
16. Botez, p. 5
17. Ciobanu, p. 244; Teodoreanu & Ruja, p. 8
18. Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial,
p. 95. Bucharest: Humanitas, 2010. ISBN 978-973-50-2635-6
19. Ciobanu, pp. 244, 246; Teodoreanu & Ruja, pp. 8–9
20. Ciobanu, p. 246
22. Ostap (2012), p. 56. See also Teodoreanu & Ruja, p. 9
23. (in Romanian) Cornelia Pillat, "Ștefana Velisar Teodoreanu. Corespondență inedită: scrisori
din roase plicuri" (https://web.archive.org/web/20160917051325/http://www.romlit.ro/tefana_
velisar_teodoreanu_-_coresponden_inedit_scrisori_din_roase_plicuri), in România Literară,
Issue 20/2001
24. (in Romanian) Basarab Niculescu, "Stéphane Lupasco și francmasoneria română" (https://w
eb.archive.org/web/20160919031246/http://convorbiri-literare.dntis.ro/NICOLESCUmar12.ht
m), in Convorbiri Literare, March 2012
25. Tudor Opriș, Istoria debutului literar al scriitorilor români în timpul școlii (1820–2000), p. 135.
Bucharest: Aramis Print, 2002. ISBN 973-8294-72-X
28. (in Romanian) Constantin Coroiu, "Mitul cafenelei literare" (https://web.archive.org/web/201
10921221230/http://revistacultura.ro/nou/2010/12/mitul-cafenelei-literare/), in Cultura, Issue
302, December 2010
29. Teodoreanu & Ruja, p. 9. See also Călinescu, p. 1020, 1022; Ciobanu, p. 245; Lovinescu, p.
304
30. Cernat (2007), pp. 270–271
31. Costin, pp. 254–255; Teodoreanu & Ruja, p. 7
32. Pîrjol, pp. 19, 25
33. (in Romanian) Bogdan Crețu, "Corespondența lui Păstorel" (http://www.zf.ro/ziarul-de-dumin
ica/iasii-lui-cretu-corespondenta-lui-pastorel-5025858), in Ziarul Financiar, October 22, 2009
34. Ciobanu, pp. 244–245
35. Piru, p. 128
36. Ciobanu, p. 245; Hrimiuc, p. 292
37. Baruțu T. Arghezi, "Hotare de aer. Păstorel", in Steaua, Vol. XIII, Issue 16, August 1972, p. 9
38. Hrimiuc, p. 333
39. Călinescu, pp. 777–778
40. Ghemeș, p. 68
41. Ghemeș, pp. 67, 69
42. Ghemeș, pp. 69, 70–72
43. Ghemeș, pp. 69–70. See also Costin, p. 254
44. Cernat (2007), pp. 151–152
45. Stănciulescu-Bîrda, p. 563
46. Călinescu, p. 1020; Costin, pp. 254, 255–257; Hrimiuc, pp. 292, 298; Teodoreanu & Ruja, p.
9
47. Călinescu, p. 1020
48. Costin, pp. 255–258
49. Costin, pp. 254, 255; Hrimiuc, p. 295
50. (in Romanian) Elisabeta Lăsconi, "Florile poeziei: Parfum și esențe (Rabindranath Tagore,
Licurici; Ion Pillat, Poeme într-un vers) (http://www.viataromaneasca.eu/arhiva/88_via-a-rom
aneasca-11-12-2013/53_carti-paralele/1659_florile-poeziei-parfum-si-esente-rabindranath-t
agore-licurici-ion-pillat-poeme-intr-un-vers.html), in Viața Românească, Issues 11–12/2013
51. Călinescu, p. 1022; Teodoreanu & Ruja, p. 10
52. (in Romanian) Dumitru Hîncu, "Acum optzeci de ani — Bătaie la Cuvântul" (https://web.archi
ve.org/web/20120311230149/http://www.romlit.ro/acum_optzeci_de_ani__-_btaie_la_cuvnt
ul), in România Literară, Issue 44/2009
53. Daniela Cârlea Șontică, "La un șvarț cu capșiștii", in Jurnalul Național, August 28, 2006
54. Cernat (2007), p. 152
55. Piru, pp. 160, 189
56. Ciobanu, p. 245
58. (in Romanian) Ion Simuț, "Sadoveanu francmason" (https://web.archive.org/web/201609190
90228/http://www.romlit.ro/sadoveanu_francmason), in România Literară, Issue 10/2008
59. (in Romanian) Constantin Țoiu, "Întâmplări cu Păstorel" (https://web.archive.org/web/20140
419014152/http://www.romlit.ro/intmplri_cu_pstorel), in România Literară, Issues 51–
52/2008
60. (in Romanian) Rodica Mandache, "Boema. La Capșa cu Ion Barbu, Păstorel, Șerban
Cioculescu" (https://web.archive.org/web/20160304080437/https://jurnalul.ro/special-jurnalu
l/boema-la-capsa-cu-ion-barbu-pastorel-serban-cioculescu-612530.html), in Jurnalul
Național, May 12, 2012
61. (in Romanian) Bianca Tănase, "Păstorel Teodoreanu, de la umor la conflict" (https://web.arc
hive.org/web/20220704071159/https://historia.ro/sectiune/portret/pastorel-teodoreanu-de-la-
umor-la-conflict-571316.html), in Historia (online edition)
62. Stănciulescu-Bîrda, pp. 563–564
63. Ioan Stoica, "Insolitul ospăț al unui devorator de arhive", in Bucureștiul Literar și Artistic, Vol.
VIII, Issue 5, May 2018, pp. 14–15
64. Călinescu, p. 1020; Costin, p. 254; Hrimiuc, p. 292; Teodoreanu & Ruja, pp. 10–11
65. C. Cristobald, "Din lumina reflectorului. Regizorul lui Fortunio se ia la harță cu criticii
teatrali", in Rampa, June 1, 1947, p. 4
66. Boia (2012), p. 114
68. Pîrjol, pp. 19–20
69. (in Romanian) "Păstorel toarnă la Securitate" (https://web.archive.org/web/2014041910581
3/https://jurnalul.ro/editie-de-colectie/maria-tanase-2-iulie-2007/pastorel-toarna-la-securitate-
295556.html), in Jurnalul Național, June 25, 2007
70. Teodoreanu & Ruja, pp. 5–6, 11–13
72. Călinescu, p. 1020; Hrimiuc, p. 292; Costin, p. 254; Teodoreanu & Ruja, p. 14
73. Costin, p. 254; Pîrjol, p. 25
75. Mircea Iorgulescu, "Fragmente despre Istrati", in Ramuri, Issue 4/1987, p. 3
76. Hrimiuc, p. 295
77. Ciobanu, p. 246; Costin, p. 254; Hrimiuc, p. 292; Teodoreanu & Ruja, p. 14
78. Ostap (2012), pp. 55–56
79. Boia (2012), pp. 126, 142, 148–149, 167
80. Boia (2012), p. 127
82. Teodoreanu & Călin, pp. 87–88
83. Teodoreanu & Călin, pp. 87, 89
84. Hrimiuc, pp. 333, 334. See also Popa, p. 91
85. "Sociale-muncitorești. Concedieri la Muncă și Voe Bună", in Universul, September 28, 1940,
p. 5
86. Mircea Iorgulescu, "Actualitatea. Sindromul tribunalului și istoria literară", in România
Literară, Issue 47/1999, p. 3
87. (in Romanian) Simona Vasilache, "Dovezi de admirație" (https://web.archive.org/web/20140
419020608/http://www.romlit.ro/dovezi_de_admiraie), in România Literară, Issue 28/2009
88. (in Romanian) Lucian Vasile, "Manipularea din presă în prima lună din al doilea război
mondial" (https://web.archive.org/web/20110419102517/http://www.historia.ro/exclusiv_web/
general/articol/manipularea-presa-prima-luna-al-doilea-razboi-mondial), in Historia, April
2011
89. (in Romanian) Monica Grosu, "Din tainele arhivelor" (http://www.revistaluceafarul.ro/index.ht
ml?id=3232&editie=137), in Luceafărul, Issue 15/2011
90. 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. See also Ostap
(2012), p. 57
91. Massoff, pp. 109–110
92. Ion Mincu Lehliu, "Etcaetera. Vizita...", in Universul Literar, Vol. LI, Issue 12, March 1942, p.
5
93. Hrimiuc, pp. 292, 334
94. (in Romanian) Cosmin Ciotloș, "Memorie versus memorialistică" (https://web.archive.org/we
b/20140419020307/http://www.romlit.ro/memorie_versus_memorialistic), in România
Literară, Issue 6/2008
95. Massoff, p. 161
96. Ion Mincu Lehliu, "Ecouri teatrale", in Universul Literar, Vol. LII, Issue 35, December 1943, p.
2
97. "Ecouri din țară. Oltenița", in Curentul, July 1, 1944, p. 4
98. Pîrjol, p. 20
99. (in Romanian) G. Pienescu, "Al. O. Teodoreanu" (https://web.archive.org/web/20160917055
722/http://www.romlit.ro/al._o._teodoreanu), in România Literară, Issue 27/2007
100. Alexandru Singer, Henri Wald, "Cartea. Henri Wald față cu umorul", in Minimum, Vol. XII,
Issue 134, May 1998, p. 41
101. Massoff, p. 284
102. Victor Frunză, Istoria stalinismului în România, pp. 251, 565. Bucharest: Humanitas, 1990.
ISBN 973-28-0177-8
103. Hrimiuc, p. 302
104. Pîrjol, pp. 20, 25
105. Pîrjol, pp. 18–19
106. Lucian Nastasă, "Suveranii" universităților românești. Mecanisme de selecție și promovare
a elitei intelectuale, Vol. I, p. 154. Cluj-Napoca: Editura Limes, 2007. ISBN 978-973-726-
278-3
107. Sânziana Pop, Ștefana Velisar Teodoreanu, "Fondul principal al culturii române. Un prieten
pentru eternitate", in Luceafărul, Vol. XXIII, Issue 44, November 1980, p. 3
108. Pîrjol, pp. 21, 25
109. (in Romanian) Ion Simuț, "A existat disidență înainte de Paul Goma?" (https://web.archive.or
g/web/20140419020441/http://www.romlit.ro/a_existat_disiden_nainte_de_paul_goma), in
România Literară, Issue 22/2008
110. (in Romanian) Adrian Neculau, "O zi din viața lui Conu Sache" (http://www.ziaruldeiasi.ro/op
inii/o-zi-din-viata-lui-conu-sache~ni6qib), in Ziarul de Iași, November 6, 2010
111. Pîrjol, p. 21
112. (in Romanian) Paul Cernat, "Anii '50 și Tînărul Scriitor" (http://www.observatorcultural.ro/Anii
-50-si-Tinarul-scriitor*articleID_13865-articles_details.html), in Observator Cultural, Issue
285, August 2005
113. Hrimiuc, p. 333; Pîrjol, p. 22; Toescu, passim
114. Agerpres, "Săptămîna cărții", in Scînteia Tineretului, December 19, 1957, p. 1
115. Pîrjol, p. 22
116. Pîrjol, pp. 20–21, 22, 24, 26
117. "Preocupări cultural-artistice la clubul Dinamo București", in Sportul Popular, June 26, 1958,
p. 2
118. Pîrjol, pp. 22–24
119. Pîrjol, p. 23
120. (in Romanian) "Gheorghe Grigurcu în dialog cu Șerban Foarță" (https://web.archive.org/web/
20120907052020/http://www.romlit.ro/gheorghe_grigurcu_n_dialog_cu_erban_foar), in
România Literară, Issues 51–52/2007
121. (in Romanian) Alex. Ștefănescu, "Scriitori arestați (1944–1964)" (https://web.archive.org/we
b/20120804110804/http://www.romlit.ro/scriitori_arestai_1944-1964), in România Literară,
Issue 23/2005
122. Gabriel Liiceanu, "Spovedania lui Steinhardt", in Dilemateca, Issue 1, May 2006. See also
Boia (2012), p. 280; Tudoraș, pp. 175, 181–182
123. Tudoraș, pp. 181–182
124. Pîrjol, p. 21; Tudoraș, p. 175
125. (in Romanian) Al. Săndulescu, "Al doilea cerc" (https://web.archive.org/web/201501050028
19/http://www.romlit.ro/al_doilea_cerc), in România Literară, Issue 37/2006
126. Tudoraș, p. 175
127. Pîrjol, pp. 21–22
128. Pîrjol, p. 24
129. (in Romanian) Constantin Țoiu, "Păstorel recomandă: piftie de cocoș bătrân" (https://archive.
today/20130416125600/http://www.romlit.ro/pstorel_recomand_piftie_de_coco_btrn), in
România Literară, Issues 51–52/2006
130. Vintilă Russu-Șirianu, "Agendă. Ultimele miniaturi cu Păstorel", in Contemporanul, Issue
30/1971, p. 2
131. (in Romanian) Paul Cernat, "Senzaționalul unor amintiri de mare clasă" (http://www.observat
orcultural.ro/Senzationalul-unor-amintiri-de-mare-clasa*articleID_4369-articles_details.htm
l), in Observator Cultural, Issue 130, August 2002
132. Gheorghe G. Bezviconi, Necropola Capitalei, p. 269. Bucharest: Nicolae Iorga Institute of
History, 1972
133. Ion Constantin, Pantelimon Halippa neînfricat pentru Basarabia, p. 181. Bucharest: Editura
Biblioteca Bucureștilor, 2009. ISBN 978-973-8369-64-1
134. Ostap (2012), pp. 53–54
135. Hrimiuc, p. 327; Mironescu (2008), p. 16
137. Hrimiuc, p. 320–321
138. Hrimiuc, pp. 297–298; Mironescu (2008), p. 16
139. Costin, pp. 255–256
140. Pîrjol, p. 19
141. Costin, pp. 255–256; Hrimiuc, pp. 295, 311
142. (in Romanian) Alex. Cistelecan, "Paul Zarifopol, partizanul 'adevărului critic integral' " (http
s://web.archive.org/web/20130921051721/http://revistacultura.ro/nou/2011/02/paul-zarifopol-
partizanul-%e2%80%9eadevarului-critic-integral%e2%80%9c/), in Cultura, Issue 388,
February 2011; Andreea Grinea Mironescu, "Locul lui Paul Zarifopol. Note din dosarul
receptării critice" (https://web.archive.org/web/20111125074843/http://www.timpul.ro/magazi
nes/106.pdf), in Timpul, Issue 10/2011, pp. 8, 9
143. Călinescu, p. 776; Costin, pp. 256–257; Hrimiuc, p. 317; Teodoreanu & Ruja, pp. 9–10
144. Călinescu, p. 776; Costin, pp. 255–258; Teodoreanu & Ruja, p. 10
145. Costin, pp. 256–258
146. Costin, pp. 255–258; Hrimiuc, p. 317; Mironescu (2008), p. 16
147. Lovinescu, p. 208
148. Hrimiuc, pp. 311–312
149. Ghemeș, p. 75
150. Hrimiuc, pp. 316–317, 325–326; Mironescu (2008), pp. 16, 17
151. Hrimiuc, pp. 321–326, 330–332; Mironescu (2008), p. 17
152. Costin, pp. 258–263; Hrimiuc, pp. 312–316, 321–322, 329–331; Mironescu (2008), passim
153. Hrimiuc, pp. 321–322; Mironescu (2008), p. 16
154. Hrimiuc, pp. 313–315
155. Hrimiuc, p. 322. See also Costin, p. 265
156. Hrimiuc, pp. 315–316
157. Costin, pp. 262–265; Hrimiuc, pp. 326–328
158. Costin, pp. 265–266
159. Toescu, p. 181
160. Hrimiuc, pp. 325–326
161. Mironescu (2008), p. 17
162. Costin, pp. 261, 264; Hrimiuc, pp. 316, 317–321, 330
164. Hrimiuc, p. 318. See also Costin, pp. 264–265; Lovinescu, p. 208; Mironescu (2008), p. 17
165. Hrimiuc, pp. 296–301; Teodoreanu & Ruja, pp. 10–11. See also Toescu, passim
166. Hrimiuc, pp. 302–304
167. Toescu, pp. 180, 181
168. I. Ștefănescu, "Alegerile, altădată. Spicuiri din literatura clasicilor noștri", in Zori Noi,
February 28, 1958, p. 3
171. Hrimiuc, pp. 306–307
172. Hrimiuc, pp. 305–306
173. Hrimiuc, pp. 308–310
174. Călinescu, pp. 776–777; Teodoreanu & Ruja, p. 13
175. Hrimiuc, pp. 296–297, 300–301
176. Hrimiuc, pp. 297, 299–300
177. Mironescu (2008), p. 16
178. (in Romanian) Doris Mironescu, "Radu Rosetti, un cronicar al lumii vechi" (http://www.suplim
entuldecultura.ro/numarpdf/SDC_323_low-res.pdf), in Suplimentul de Cultură, Issue 323,
September 2011, p. 10
179. Hrimiuc, pp. 295–296; Pîrjol, p. 20
180. Teodoreanu & Ruja, pp. 11–12
182. (in Romanian) Al. Săndulescu, "Mâncătorul de cărți" (https://web.archive.org/web/20120226
212452/http://www.romlit.ro/mnctorulde_cri), in România Literară, Issue 11/2008
183. Călinescu, pp. 778, 779
184. Hrimiuc, pp. 293–295
186. Ciobanu, pp. 247–252
188. Teodoreanu & Ruja, pp. 13–14. See also Ciobanu, pp. 246–247
191. (in Romanian) Andrei Stavilă, "Eveniment: Jurnalul lui Petru Comarnescu" (https://web.archi
ve.org/web/20120227054436/http://convorbiri-literare.dntis.ro/STAVILAian5.html), in
Convorbiri Literare, January 2005
192. Hrimiuc, pp. 292, 302
193. Hrimiuc, pp. 292–293, 295
194. Cernat (2007), p. 152; Ghemeș, p. 73
195. Ghemeș, pp. 73–75
196. Gabriel Liiceanu, The Păltiniș Diary: A Paideic Model in Humanist Culture, pp. 22–23.
Budapest & New York City: Central European University Press, 2000. ISBN 963-9116-89-0
197. (in Romanian) Horia Gârbea, "Locuri de taină și desfrîu" (https://web.archive.org/web/20140
419020055/http://www.romlit.ro/locuri_de_tain_i_desfru), in România Literară, Issue 49/2008
198. Tudoraș, pp. 176–179
199. (in Romanian) Dumitru Radu Popa, "Între două povețe: spiritul exaltat și spiritul treaz" (http://
www.viataromaneasca.eu/images/pdf/40_1.pdf), in Viața Românească, Issues 1–2/2007, p.
33
200. Pîrjol, p. 25
202. "Ox" is a colloquial synonym for "blockhead" or "idiot" in Romanian: bou (https://en.wiktionar
y.org/wiki/bou#Noun_6)
203. Costin, p. 255
205. (in Romanian) Cosmin Ciotloș, "Masca transparentă" (https://web.archive.org/web/2014041
9020612/http://www.romlit.ro/masca_transparenta), in România Literară, Issue 20/2010
206. Alternative translation, based on a slightly different version, in Ion C. Butnaru, The Silent
Holocaust: Romania and Its Jews, p. 168. Westport: Praeger/Greenwood, 1992. ISBN 0-
313-27985-3
207. Tudor-Radu Tiron, "O distincție românească efemeră: Medalia "Pentru Vitejie" (1953–
1958)", in Heraldica Moldaviae, Vol. I, 2018, pp. 108–109
208. Teodoreanu & Ruja, pp. 10, 14
209. (in Romanian) Ion Bălu, "Prezența discretă a lui George Lesnea" (https://web.archive.org/we
b/20140419014350/http://convorbiri-literare.dntis.ro/I_BALUap.html), in Convorbiri Literare,
April 2002
210. Florin Davidescu, "Alexandru Paleologu – portret la 16 ani", in România Literară, Issue
45/1993, p. 11
211. Popa, pp. 91, 93
212. Tudoraș, p. 175. See also Pîrjol, p. 25
213. Marcel Duță, "Disocieri. Selecții nereprezentative", in Scînteia Tineretului, June 28, 1967, p.
2
214. Teodoreanu & Ruja, pp. 15–16
215. Pîrjol, pp. 19, 25; Teodoreanu & Ruja, p. 16
216. Ciobanu, p. 245; Ostap (2012), p. 54; Teodoreanu & Ruja, pp. 8, 16
217. (in Romanian) Gina Popa, "Academia Liberă 'Păstorel' aniversează 37 de ani" (https://web.a
rchive.org/web/20120403042323/http://www.evenimentul.ro/articol/academia-libera-pastorel
-aniverseaza-37-de-ani.html), in Evenimentul, February 7, 2012
218. Dan C. Mihăilescu, "Adevărul din umbră", in România Literară, Issue 4/1990, p. 5
219. Ostap (2012), p. 55
220. Ostap (2012), p. 57
221. Ostap (2012), p. 56
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Românească, 2007. ISBN 978-973-23-1911-6
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ISBN 973-36-0165-9
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Păstorel Teodoreanu

Păstorel Teodoreanu, or just Păstorel (born Alexandru Osvald

After an unsuccessful but scandalous debut in drama, Teodoreanu

In 1914, just as World War I broke out elsewhere

Țara Noastră period

Teodoreanu was also involved in the cultural

Caricature of Păstorel, by Ion Sava

World War II and communist takeover

Though Rodia de aur was taken up by the

Censorship and show trial

Prison term, illness, and death

Teodoreanu received a sentence of six years in "correctional

Although the presence of anachronisms makes it

Scattered texts and apocrypha

According to Ornea, Păstorel had an "inimitable charm",

In his attacks on Nicolae Iorga, the epigrammatist Păstorel

Armistițiul ne-a impus The Armistice compelled our nation

Caligula imperator Caligula Imperator

Soldat rus, soldat rus Russian grunt, my Russian grunt,

La Kremlin s-a dat semnalul In the Kremlin they issued a call,

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