Mihail Sadoveanu (Romanian: [miha'il sado've?

anu]; occasionally referred to as M ihai Sadoveanu; November 5, 1880 October 19, 1961) was a Romanian novelist, shor t story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947 1948 and 1958). One of the most prolifi c Romanian-language writers, he is remembered mostly for his historical and adve nture novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sa manatorul, before becoming known as a Realist writer and an adherent to the Popo ranist current represented by Viata Romneasca journal. His books, critically accl aimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medi eval and early modern history. Among them are Neamul Soimarestilor ("The Soimare sti Family"), Fratii Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under t he Sign of the Crab"). With Venea o moara pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadov eanu extends his fresco to contemporary history and adapts his style to the psyc hological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationali sm and Humanism, Sadoveanu moved between right- and left-wing political forces t hroughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brat ianu, he was editor of the leftist newspapers Adevarul and Dimineata, and was th e target of a violent far right press campaign. After World War II, Sadoveanu be came a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Sovi et Union and adopted Socialist realism. Many of his texts and speeches, includin g the political novel Mitrea Cocor and the famous slogan Lumina vine de la Rasar it ("The Light Arises in the East"), are also viewed as propaganda in favor of c ommunization. A founding member of the Romanian Writers' Society and later President of the Ro manian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Maste r of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-M ihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan.

Contents [hide] 1 Biography 1.1 Early years 1.2 First literary attempts, marriage and family 1.3 Samanatorul, Viata Romneasca and literary debut 1.4 1910s and World War I 1.5 Creative maturity and early political career 1.6 Late 1930s and World War II 1.7 Communist system and political rise 1.8 Final years, illness and death 2 Literary contributions 2.1 Context 2.2 Characteristics 2.3 Debut 2.4 Early selections of major themes 2.5 Hanu Ancutei, Soimii and Neamul Soimarestilor 2.6 Zodia Cancerului and Nunta Domnitei Ruxandra 2.7 Fratii Jderi, Venea o moara pe Siret... and Baltagul 2.8 Main travel writings and memoirs 2.9 Other early writings

2.10 Socialist realism years 3 Politics 3.1 Nationalism and Humanism 3.2 Opposition to fascism and support for King Carol 3.3 Partnership with the communists 4 Legacy 4.1 Influence 4.2 Tributes 5 Selected works 5.1 Fiction 5.2 Non-fiction 6 Notes 7 References 8 External links Biography[edit] Early years[edit] Sadoveanu was born in Pascani, in western Moldavia. His father's family hailed f rom the southwestern part of the Old Kingdom, in Oltenia.[1] Their place of orig in, Sadova, provided their chosen surname (lit. "from Sadova"),[2] which was ado pted by the family only in 1891.[3][4] Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Calinescu described as "a beard ed and well-to-do man";[2] according to the writer's own notes, Alexandru was un happy in marriage, and his progressive isolation from public life impacted on th e entire family.[5] Mihail's mother, Profira ne Ursachi (or Ursaki; d. 1895), hai led from a line of Moldavian shepherds,[6] all of whom, as the writer recalled, had been illiterate.[7] Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadovea nu was especially connected with his Moldavian roots.[8] Mihail had a brother, a lso named Alexandru, whose wife was the Swiss-educated literary critic Izabela M ortun (later known as Sadoveanu-Evan, she was the cousin of socialist activist V asile Mortun).[9] Another one of his brothers, Vasile Sadoveanu, was an agricult ural engineer.[10] Beginning in 1887, Sadoveanu attended primary school in Pascani. His favorite te acher, a Mr. Busuioc, later served as inspiration for one of his best-known shor t stories, Domnu Trandafir ("Master Trandafir").[11] While away from school, you ng Sadoveanu used much of his spare time exploring his native region on foot, hu nting, fishing, or just contemplating nature.[12] He was also spending his vacat ions in his mother's native Verseni.[4][13] During his journeys, Sadoveanu visit ed peasants, and his impression of the way in which they were relating to author ity is credited by critics with having shaped his perspective on society.[14] Sh ortly after this episode, the young Sadoveanu left to complete his secondary stu dies in Falticeni and at the National High School in Iasi.[15][16][17] While in Falticeni, he was in the same class as future authors Eugen Lovinescu and I. Dra goslav, but, having lost interest in schoolwork, he failed to get his remove, be fore eventually graduating top of his class.[17] First literary attempts, marriage and family[edit]

Sadoveanu's daughters, portraits by Aurel Bae?u: Profira,

Despina-Lia,

Theodora In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great,[18] but his first literary attempts date from the following year.[16][19] It was in 1897 that a sketch story, titled Dom nisoara M din Falticeni ("Miss M from Falticeni") and signed Mihai din Pascani ( "Mihai from Pascani"), was successfully submitted for publishing to the Buchares t-based satirical magazine Dracu.[16] He started writing for Ovid Densusianu's j ournal Vieata Noua in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi,[18] include another sketch story and a lyric poem.[20] Sadoveanu was however dissatisfied with Densusianu's agenda, a nd critical of the entire Romanian Symbolist movement for which the review spoke .[20] He ultimately began writing pieces for non-Symbolist magazines such as Opi nia and Pagini Literare.[16][20] In parallel, he founded and printed by hand a s hort-lived journal, known to researches as either Aurora[20] or Lumea.[3] Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to litera ture.[3][16][21] He began frequenting the bohemian society in the capital,[3] bu t, following a sudden change in outlook, abandoned poetry and focused his work e ntirely on Realist prose.[21] In 1901, Sadoveanu married Ecaterina Blu, with whom he settled in Falticeni,[4][16][17][22] where he began work on his first novell as and decided to make his living as a professional writer.[16] His first draft for a novel, Fratii Potcoava ("The Potcoava Brothers"), came out in 1902, when f ragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz .[23] The following year, Sadoveanu was drafted into the Romanian Land Forces, s tationed as a guard near Trgu Ocna, and inspired by the experience to write some of his first social criticism narratives.[21] After that time, he spent much of his home in the country, where he raised a lar ge family.[24] Initially, the Sadoveanus lived in a house previously owned by ce lebrated Moldavian raconteur Ion Creanga, before they commissioned a new buildin g, famed for its surrounding Gradina Linistii ("Garden of Quietude").[17] He was the father of eleven,[18] among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poetess and a novelist.[25] Of his sons, Dimitrie Sadoveanu became a painter,[25] while Paul-Mihu, the youngest (bo rn 1920), was author of the novel Ca floarea cmpului... ("Like the Flower of the Field...") which was published posthumously.[25][26][27] Samanatorul, Viata Romneasca and literary debut[edit]

Samanatorul logo, issue no. 20, dated May 14, 1906. Nicolae Iorga is credited as the editor in chief, Sadoveanu and Stefan Octavian Iosif are two of the other e ditors After receiving an invitation from poet Stefan Octavian Iosif in 1903,[23][28] S adoveanu contributed works to the traditionalist journal Samanatorul, led at the

time by historian and critic Nicolae Iorga. He was by then also a contributor t o Vointa Nationala, a newspaper published by the National Liberal Party and mana ged by politician Vintila Bratianu beginning December of the same year, the paper serialized Soimii ("The Hawks"), an extended variant of Fratii Potcoava, with an introduction by historian Vasile Prvan.[23] In 1904, he regained Bucharest, wher e he became a copyist for the Ministry of Education's Board of Schools, returnin g to Falticeni two years later.[16][29] After 1906, he rallied with the group fo rmed around Viata Romneasca, which was also joined by his sister-in-law Izabela.[ 9] Samanatorul and Viata Romneasca, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leadi ng Poporanist ideologue, Garabet Ibraileanu, became a personal friend of the you ng writer after inviting him on an excursion down the Rsca River.[30] With his su bsequent pieces for Viata Romneasca, Sadoveanu became especially known as the rac onteur of hunting trips,[31] but also sparked controversy when a young woman wri ter, Constanta Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrascu, a serialized novel which was discontinued and later largely fo rgotten.[32] 1904 was Sadoveanu's effective debut year: he published four separate books, inc luding Soimii, Povestiri ("Stories"), Dureri nabusite ("Suppressed Pains") and Crs ma lui Mos Petcu ("Old Man Petcu's Alehouse").[4][16][18][21][33][34] The beginn ing of a prolific literary career covering more than a half century and of his c ollaboration with Editura Minerva publishing house,[23] this debut was marked by intense preparation, and drew on literary exercises spanning the previous decad e.[23][33][35] His Samanatorul colleague Iorga deemed 1904 "Sadoveanu's Year",[1 6][18][23][36] while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906.[23][37] In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers.[38 ] According to Vianu, Maiorescu saw in Sadoveanu and other young writers the tri umph of his theory on a "popular" form of Realism, a vision which the Junimist t hinker had advocated in his essays from as early as 1882.[39] Sadoveanu later cr edited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Samanatorul poet George Cosbuc, with having helped him capture the interest of the public and his peers.[23] He was by then facing adversity from opponents of Samanatorul, primarily critic Henric Sanielevici and his Curentul Nou review , which published claims that Sadoveanu's volumes, which depicted immoral acts s uch as adultery and rape, showed that Iorga's program of moral didacticism was h ypocritical.[23] As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Samanatorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegs, and vie wed as overrated by Sadoveanu).[23] The same year, Sadoveanu became one of Samanatorul's editors, alongside Iorga an d Iosif.[40] The magazine, originally a traditionalist mouthpiece founded by Ale xandru Vlahuta and George Cosbuc, proclaimed with Iorga its purpose of establish ing "a national culture", emancipated from foreign influence.[41] However, accor ding to Calinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped toget her ruralist traditionalists of the "national tendency" and adherents to the cos mopolitan currents such as Symbolism.[42] Calinescu and Vianu agree that Samanat orul was, for a large part, a promoter of older guidelines set by Junimea.[43] V ianu also argues that Sadoveanu's contribution to the literary circle was the ma in original artistic element in its history, and credits Iosif with having accur ately predicted that, during a period of literary "crisis", Sadoveanu was the pe rson to provide innovation.[44]

He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes.[33] In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education , headed by the Conservative Party's Mihail Vladescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vlsan and the s hort story writer Nicolae N. Beldiceanu.[45] Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]."[45] Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906 , being granted an officer's rank.[33] An already overweight man, he had to marc h from Probota in Central Moldavia to Bukovina, which caused him intense sufferi ng.[33] 1910s and World War I[edit]

Title page of Neamul Soimarestilor in the original 1915 edition "with illustrat ions by Stoica" (Editura Minerva) Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret.[46] Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the pea santry, Sadoveanu reportedly drew suspicion from the Police when he published se lf-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry.[47] Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Ro manian Writers' Society, created in the previous year by poets Cincinat Pavelesc u and Dimitrie Anghel, and becoming its President in September of that year.[48] [49] The same year, he, Iosif, and Anghel, together with author Emil Grleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and t he Junimist school (the magazine was no longer in print by 1910).[3][50] At the time, he became a noted presence among the group of intellectuals meeting in Buc harest's Kbler Coffeehouse.[51] In 1910, he was also appointed head of the National Theater Iasi, a position whi ch he filled until 1919.[3][4][16][17] That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks.[52] He resigned his office within the Writers' Society in November 1911, being replaced by Grleanu, but continued to partake in its administration as a member of its leadership com mittee and a censor.[48][49] He was a leading presence at Minerva newspaper, alo ngside Anghel and critic Dumitru Karnabatt, and also published in the Transylvan ian traditionalist journal, Luceafarul.[53] Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant,[16] he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a s hort period on the front.[30][33] He returned to literary life. Becoming good fr iends with poet and humorist George Toprceanu, he accompanied him and other write rs on cultural tours during 1914 and 1915.[54] The series of writings he publish ed at the time includes the 1915 Neamul Soimarestilor.[16][23] In 1916-1917, as Romania entered World War I and was invaded by the Central Powe rs, Sadoveanu stayed in Moldavia, the only part of Romania's territory still und er the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers.[55] At t

he time, he was reelected President of the Writers' Society, a provisional manda te which ended in 1918, when Romania signed the peace with the Central Powers,[4 8] and, as Army reservist, edited the Entente's regional propaganda outlet, Romni a.[56] He was joined by Toprceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine nsemnari Literare.[30][54] Sadove anu subsequently settled in the Iasi neighborhood of Copou, purchasing and redec orating the villa known locally as Casa cu turn ("The House with a Tower").[4][5 7] In the 19th century, it had been the residence of politician Mihail Kogalnice anu, and, during the war, hosted composer George Enescu.[57] During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului.[17][58] Creative maturity and early political career[edit]

Agapia Monastery, one of Sadoveanu's favorite retreats In 1921, Sadoveanu was elected a full member of the Romanian Academy;[4][16][18] he gave his reception speech in front of the cultural forum two years later, st ructuring it as a praise of Romanian folklore in general and folkloric poetry in particular.[4][16][59] At the time, he renewed his contacts with Viata Romneasca : with Garabet Ibraileanu and several others, he joined its interwar nucleus, wh ile the review often featured samples of his novels (some of which were original ly published in full by its publishing venture).[60] His house was by then host to many cultural figures, among whom were writers Toprceanu, Gala Galaction, Otil ia Cazimir, Ionel and Pastorel Teodoreanu, and Dumitru D. Patrascanu, as well as conductor Sergiu Celibidache.[57] He was also close to a minor socialist poet a nd short story author, Ioan N. Roman, whose work he helped promote,[61] to the a ristocrat and memoirist Gheorghe Jurgea-Negrilesti,[62] and to a satirist named Radu Cosmin.[63] Despite his health problems, Sadoveanu frequently traveled throughout Romania, n otably visiting local sights which inspired his work: the Romanian Orthodox mona steries of Agapia and Varatec, and the Neamt Fortress.[33] After 1923, together with Toprceanu, Demostene Botez and other Viata Romneasca affiliates, he also emba rked on a series of hunting trips.[54] He was charmed in particular by the sight s he discovered during a 1927 visit to the Transylvanian area of Aries.[10][16] The same year, he also visited the Netherlands, which he reached by means of the Orient Express.[16][33] His popularity continued to grow: in 1925, 1929 and 193 0 respectively, he published his critically acclaimed novels Venea o moara pe Si ret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated a t a national level.[16][36] In 1930, Sadoveanu, Toprceanu and the schoolteacher T . C. Stan wrote and edited a series of primary school textbooks.[64] In 1926, after a period of indecision, Sadoveanu rallied with the People's Party , where his friend, the poet Octavian Goga, was a prominent activist.[33] He the n rallied with Goga's own National Agrarian Party.[65] During the general electi on of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, hold ing a seat in the Senate for Iasi County after the 1931 suffrage.[33][66] Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was Pr esident of the Senate.[33][66] The choice was motivated by his status as "a cult ural personality".[33] Around that date, he was affiliated with the National Lib eral Party-Bratianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group.[67] In parallel, he began contri buting to the left-wing daily Adevarul.[68] Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928,[69] but was probably a member since 1926 or 1927.[70] Reac

hing the 33rd degree within the organization[71] and overseeing the Masonic Lodg e Dimitrie Cantemir of Iasi,[36] he was elected Grand Master of the National Uni on of Lodges in 1932, thus replacing the vacating George Valentin Bibescu.[36] T here subsequently occurred a split between Bibescu and Sadoveanu's supporters, a ggravated by their publicized conflict with a third group, that of Ioan Pangal spl its which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France.[36] By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges.[33][36][46][69] Late 1930s and World War II[edit] He was publishing new works at a regular rate, culminating in the first volume o f his historical epic Fratii Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevarul and its morning edition, Diminea ta. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns.[72] Affiliates of the radical right organized public burnings of his volumes.[73] The scandal prol onged itself over the following years, with Sadoveanu being supported by his fri ends in the literary community.[16][74] Among them was Toprceanu, who was at the time hospitalized, and whose expression of support was made shortly before his d eath to liver cancer.[75] In September 1937, as a statement of solidarity and ap preciation, the University of Iasi conferred Sadoveanu the title of doctor honor is causa.[76] Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Ro mania came to be led by successive right-wing dictatorships, he offered a measur e of support to King Carol II and his National Renaissance Front, which attempte d to block the more radically fascist Iron Guard from power. He was personally a ppointed a member of the reduced corporatist Senate by Carol.[77] In 1940, the o fficial establishment Editura Fundatiilor Regale published the first volume of h is Opere ("Works").[23] Sadoveanu kept a low profile under the Iron Guard's Nazi -allied National Legionary regime. After Conducator Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cul tural subjects for the Romanian Radio.[78] After publishing the final section of his Fratii Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Aries area, where he had built himself a chalet and a church; this seclu sion produced his Povestirile de la Bradu-Strmb ("Bradu-Strmb Stories").[79] Durin g those years, the sixty-year old writer met Valeria Mitru, a much younger femin ist journalist,[80] whom he married after a brief courtship.[10] In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Rom anian troops fought alongside the Red Army on the European theater. Paul-Mihu Sa doveanu was killed in action in Transylvania on September 22.[26] During the sam e months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated b y Victor Eftimiu.[36] Later that year, the 40th anniversary of Mihail Sadoveanu' s debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work.[23][36][81] Communist system and political rise[edit]

The collective Romanian Presidency in 1948. From left: Stefan Voitec, Sadoveanu , Gheorghe Stere, Constantin Ion Parhon, Ion Niculi

After the Soviet-backed advent of the Communist system in Romania, Sadoveanu sup ported the new authorities, and turned from his own version of Realism to offici ally-endorsed Socialist realism (see Socialist realism in Romania). This was als o the start of his association with the Soviet-sponsored Romanian Society for Fr iendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after bec ame president of the ARLUS "Literary and Philosophical Section" (seconded by Mih ai Ralea and Perpessicius).[82] In February 1945, he joined Parhon, Enescu, ling uist Alexandru Rosetti, composer George Enescu, biologist Traian Savulescu and m athematician Dimitrie Pompeiu in a protest against the cultural policies of Prem ier Nicolae Radescu and his cabinet, one in a series of moves to discredit the n on-communist Radescu and make him leave power.[83] With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the associatio n's weekly literary magazine Veac Nou after June 1946.[84] Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference h all in Bucharest. Part of a conference cycle, his speech was famously titled Lum ina vine de la Rasarit, which soon became synonymous with the attempts to improv e the image of Stalinism in Romania.[85] ARLUS would issue the text of his confe rence as a printed volume later in the year.[69] Also in 1945, Sadoveanu journey ed to the Soviet Union together with some of his fellow ARLUS members among them b iologists Parhon and Savulescu, sociologist Dimitrie Gusti, linguist Iorgu Iorda n, and mathematician Simion Stoilow.[86] Invited by the Soviet Academy of Scienc es to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin , an agronomist favored by Stalin.[87] After his return, he wrote other controve rsial texts and gave lectures which offered ample praise to the Soviet system.[8 8] That year, the ARLUS enterprise Editura Cartea Rusa also published his transl ation of Ivan Turgenev's A Sportsman's Sketches.[52] During the rigged election of that year, Sadoveanu was a candidate for the Commu nist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a se at in the newly-unified Parliament of Romania.[89][90] In its first-ever session (December 1946), the legislative body elected him its President.[91] He was at the time residing in Ciorogrla, having been awarded a villa previously owned by P amfil Seicaru, a journalist whose support for fascist regimes had made him undes irable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press de emed Sadoveanu the "Count of Ciorogrla".[92] In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material b enefits.[90][93] In 1947-1948, he was, alongside Parhon, Stefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, whic h was elected by the BPD-dominated legislative.[94][95] He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium.[96] Final years, illness and death[edit]

Photograph of the aging Sadoveanu After the Writers' Society was restructured as the Romanian Writers' Union in 19 49, Sadoveanu became its Honorary President.[48][97] In 1950, he was named Presi

dent of the Writers' Union, replacing Zaharia Stancu. According to writer Valeri u Rpeanu, this last appointment was a sign of Stancu's marginalization after he h ad been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc.[98 ] Sadoveanu and Beniuc were reelected at the Union's first Congress (1956).[48][ 99] In the meanwhile, Sadoveanu published several Socialist realist volumes, amo ng which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Pros e.[91] Throughout the period, Sadoveanu was involved in major communist-endorsed cultur al campaigns. Thus, in June 1952, he presided over the Academy's Scientific Coun cil, charged with modifying the Romanian alphabet, at the end of which the lette r was discarded, and replaced everywhere with (a spelling Sadoveanu is alleged t o have already shown preference for in his early works).[100] In March 1953, soo n after Stalin's death, he led discussions within the Writers' Union, confrontin g his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-co ndemned doctrines of proletkult.[101] The author was also becoming involved in t he Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War en emies as warmongers and the sole agents of nuclear proliferation.[95] He also re presented Romania to the World Peace Council, and received its International Pea ce Prize for 1951.[102] As a parliamentarian, Sadoveanu stood on the committee c harged with elaborating the new republican constitution, which, in its final for m, reflected both Soviet influence and the assimilation of Stalinism into Romani an political discourse.[103] In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor".[104] After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it con tinued to recommend Mihail Sadoveanu as one of its prime cultural models.[105] Having donated Casa cu turn to the state in 1950,[57] he moved back to Bucharest , where he owned a house near the Zambaccian Museum.[10] From January 7 to Janua ry 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chair men of the Presidium of the Great National Assembly, which again propelled him t o a position as titular head of state. His literary stature but also his politic al allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death.[106] After a long illness marked by a stroke which impaired his speech and left him a lmost completely blind,[10] Sadoveanu was cared for by a staff of physicians sup ervised by Nicolae Gh. Lupu and reporting to the Great National Assembly.[10] Th e Sadoveanus withdrew to Neamt region, where they lived in a villa assigned to t hem by the state and located near the Voividenia hermitage and the locality of Vn atori-Neamt,[10] being visited regularly by literary and political friends, amon g them Alexandru Rosetti.[107] Mihail Sadoveanu died there at 9 AM on October 19 , 1961,[2] and was buried at Bellu cemetery, in Bucharest. His successor as Pres ident of the Writers' Union was Beniuc, elected during the Congress of January 1 962.[48] Following her husband's death, Valeria Sadoveanu settled in proximity to the Var atec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Busulenga and by p oetess Stefana Velisar, and dedicated herself to protecting the community of nun s.[108] She survived Mihail Sadoveanu by over 30 years.[108] Literary contributions[edit] Context[edit]

Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes[109][110] (120 according to the American magazine Time).[94] His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu for all the differenc es in style between the three figures, the interwar public saw them as the "grea t novelists" of the day.[111] Critic Ovid Crohmalniceanu describes their activit y, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent,[112] whi le Romanian-born American historian of literature Marcel Cornis-Pope sees Sadove anu and Rebreanu as their country's "two most important novelists of the first h alf of the twentieth century".[113] In 1944, Tudor Vianu spoke of Sadoveanu as " the most significant writer Romanians [presently] have, the first among his equa ls."[114] While underlining his originality in the context of Romanian literature and amon g the writers standing for "the national tendency" (as opposed to the more cosmo politan modernists), George Calinescu also noted that, through several of his st ories and novels, Sadoveanu echoed the style of his predecessors and contemporar ies Ion Luca Caragiale, Ioan Alexandru Bratescu-Voinesti, Emil Grleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogas, I. A. Bassarabescu and Ionel Teodoreanu .[115] Also included among the "national tendency" writers, Grleanu was for long seen as Sadoveanu's counterpart, and even, Calinescu writes, "undeservedly upsta ged" him.[116] Cornis-Pope also writes that Sadoveanu's epic is a continuation o f "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu,[113] while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane.[117] In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels.[61] Later, his approach to Realism was a lso inspired by his reading of Gustave Flaubert and especially Nikolai Gogol.[20 ] Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebu e, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku.[118] In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visua l artists of the Renaissance.[119] Mihail Sadoveanu's interest in the rural worl d and his views on tradition were subjects of debate among the modernists. The m odernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with E uropean tendencies, was one of Sadoveanu's most notorious critics.[23][120] Howe ver, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in s earch for literary authenticity, believed in bridging the gap between the avantgarde and folk culture.[121] This opinion was shared by Swedish literary histori an Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local fol klore.[122] In the larger dispute about national specificity, and partly in resp onse to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with , "Sadoveanu's soul can be easily reduced to the Slavic soul".[123] Characteristics[edit] Sadoveanu's personality and experience played a major part in shaping his litera ry style. After his 1901 marriage, Mihail Sadoveanu adopted what Calinescu deeme d "patriarchal" lifestyle.[2] The literary historian noted that he took a person al interest in educating his many children, and that this also implied "making u

se of a whip".[2] An Epicurean, the writer was a homemaker, an avid hunter and f isherman, and a chess aficionado.[124] Recognized, like his epigramist colleague Pastorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished R omanian cuisine and Romanian wine.[125] The lifestyle choices were akin to his l iterary interests: alongside the secluded and rudimentary existence of his main characters (connected by Calinescu with the writer's supposed longing for "regre ssions to the patriarchal times"),[126] Sadoveanu's work is noted for its imager y of primitive abundance, and in particular for its lavish depictions of rituali stic feasts, hunting parties and fishing trips.[94][127] Calinescu opined that the value of such descriptions within individual narrative s grew with time, and that the author, once he had discarded lyricism, used them as a "a means for the senses to enjoy the fleshes and the forms that nature off ers man."[128] He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covere d in venison and fish."[128] Vianu also argued that Sadoveanu never abandoned hi mself to purely aesthetic descriptions, and that, although often depicted with I mpressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure.[129] The traditionalist Garabet Ibr aileanu, referring to Sadoveanu's poetic nature writing, even declared it to hav e "surpassed nature."[130] At the other end, the modernist Eugen Lovinescu speci fically objected to Sadoveanu's depiction of a primordial landscape, arguing tha t, despite adopting Realism, his rival was indebted to Romanticism and subjectiv ity.[23][131] Lovinescu's attitude, critic Ion Simut notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Samana torul.[23] In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them."[94] For Calin escu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of Franois-Ren de Chateaubriand.[132] Unlike Lovinescu, Vianu saw th ese traits as "not at all detrimental to the balance of [Sadoveanu's] art."[133] Seen by literary critic Ioan Stanomir as marked by "volubility",[134] and thus c ontrasting with his famously taciturn and seemingly embittered nature,[10][135] the form of Romanian used by Mihail Sadoveanu, particularly in his historical no vels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin,[13 6] the author creatively intercalates several local dialects and registers of sp eech, moving away from a mere imitation of the historical language.[137] General ly third-person narratives, his books often make little or no dialectal differen ce between the speech used by the story-teller and the character's voices.[138] According to Calinescu, Sadoveanu displays "an enormous capacity of authentic sp eech", similar to that of Caragiale and Ion Creanga.[116] The writer himself rec orded his fascination with the "eloquence" of rudimentary orality, and in partic ular with the speech of Rudari Roma he encountered during his travels.[139] Buil ding on observations made by several critics, who generally praised the poetic q ualities of Sadoveanu's prose, Crohmalniceanu spoke in detail about the Moldavia n novelist's role in reshaping the literary language.[140] This particular contr ibution was first described early in the 20th century, when Sadoveanu was acclai med by Titu Maiorescu for having adapted his writing style to the social environ ment and the circumstances of his narratives.[141] Vianu however notes that Sado veanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot.[142] Another unifying element in Sadoveanu's creation is his recourse to literary typ es. As early as 1904, Maiorescu praised the young raconteur for accurately depic ting characters in everyday life and settings.[143] Tudor Vianu stressed that, u nlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathe

tic view of the peasant character, as "a higher type of human, a heroic human".[ 144] He added: "Simple, in the sense that they are moved by a few devices [which ] coincide with the fundamental instincts of mankind, [they] are, in general, my sterious."[145] In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture.[146] Commenting on this aspect, Sadovean u's friend George Toprceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [... ] humans."[147] The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal righ ts"[148] (or, according to Simut, "a utopia of archaic heroism").[23] Thus, Calinescu stresses, Sadoveanu's work seems to be the monolithic creation t hrough which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu.[116] The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural ] world [he has] left" was also proposed by Vianu,[149] while Toprceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu. "[150] Mihail Sadoveanu also shaped his traditionalist views on literature by in vestigating Romanian folklore, which he recommended as a source of inspiration t o his fellow writers during his 1923 speech at the Romanian Academy.[4] In Calin escu's view, Sadoveanu's outlook on life was even mirrored in his physical aspec t, his "large body, voluminous head, his measured shepherd-like gestures, his af fluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race."[116] His assessment of the writer as an archaic figure, bl untly stated in a 1930 article ("I believe him to be very uncultured"), was cont rasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was we ll-read and acquainted with the literatures of many countries.[33] Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations conf ined to his diaries.[33] Debut[edit] The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life.[2] However , Calinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics.[2] The pieces mainly feat ure episodes in the lives of boyars (members of Moldavia's medieval aristocracy) , showing the ways in which they relate to each other, to their servants, and to their country.[2] In one of the stories, titled Cntecul de dragoste ("The Love S ong"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom s lave who is killed by his jealous master, while in Razbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is a venged.[2] Other fragments deal solely with the isolated existence of villagers: for example, in ntr-un sat odata ("Once, in a Village"), a mysterious man dies i n a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse.[151] The prose piece Naluca ("The Apparition") centers on the conjugal co nflict between two old people, both of whom attempt to hide the shame of their p ast. George Calinescu notes that, particularly in Naluca, Sadoveanu begins to ex plore the staple technique of his literary contributions, which involves "sugges ting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature."[151] Sadoveanu's subsequent collection of short stories, Dureri nabusite, builds on th e latter technique and takes his work into the realm of social realism and natur alism (believed by Calinescu to have been borrowed from either the French writer mile Zola or from the Romanian Alexandru Vlahuta).[152] For Calinescu, this choi

ce of style brought "damaging effects" on Sadoveanu's writings, and made Dureri n abusite "perhaps the poorest" of his collections of stories.[151] In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse t o objectivity.[131] The pieces focus on dramatic moments of individual existence s. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants ; the eponymous character in Ion Ursu leaves his village to become a proletarian , and succumbs to alcoholism;[153] the indentured laborer in Sluga ("The Servant ") is unable to take revenge on his cruel employer at the right moment; in Doi f eciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, w hom he has nonetheless reduced to a lowly condition.[151] In 1905, Sadoveanu also published Povestiri din razboi ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless not ed that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war".[94] It concluded: "Sadoveanu's ske tches have the virtues and the vices of old hunting prints and the romantically mann ered battle scenes of the 19th century."[94] Early selections of major themes[edit]

The Moldova Valley, setting of Sadoveanu's Crsma lui Mos Petcu Sadoveanu renounces this grim perspective on life in his volume Crsma lui Mos Pet cu, where he returns to a depiction of rural life as unchanged by outside factor s. Petcu's establishment, located on the Moldova Valley, is a serene place, visi ted by quiet and subdued customers, whose occasional outburst of violence are, a ccording to Calinescu, "dominated by slow, stereotypical mechanics, as is with p eople who can only accommodate within them a single drama."[151] The literary cr itic celebrated Crsma lui Mos Petcu for its depictions of nature, whose purpose i s to evoke "the indifferent eternity" of conflicts between the protagonists,[151 ] and who, at times, relies "on a vast richness of sounds and words."[154] He di d however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works.[154] However, Sadoveanu's stories of the period often returned to a naturalistic pers pective, particularly in a series of sketch stories and novellas which portray t he modest lives of Romanian Railways employees, of young men drafted into the Ro manian Land Forces, of Bovaryist women who playfully seduce adolescents, or of t he provincial petite bourgeoisie.[155] At times, they confront the morals of bar ely literate people with the stern authorities: a peasant obstinately believes t hat the 1859 union between Wallachia and Moldavia was meant to ensure the suprem acy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe.[156] In La noi, la Viisoara ("At Our Place in Viisoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes hi s wife starve to death.[157] Sadoveanu's positive portrayal of hajduks as fundam entally honest outlaws standing up to feudal injustice, replicates stereotypes f ound in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Racoare, Lita F lorea etc.[158] In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have like ned to settlers of the Americas.[159] Lepadatu, an unwanted child, speaks for th e entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grow n up and with them that I get along."[160] Romanticizing the obscure events of e

arly medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sk etches the improvised self-defense of a refugee community, their last stand agai nst nomadic Tatars.[161] In reference to the stories in this series, Calinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu' s literature is the highest expression of the savage instinct."[162] In later wo rks, the critic believed, Sadoveanu moved away from depicting isolation as the e scape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset."[128] These views are echoed by Ovid Crohmalnicean u, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historic al oppression, but rather refusing all contacts with the wider world even to the p oint of Luddite-like hostility in front of new objects.[163] Some of the early s tories, Crohmalniceanu argues, do follow the moralizing Samanatorist pattern, bu t part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism".[164] Sadoveanu began his career as a novelist with more in-depth explorations into su bjects present in his stories and novellas. At the time, Crohmalniceanu stresses , he was being influenced by the naturalism of Caragiale (minus the comedic effe ct), and by his own experience growing up in characteristically underdeveloped M oldavian cities and trguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane).[165] Among h is first works of the kind is Floare ofilita ("Wizened Flower"), where a simple girl, Tincuta, marries a provincial civil servant, and finds herself deeply unha ppy and unable to enrich her life on any level. Tincuta, seen by Calinescu as on e of Sadoveanu's "savage" characters, only maintains urban refinement when persu ading her husband to return for supper,[162] but, according to Crohmalniceanu, i s also a credible witness to the "small-mindedness" of "bourgeois" environments. [166] A rather similar plot is built for nsemnarile lui Neculai Manea ("The Recor dings of Neculai Manea"), where the eponymous character, an educated peasant, ex periences two unhappy romantic affairs before successfully courting a married wo man who, although grossly uncultured, makes him happy.[162] Apa mortilor ("The D ead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside.[167] Calinescu noted that such novels were "usually less valuable than direct account s", and deemed nsemnarile lui Neculai Manea "without literary interest";[162] in Ovid Crohmalniceanu's view, the same story presents relevant detail on professio nal and intellectual failure.[168] Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymo us character, a Jewish woman who throws herself into the arms of a local Gentile , although she knows him to be a seducer. Calinescu, who wrote with admiration a bout how the subject dissimulated pathos into "technical indifference", notes th at the erotic rage motivating Haia has drawn "well justified" comparisons with J ean Racine's tragedy Phdre.[169] Crohmalniceanu believes Haia Sanis to be "perhap s [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pai n" during a botched abortion.[170] Sadoveanu's work of the time also includes Ba lta linistii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged m arriage, has a belated and sad revelation of true love.[171] In other sketch sto ries, such as O zi ca altele ("A Day like Any Other") or Cinele ("The Dog"), Sado veanu follows Caragiale's close study of suburban banality.[172] Hanu Ancutei, Soimii and Neamul Soimarestilor[edit]

Return of the Cossacks by 19th century Polish painter Jzef Brandt, taking its ins piration from 17th century Cossack raids The novella Hanu Ancutei ("Ancuta's Inn"), described by George Calinescu as a "m asterpiece of the jovial idyllicism and barbarian subtlety",[126] and by Z. Orne a as the first evidence of Sadoveanu's "new age",[173] is a frame story in the l ine of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey C haucer's Canterbury Tales.[174] It retells the stories of travelers meeting in t he eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and r udimentary ways: in one episode of the book, a merchant arriving from the Leipzi g Trade Fair bemuses the other protagonists when he explains the more frugal way s and the technical innovations of Western Europe.[175] Sadoveanu applied the sa me narrative technique in his Soarele n balta ("The Sun in the Waterhole"), which , Calinescu argues, displays "a trickier style."[126] In Soimii, Sadoveanu's first historical novel, the main character is Nicoara Pot coava, a late 16th century Moldavian nobleman who became Hetman of the Zaporozhi an Cossacks and Prince of Moldavia. The narrative, whose basic lines had been dr awn by Sadoveanu in his adolescent years,[35] focuses on early events in Nicoara 's life, building on the story according to which he and his brother Alexandru w ere the brothers of Prince Ioan Voda cel Cumplit, whose execution by the Ottoman s they tried to avenge. The text also follows their attempt to seize and kill Ie remia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, an d whose daughter Ilinca becomes the brothers' prisoner.[126] This story as well features several episodes where the focus is on depicting customary feasts, as w ell as a fragment where the Potcoavas and their Zaporozhian Cossack allies engag e in binge drinking.[126] Glossing over several years in Nicoara's life, and cul minating in his seizure of the throne, the narrative shows his victory against p retender Petru Schiopul and Golia, and the price he has to pay for his rise. Ale xandru, who falls in love with Ilinca, unsuccessfully asks for the captured Goli a not to be killed. Following the murder, both brothers become embittered and re nounce power.[176] Calinescu described Soimii novel as "still awkward", noting t hat Sadoveanu was only beginning to experiment with the genre.[126]

View from the area around Orhei, where much of Neamul Soimarestilor takes place The 1915 Neamul Soimarestilor is a Bildungsroman centered on the coming of age o f one Tudor Soimaru. The protagonist, born a free peasant in Orhei area, fights alongside Stefan Tomsa in the 1612 battles to capture the Moldavian throne. Afte r participating in the capture of Iasi, he returns home and helps local boyar St roie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Soim aru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travel s into Poland-Lithuania, where he discovers that Stroie is plotting against Toms a, while Magda, who is in love with a szlachta nobleman, scorns his affection. H e returns a second time to Orhei, marries into his social group, and plots reven ge on Stroie by again rallying with Stefan Tomsa. Following Tomsa's defeat, he a gain loses the lands of his ancestors, as Stroie returns home to celebrate his v ictory and have the Soimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killi ng the master but allowing Magda to escape unharmed.[177] In Calinescu's view, t he novel is "somewhat more consistent from an epic perspective", but fails to re spect the conventions of the adventure novel it sets out to replicate.[176] The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the boo k lacks "the richness and unpredictable nature of the love intrigue"; he also ob

jected to the depiction of Tudor as indecisive and inadequate for a heroic role. [176] However, Ovid Crohmalniceanu argued that the suddenness of Tudor's sentime ntal commitments was characteristic for the "peasant soul" as observed by Sadove anu.[178] Zodia Cancerului and Nunta Domnitei Ruxandra[edit] Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th ce ntury, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by C alinescu as "of a superior artistic level."[176] The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Pri nce Antonie, is spared persecution on account of his good relations with the Ott omans, but has to live under close watch. Himself a tormented, if cultured and r efined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, [179] ends with Alecu's defeat and killing on Duca's orders.[180] In the background, the story depicts the visit of an Abb de Marenne, a Roman Cath olic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange be tween the mentalities of Western and Eastern Europe.[181] In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this pr ovides.[182] In one paragraph, seen by George Calinescu as a key to the book, Sa doveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess e xisted, no matter how much imagination they had been gifted with; for at the ant ipode of civilization one occasionally finds such things that have remained unch anged from the onset of creation, preserving their mysterious beauty."[182] In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lu pu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khm elnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domnitei Ruxandra ("Princes s Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event a round the court in Iasi, depicting Tymofiy himself as an uncouth, violent and wi thdrawn figure.[183] The narrative then focuses on the Battle of Finta and the s iege of Suceava, through which a Wallachian-Transylvanian force repelled the Mol do-Cossack forces and, turning the tide, entered deep into Moldavia and placed G heorghe Stefan on the throne. Sadoveanu also invents a love story between Ruxand ra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing .[183] While Calinescu criticized the plot as being over-detailed, and the chara cter studies as incomplete,[183] Crohmalniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco."[18 4] In both Zodia Cancerului and Nunta Domnitei Ruxandra, the author took signifi cant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Stefan as th in and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character G uido Celesti, who stands in for the actual Franciscan leader of Duca's Iasi, Bar iona da Monte Rotondo.[183] Fratii Jderi, Venea o moara pe Siret... and Baltagul[edit]

Stephen the Great in a Voronet Monastery mural With Fratii Jderi, Sadoveanu's fresco of Moldavian history maintains its setting , but moves back in time to the 15th century rule of Prince Stephen the Great. W

riting in 1941, before its final part was in print, Calinescu argued that the no vel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means."[185] In the first volume, titled Ucenicia lui Ionut ("Ionut's Ap prenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of h is son Alexandru, fight off the enemies of their lord on several occasions. In w hat is the start of a Bildungsroman, the youngest Jder, Ionut Par-Negru, consume d by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, on ly to find out that she had preferred suicide to a life of slavery.[186] Calines cu, who believed the volumes show Sadoveanu's move to the consecrated elements o f adventure novels, called them "remarkable", but stressed that the narrative co uld render "the feeling of stumbling, of a languishing flow", and that the dnouem ent was "rather depressing".[187] The second book in the series (Izvorul alb, "T he White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Si mion Jder falls for Marusca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marusca's kidnapping by a boyar, her cap tivity in Jagiellon Poland, and her rescue at the hands of the Jderi.[188] The 1 942 conclusion of the cycle, Oamenii Mariei-sale ("His Lordship's Men"), the bro thers are shown defending their ancestral rights and their lord against the Otto man invader and ambivalent boyars, and crushing the former at the Battle of Vasl ui.[189] The Jderi books, again set to the background of primitivism and natural abundanc e, also feature episodes of intense horror. These, Calinescu proposes, are willi ngly depicted "with an indolent complacency", as if to underline that the slow p ace and monumental scale of history give little importance to personal tragedies .[188] The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and pe ople are shown fearing earthquakes and droughts, although contemplative depictio ns of euphoria play a central part in both writings.[190] The meeting between th e wider world and the immobile local tradition surfaces in Fratii Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addr essee; when she is supposed to encounter strange men, Marusca requests to be all owed to "shy away" in another room;[190] a secondary character, claiming precogn ition, prepares his own funeral.[191] For the 1925 Venea o moara pe Siret..., Sadoveanu received much critical acclaim . The boyar Alexandru Filotti falls in love with a miller's daughter, Anuta, who m he educates and introduces to high society. The beautiful young lady is also c ourted by Filotti's son Costi and by the peasant Vasile Brebu in the end, overwhel med by jealousy, Brebu kills the object of his affection. George Calinescu write s that the good reception was not fully deserved, claiming that the novel is "co lorless", that it was merely based on the writer's early stories, and that it fa iled in its goal of depicting "crumbling boyardom".[169] In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borr owed from crime fiction with several of his major themes.[192] Written in just 3 0 days on the basis of previous drafts,[33] the condensed novel shows Vitoria Li pan, the widow of a murdered shepherd, following in her husband's tracks to disc over his killer and avenge his death. Accompanied by her son, and using for a gu ide the shepherd's dog, Vitoria discovers both the body and the murderer, but, b efore she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and tra ces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorita.[33][193] Vitoria's sheer determina tion is the central aspect of the volume. Calinescu, who ranks the book among Sa doveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness " are weak points in the narrative.[194] Crohmalniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages

to reconstruct "an entire shepherding civilization";[195] Cornis-Pope, who rate s the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment".[113] Main travel writings and memoirs[edit] Before the 1940s, Sadoveanu also became known as a travel writer. His contributi ons notably include accounts of his hunting trips: Tara de dincolo de negura ("T he Land beyond the Fog"), and one dedicated to the region of Dobruja (Privelisti dobrogene, "Dobrujan Sights"). Calinescu wrote that they both comprised "pages of great beauty".[128] Tara de dincolo..., primarily showing recluse men in real -life symbiosis with the wilderness,[196] also attention for its sympathetic dep iction of the Hutsuls, a minority Slavic-speaking population, as an ancient trib e threatened by cultural assimilation.[197] Sadoveanu's other travelogues includ e the reportage Oameni si locuri ("People and Places") and an account of his tri ps into Bessarabia (Drumuri basarabene, "Bessarabian Roads").[128] He also colle cted and commented upon the memoirs of other avid hunters (Istorisiri de vnatoare , "Hunting Stories").[128] A noted writing in this series was mparatia apelor ("The Realm of Waters"). It fo rms a detailed and contemplative memoir of his journeys as a fisherman, and, acc ording to Crohmalniceanu, one of the most eloquent proofs of Sadoveanu's "perman ent and intimate correspondence with nature."[198] Calinescu saw the text as a " fantastic vision of the entire aquatic universe", merging a form of pessimism si milar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten."[128] Sadoveanu also contrib uted an account of his travels into the Netherlands, Olanda ("Holland"). It prov ides insight into his preoccupation with the meeting of civilization and wildern ess: upset by what he called "the [Dutch] rampancy of cleanliness", the writer c onfesses his perplexity at coming face to face with a contained and structured n atural world, and details his own temptation to go "against the current".[199] O ne of Sadoveanu's main conclusions is that Holland lacks in "true and lively won ders".[4][199] Sadoveanu also sporadically wrote memoirs of his early life caree r, such as nsemnari iesene ("Recordings from Iasi"), which deals with the period during which he worked for Viata Romneasca,[200] a book about the Second Balkan W ar (44 de zile n Bulgaria, "44 Days in Bulgaria"),[33][201] and the account of ye ars in primary school, Domnu Trandafir.[5] They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earl iest experiences.[4][202] Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never pub lished in his lifetime.[46] Other early writings[edit] Also during that time, he retold and prefaced the journeys of Thomas Witlam Atki nson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions").[199] This was evidence of hi s growing interest in exotic subjects, which he later adapted to a series of nov els, where the setting is "Scythia", seen as an ancestral area of culture connec ting Central Asia with the European region of Dacia (partly coinciding with pres ent-day Romania).[203] The home of mysterious Asiatic peoples, Sadoveanu's Scyth ia is notably the background to his novels Uvar and Noptile de Snziene. The forme r shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian o fficer.[199] In the latter, titled after the ancestral celebration of Snziene dur ing the month of June, shows a French intellectual meeting a nomadic tribe of Mo ldavian Rom people, who, the reader learns, are actually the descendants of Pech enegs.[203] Calinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of for eign observers.[199] He sees Noptile de Snziene as "the novel of millenarian immo

bility", and its theme as one of mythological proportions.[194] The narrative pr etexts, including the Snziene celebration and the Rom people's social atavism, co nnect Noptile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). [204] According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow ") takes partial inspiration from Byzantine literature, and is evidence of a for m of Humanism found in Eastern philosophy.[205] Marcel Cornis-Pope places it amo ng Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolic s of history."[206] The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected.[4] Its protagonist, Kesarion Brebu, is included by Vianu a mong the images of sages and soothsayers in Mihail Sadoveanu's fiction,[207] and , as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians.[4][208] The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture.[209] Sadoveanu's series of minor novels and stories of the interwar years also compri ses a set of usually urban-themed writings, which, Calinescu argues, resemble th e works of Honor de Balzac, but develop into "regressive" texts with "a lyrical i ntrigue".[194] They include Duduia Margareta ("Miss Margareta"), where a conflic t occurs between a young woman and her governess, and Locul unde nu s-a ntmplat ni mic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa mortilor,[210] Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu.[211] In Cazul E ugenitei Costea ("The Case of Eugenita Costea"), a civil servant kills himself t o avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy .[212] Demonul tineretii ("The Demon of Youth"), believed by Calinescu to be "th e most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his li fe, and who lives in seclusion as a monk.[116] In the rural-themed Pastele blaji nilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life.[213] Written in 1938, the short story Ochi de urs ("Bear's Eye") i ntroduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery tha t seems to mock a human's understanding.[214] During the period, Mihail Sadoveanu also wrote children's literature. His most s ignificant pieces in this field are Dumbrava minunata ("The Enchanted Grove", 19 26), Maria-sa Puiul Padurii ("His Highness the Forest Boy", 1931), and a collect ion of stories adapted from Persian literature (Divanul persian, "The Persian Di van", 1940). Maria-sa Puiul Padurii is itself an adaptation of the Genevive de Br abant story, considered "somewhat highbrow" by George Calinescu,[128] while the frame story Divanul persian consciously recalls the work of 19th century Wallach ian writer Anton Pann.[215] In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia).[216] His 1921 book Cocostrcul albastru ("The Blue Crane") is a serie s of short stories with lyrical themes.[217] Among his early writings are two bi ographical novels which retell historical events from the source, Viata lui Stef an cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniam in ("The Tears of Veniamin the Hieromonk"), both of which, Calinescu objected, l acked in originality.[199] The former, published in 1934, was more noted among c ritics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies).[4] Socialist realism years[edit] Despite the post-1944 change in approach, Sadoveanu's characteristic narrative s tyle remained largely unmodified.[218] In contrast, his choice of themes changed , a transition which reflected political imperatives. At the end of the process,

literary historian Ana Selejan argues, Sadoveanu became the most influential pr ose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu.[219] Historian Bogdan Ivascu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and Georg e Calinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "pr opaganda and agitation materials."[220] In contrast to these retrospective asses sments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenk ov's views on culture were adopted as the norm.[221] In his Lumina vine de la Rasarit, the writer built on the opposition between lig ht and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquis hed by "the Sun of the East".[222] Historian Adrian Cioroianu notes that this li terary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sasa Pana.[223] He also notes that such imagery, acco mpanied by portrayals of Soviet joy and abundance, replicated an ancient "struct ure of myth", adapting it to a new ideology on the basis of "what could be imagi ned, not of what could be believed."[224] Ioan Stanomir writes that Sadoveanu an d his fellow ARLUS members use a discourse recalling the theme of a religious co nversion, analogous to that of Paul the Apostle (see Road to Damascus),[225] and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequentl y quote the Bible.[4] Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian S avulescu and economist Mitita Constantinescu) and the 1946 Caleidoscop ("Kaleido scope").[226] In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare.[227] In a later mem oir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the count ryside, where he claimed to have witnessed a "spiritual splendor" supported by " the practice of the new times".[228] He would follow up with hundreds of article s on various subjects, published by the communist press,[91] including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet l eader as "the great genius of progressive mankind").[229] Upon its publication, the political novel Mitrea Cocor, which depicts the hardsh ips and eventual triumph of its eponymous peasant protagonist, was officially de scribed as the first Socialist realist writing in local literature, and as a tur ning point in literary history.[230] Often compared to Dan Desliu's ideologized poem Lazar de la Rusca,[231] it is remembered as a controversial epic dictated b y ideological requirements, and argued to have been written with assistance from several other authors.[4][91] Seen by historiographer Lucian Boia as an "embarr assing literary fabrication",[232] it was rated by literary critics Dan C. Mihai lescu and Luminita Marcu both as one of "the most harmful books in Romanian lite rature",[233] and by historian Ioan Lacusta as "a propaganda writing, a failure from a literary point of view".[234] A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and i mposing his public to brainwashing,[4] Mitrea Cocor was preceded by Pauna-Mica, a novel which also idealizes collective farming.[233] With his final published work, the 1951-1952 novel Nicoara Potcoava, Sadoveanu r etells the narrative of his Soimii, modifying the plot and adding new characters .[23][235] Noted among the latter is Olimbiada, a female soothsayer and healer t hrough whose words Sadoveanu again dispenses his own perspective on human existe nce.[236] The focus of the narrative is also changed: from the avenger of his br

other's death in Soimii, the pretender becomes a purveyor of folk identity, aimi ng to reestablish the Moldavia of Stephen the Great's times.[237] Praised early on by Dumitriu, who believed it was proof of "artistic excellence",[238] Nicoara Potcoava is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood b etween Cossacks and Moldavians, supposedly replicating the official view on Sovi et-Romanian relations.[4] Cornis-Pope, who considers the novel one of Sadoveanu' s "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a ' new world'."[239] Victor Frunza also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war."[9 3] The final part of Sadoveanu's creation also comprises a series of pieces where t he narrative approach was, according to Crohmalniceanu, "corrected" to show his favorite recluse type won over by the new society.[240] In essence, Ungureanu ar gues, the new style that of "reportage and plain information, adapted to orders coming from above".[4] Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clont-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cntec ul mioarei ("Song of the Ewe").[4] In Nada..., the peasant boy Culai follows his hero, tinsmith Alecutu, into factory life.[240] Clont-de-fier, an ideologized r etake on Demonul tineretii, is about a monk returning from seclusion into the wo rld of workers, where the landscape is reshaped by large-scale construction work s.[4] According to Ungureanu, it also shows Sadoveanu's universe stripped of "al l its deep meanings."[4] While their author came to personify the new cultural g uidelines, Sadoveanu's previous books, from Fratii Jderi to Baltagul, were subje ct to communist censorship. Various statements contradicting the ideological gui delines were cut out of new editions: the books in general could no longer inclu de mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs.[241] In one such instance, cens ors of Baltagul removed a character's claim that "the Russian" was by nature "th e drunkest of them all, [...] a worthy beggar and singer at the fairs."[241] Politics[edit] Nationalism and Humanism[edit] Sadveanu's engagement in politics was marked by abrupt changes in convictions, s eeing him move from right- to left-wing stances several times in his life. In cl ose connection with his traditionalist views on literature, but in contrast to h is career under a Conservative Party and National Liberal cabinets, Sadoveanu in itially rallied with nationalist groups of various hues, associating with both N icolae Iorga and, in 1906, with the left-wing Poporanists at Viata Romneasca. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless.[242] In the 1910s, the anti-Iorga traditiona list Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted " the spiritual healing of our people through culture."[243] Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities".[200] In Calinescu's analysis, this signifies that, like his predece ssor, the conservative Eminescu, Sadoveanu believed the cities were victims of t he "superimposed category" of foreigners, in particular those administrating lea sehold estates.[200] Following the 1907 Peasants' Revolt, Sadoveanu sent a repor t to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest who [...] is in disagreement wit

h the teacher."[46] With Neamul Soimarestilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a b ackground theme in his fiction, which later depicted Stephen the Great as the or iginal champion of social justice (Fratii Jderi).[244] During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessa rabia as far more barbaric than Austria-Hungary's rule over Transylvania.[245] I n 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda o fficer was touched by controversy once Romania experienced massive defeats; Sado veanu himself abandoned the Entente cause by 1918, when he was decommissioned, a nd resumed his flirtation with Constantin Stere's Germanophile lobby.[246] Calinescu sees Sadoveanu, alongside Stere, as one of Viata Romneasca's chief ideo logues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism."[200] He writes that Sadoveanu and Stere both showed a resentme nt for ethnic minorities, particularly members of the Jewish community, whom the y saw as agents of exploitation, but that, as Humanists, they had a form of "hum ane sympathy" for Jews and foreigners taken individually.[247] The Poporanist as pect of Sadoveanu's literature was also highlighted by Garabet Ibraileanu in the late 1920s, when he referred to his contributions as evidence that Romanian cul ture was successfully returning to its specific originality.[248] In essence, Cr ohmalniceanu writes, Sadoveanu was tied to Viata Romneasca by his advocacy of nat ional specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings.[249] According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not onl y his political "demophilia", but also his "Weltanschauung, and, through a refle x, his [literary] work."[70] By consequence, Ornea argues, Sadoveanu became a su pporter of democracy, a stance which led him into open conflict with extreme nat ionalists.[71] Alongside its Humanism, Sadoveanu's nationalism was noted for bei ng secular, and thus in contrast with the Romanian Orthodox imagery favored by n ationalists on the far right. Sadoveanu rejected the notion that ancestral Roman ians were religious individuals, stating that their belief was in fact "limited to rituals and customs."[250] He was also a vocal supporter of international coo peration, particularly among countries in Eastern and Central Europe. Writing fo r the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illys in pleading for good relations between the two neighbors.[113] As no ted by Crohmalniceanu, although Sadoveanu's interwar novels may depict both clas hes between polities and benign misunderstandings, they ultimately discourage et hnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible.[251] According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the val ue of intercultural dialogue at a time of sharp political polarization."[239] Th e same text was described by Vianu as evidence of Sadoveanu's "understanding, ge ntleness and tolerance".[205] In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadovea nu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is f oremost needed is the contribution of intellectuals, in an epoch when the overal l intellectual level is decreasing."[33] His sincerity was doubted by his contem poraries: both his friend Gheorghe Jurgea-Negrilesti and the communist Petre Pan drea recount how, in 1926-1927, Sadoveanu and Pastorel Teodoreanu requested publ ic funds from Interior Minister Goga, with Sadoveanu motivating that he wanted t o set up a cultural magazine and later spending the money on his personal wardro be.[62] In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, u nderlined the writer's sympathy for the "intellectual Left".[252] Himself a Marx ist, Ovid Crohmalniceanu suggested that, as early as the 1930s, Sadoveanu's atti

tudes were rather similar to the official line of communist groups.[253] Opposition to fascism and support for King Carol[edit] During the 1930s, following his stint as head of Adevarul, a leftist newspaper o wned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who c laimed that he had chosen to abandon his nationalist credentials.[254] Thus, Sad oveanu became the target of a press campaign in the antisemitic and fascist pres s, and in particular in Nichifor Crainic's Sfarma-Piatra and the journals connec ted with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the vic tim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia.[255] Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones.[256] It also protested when the public authorities in Falticeni refused to withdraw Sadoveanu the titl e of honorary citizen, and again when the University of Iasi made him a doctor h onoris causa, and, through the voice of novelist N. Crevedia, even suggested tha t the writer should use his hunting rifle to commit suicide.[257] In 1937, Porun ca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identifie d people who sent the writer packages containing shredded copies of his own volu mes.[258] In April 1937, the anti-Sadoveanu campaign was met with the indignatio n of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Toprcean u, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmus and others.[259] Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature."[25 9] Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography".[68] Reviewing the consequences of these scandals, Ovid Crohmalniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism.[260] According to Cornis-Pope, Sadoveanu's dislike f or the far right can be discovered in Creanga de aur, which doubles as "a politi cal parable opposing an archaic peasant civilization to the growing threat of fa scism."[239] However, George Calinescu claims, the writer himself had not actual ly revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture".[200] In one of his columns, Sadoveanu replied to those o rganizing the acts of vandalism, indicating that, had they actually read the nov els they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men".[261] Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as a n adversary of both Nazi Germany and any form of advocacy for a "National-Social ist regime in our country".[259] Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corpor atist force, the National Renaissance Front, saw his participation in the monarc h's personality cult. In 1940, he offered controversial praise to the ruler thro ugh the official journal, Revista Fundatiilor Regale, which caused Carol's polit ical adversary, psychologist Nicolae Margineanu, to deem Sadoveanu and his fello w contributors "scoundrels".[262] His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racovita and Iuliu Hatieganu, and several other public figures.[77] During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Ro mania's cooperation with the Axis Powers on the Eastern Front, seeing in this a

chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation).[91] In spring 1944, months before the King Michael Coup top pled the regime, he was approached by the clandestine Romanian Communist Party a nd its sympathizers in academia to sign an open letter condemning Romania's alli ance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Si mion Stoilow and Horia Hulubei, refused to sign the document.[263] Also accordin g to Zilber, Sadoveanu motivated his refusal by stating that the letter needed t o be addressed not to Antonescu, but to King Michael I.[263] However, and aside from its main topic, Pauna-Mica was noted as one the few prose works of the 1940 s to mention the wartime deportation of Romanian Jews by Antonescu's regime;[264 ] Caleidoscop also speaks about the 1941 Iasi pogrom as "our shame", and commend s those who opposed it.[265] Partnership with the communists[edit]

Communist Romania's leader Nicolae Ceausescu (front row, left) visiting Sadovean u's memorial house at Voividenia (1966) Following his Lumina vine de la Rasarit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadove anu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Con stitution.[266] In 1945, claiming to have been "flashed upon" by "Stalin's argum entation", he urged the public to read the document for its "sincerity";[267] el sewhere, he equated reading the constitution with "a mystical revelation".[268] Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a t ime when the group was circulating free translated copies of the Soviet constitu tion.[269] The enthusiasm of his writings also manifested itself in his public b ehavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care cent er in the countryside.[270] Running in the 1946 election, Sadoveanu blamed the o ld political class in general for the problems faced by Romanian peasants, inclu ding the major drought of that year.[90] By then, his political partners were ma king use of his literary fame, and his electoral pamphlet read: "There is no dou bt that the thousands of people who have read his works will rush out on [electi on day] to vote for him."[95] After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, a s Romania adopted its second republican constitution and the authorities intensi fied repression against anti-communists, Sadoveanu made some of his most controv ersial statements. Declaring the defunct kingdom to have been a "long interval o f organized injustice and crooked development in all areas", he presented the ne w order as an era of social justice, human dignity, available culture and univer sal public education.[271] Criticism of Sadoveanu's moral choices also focuses on the fact that, while he l ed a luxurious existence, many of his generation colleagues and fellow intellect uals were being persecuted or jailed in notoriously harsh circumstances.[272] Ha ving tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly-promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuta and historian Miha il Roller.[273] In his official capacity, Sadoveanu even signed several death se ntences declared by communist tribunals,[134] and, in the wake of the Tamadau Af fair of summer 1947, presided over the Chamber sessions which outlawed the oppos ition National Peasants' Party: according to researcher Victor Frunza, he was a willing participant in this, having been upset by the exposure of his personal w ealth in the National Peasantist press.[274] Later, Sadoveanu made a reference t o his former colleague, the National Peasantist activist Ion Mihalache, arguing

that his old Agrarianist approach to politics had made him a "ridiculous charact er".[134] Ioan Stanomir describes this fragment as one of "intellectual abjectio n", indicating that Mihalache, already a political prisoner of the regime, was t o die in captivity.[134] However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labis, a dis illusioned communist who had been excluded from the Union of Worker Youth in spr ing 1954, and whose work Sadoveanu treasured.[275] He is also reported to have h elped George Calinescu publish the novel Scrinul negru, mediating between him an d communist leader Gheorghe Gheorghiu-Dej.[241] Mihail Sadoveanu provided a definition of his own political transition in conver sation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have ne ver engaged in politics, in the sense that one assigns to this word."[66] He ela borated: "I am a left-wing person, following the line of a Poporanist zeal in th e spirit of Viata Romneasca, but one adapted to the new circumstances."[276] Cior oianu sees in such statements evidence that, trying to discard his past, Sadovea nu was including himself among the socialist intellectuals "willing to let thems elves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear".[277] Paraphr asing communist vocabulary, Stanomir describes the writer as one of the "bourgeo is" personalities who became "fellow travelers" of the communists, and argues th at Sadoveanu's claim to have always leaned towards a "people's democracy" inaugu rated "a pattern of chameleonism".[225] In the view of historian Vladimir Tisman eanu, Sadoveanu, like Parhon, George Calinescu, Traian Savulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Ro manian Communist Party and the communist regime (Tismaneanu also argues that the se figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless").[278] Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left a dvocates Mihai Ralea and Alexandru Claudian, and officially supported evolutiona ry socialism, was a natural partner of the communists, to the point of sanctioni ng its own state-organized suppression.[36] According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of comm unization", and his role in the process is subject to much debate.[279] Describi ng the writer's "conversion to philosovietism" as "purely contextual",[91] Cioro ianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a S oviet threat to the organization.[279] The historian notes that, for all their p ossible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow this, he argues, was the case of Cezar Petrescu.[280] Othe r statements made by Sadoveanu also displayed a possibly studied ambiguity, as i s the case with a 1952 lecture he gave in front of young writers attending the P arty-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature".[281] Legacy[edit] Influence[edit] Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dumitru D. Patrascanu, Nicolae N. Bel diceanu, Jean Bart, and Al. Lascarov-Moldovanu;[282] his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stanoiu,[283] and, in l ater years, by historical novelist Dumitru Vacariu.[284] According to Calinescu, Sadoveanu's early hunting stories published by Viata Romneasca, together with th ose of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Io an Alexandru Bratescu-Voinesti.[31] Calinescu also notes that Scrisorile unui ra zes ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deep

ly marked by Sadoveanu's influence, and that the same writer's use of the Moldav ian dialect is a "pastiche" from Sadoveanu.[285] Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroomwriters from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] i n order to wear his blazon".[286] The issue was much later discussed by writer-c ritic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters.[284] Under the early stages of the communist regime, before the rise of Nicolae Ceaus escu engendered a series of rehabilitations and accommodated nationalism, the Ro manian curriculum was dependent on ideological guidelines. At the time, Sadovean u was one of the writers from the interwar whose work was still made available t o Romanian schoolchildren.[287] In the 1953 Romanian language and literature man ual, he represented his generation alongside the communist authors Alexandru Tom a and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor.[232] At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmalniceanu,[288] Paul Georgescu, Traian Selmaru, Mihai Novic ov, Eugen Campus and Dumitru Isac,[289] while a 1953 reissue of Baltagul was pub lished in 30,000 copies (a number rarely met by the Romanian publishing industry in that context).[290] In later years, Profira Sadoveanu became a noted promote r of her father's literature and public image,[25] publishing children's version s of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition).[291] Although Sadoveanu continued to be hailed as a major writer during the Ceausescu years, and the seventy years of his debut were marked with state ceremony,[23] the reaction against Soviet influence affected presentations of his work: his of ficial bibliography no longer included any mention of Pauna-Mica.[93] Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, pub lished in 1977.[107] The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronis m, which postulated that phenomenons within Romanian culture preceded developmen ts in world culture. In this context, Papu spoke of Sadoveanu as "one of the gre at precursory voices", comparing him to Rabindranath Tagore.[292] After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young aut hors, who recovered the themes of his work in a Postmodern or parodic manner. Am ong them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Ha nu Ancutei frame story when constructing his 2004 novel Paradisul gainilor.[293] In 2001, a poll carried among literati by Observator Cultural magazine listed s ix of his works as some of the best 150 Romanian novels.[294] Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published,[ 295] and continued during the 1930s, when Venea o moara pe Siret... was translat ed very soon after its original Romanian edition.[169] In 1931, female author an d feminist militant Sarina Cassvan included French-language versions of his text s into an anthology designed to promote modern Romanian culture internationally. [296] Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun.[2 97] Tudor Vianu attributes the warm international reception Sadoveanu generally rece ived to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity",[295] while literary historian Adrian Marino points out th at, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abr oad.[298] Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with simila r works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian

books to have been translated into Czech and published in Communist Czechoslovak ia.[299] Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being trans lated and published, with a preface by Jack Lindsay, in 1953.[300] Nine years la ter, the collected short stories were a tool for cultural exchange between Roman ia and the United States.[94] Sadoveanu's good standing in the Soviet Union afte r World War II also made him one of the few Romanian writers whose works were st ill being published in the Moldavian SSR (which, as part of Bessarabia, had prev iously been a region of Greater Romania).[110] Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary.[46] The popularity of his writings remained high into the early 21st century: in 2004, when the count ry marked a hundred years since Sadoveanu's debut, Soimii was published in its 1 5th edition.[23] According to Simut, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerg ed continent, remembered by us only with piousness and confusion".[23] Tributes[edit] Sadoveanu is an occasional presence in the literary works of his fellow generati on members. His Tara de dincolo de negura was partly written as a tribute to Geo rge Toprceanu's piece of the same name, with both authors sketching an affectiona te portrait of one another.[301] Toprceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encoun ters in various other autobiographical writings, and dedicated him the first ver sion of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni").[3 02] Under the name Nicolae Padureanu, Sadoveanu is a character in the novel and disguised autobiography n preajma revolutiei ("On the Eve of the Revolution"), au thored by his colleague Constantin Stere.[303] Sadoveanu is honored in two writi ngs by Nicolae Labis, collectively titled Sadoveniene ("Sadovenians"). The first , titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, a nd the other, a free verse piece, is titled Cozma Racoare.[304] In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pu re literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoar e with ironic gifts, such as an obstinacy for nature writing in the absence of a ctual observation ("You shall write; you shall write and could never stop yourse lf writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]").[131] George Ca linescu was one to object to this portrayal, noting that it was merely a "litera ry device which hardly covers the emptiness of [Lovinescu's] idea."[131] Also du ring the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions.[305] A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger w ork which depicts the Kbler Coffeehouse society.[51] Sadoveanu was als the subjec t of a 1929 painting by Stefan Dumitrescu, part of a series on Viata Romneasca fi gures.[306] In its original edition, Mitrea Cocor was supposed to feature a seri es of drawings made by Corneliu Baba, one of the best-known Romanian visual arti sts for his generation.[307][308] Baba, who had been officially criticized for " formalism", was pressured by the authorities into accepting the commission or ri sk a precarious existence.[307] The result of his work was rejected with a simil ar label, and the sketches were for long not made available to the public.[307] Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambac cian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness".[309] Constantin

Mitru inherited the painting and passed it on to the Museum of Romanian Literatu re (MLR).[310] A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Falticeni in 1977.[311] In Bucharest, a memorial plaque was placed on Pitar M os Street, on a house where he lived for a period.[312] During the 1990s, anothe r bust of Sadoveanu, the work of several sculptors, was unveiled in Chisinau, Re public of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculp tural ensemble.[313] Sadoveanu's writings also made an impact on film culture, and in particular on R omanian cinema of the communist period. However, the first film based on his wor ks was a German production of 1929: based on Venea o moara... and titled Sturmfl ut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexand ru Giugaru and Ion Brezeanu.[314] The series of Romanian-made films began with t he 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the fi lm) and Victor Iliu.[234][314][315] The film itself was closely supervised for c onformity with ideological guidelines, and had to be partly redone because its o riginal version did not meet them.[234][315] Mircea Dragan directed a 1965 versi on of Neamul Soimarestilor (with a screenplay co-written by Constantin Mitru) an d a 1973 adaptation of Fratii Jderi (with contributions by Mitru and by Profira Sadoveanu).[314] In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Muresan and with Sidonia Manolache as Vitoria Lipan.[314] Ten years later, Constantin Vaeni released Vacanta tragica ("Tragic Holiday"), base d on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunata and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse").[314] In 1989, just befor e the Romanian Revolution, Dan Pita produced his film The Last Ball in November, based on Locul unde nu s-a ntmplat nimic.[314] During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literar y critic Florin Mihailescu to the personality cult reserved for Stalin and Gheor ghe Gheorghiu-Dej.[316] For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu tu rn in Iasi, which Sadoveanu had donated to the state in 1950, went through a per iod of neglect and was finally set up as a museum in 1980.[57] Similar sites wer e set up in his Falticeni house,[317] and in his final residence at Voividenia,[ 10] while the Bradu-Strmb chalet was controversially granted to the Securitate, a nd later to the Romanian Police.[79] Each year, Iasi commemorates the writer thr ough a cultural festival known as the "Mihail Sadoveanu Days".[318] In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposium s, organized by the MLR.[318] Similar events are regularly held in various citie s, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during M arch 2006 in the city of Piatra Neamt.[319] Since 2003, in tribute to Sadoveanu' s love for the game, an annual chess tournament is held in Iasi.[320] The Sadove anu High School and a bookstore in Bucharest are named after him, and streets na med after him exist in, among other places, Iasi, Falticeni, Timisoara, Oradea, Brasov, Galati, Suceava, Calarasi, Trgu Jiu, Miercurea Ciuc, Petrosani, and Manga lia. Pascani hosts a cultural center, a high school and a library named after hi m. Sadoveanu's memory is also regularly honored in the Republic of Moldova, wher e, in 2005, the 125th anniversary of his birth was celebrated in an official con text.[110] A street in Chisinau and a high school in the town of Cupcini are als o named after him.

Romanian stamp commemorating Sadoveanu (1980)

Sadoveanu's bust on Aleea Clasicilor, Chisinau, Moldova

Sadoveanu's portrait on a Moldovan postal stationery item Selected works[edit] Fiction[edit] 1902 - Fratii Potcoava 1904 - Soimii 1905 - Floare ofilita 1906 - nsemnarile lui Neculai Manea 1907 - La noi, la Viisoara 1907 - Vremuri de bejenie 1908 - Balta linistii 1908 - Haia Sanis 1911 - Apa mortilor 1915 - Neamul Soimarestilor 1925 - Venea o moara pe Siret... 1928 - Hanu Ancutei 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domnitei Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Noptile de Snziene 1935-1942 - Fratii Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoara Potcoava Non-fiction[edit] 1907 - Domnu Trandafir 1908 - Oameni si locuri 1914 - Privelisti dobrogene 1916 - 44 de zile n Bulgaria 1921 - Drumuri basarabene 1926 - Tara de dincolo de negura 1928 - mparatia apelor 1928 - Olanda 1936 - nsemnari iesene 1937 - Istorisiri de vnatoare 1944 - Anii de ucenicie Notes[edit] 1.^ Calinescu, p.615; Crohmalniceanu, p.192; Vianu, Vol.III, p.233 2.^ a b c d e f g h i Calinescu, p.615 3.^ a b c d e f (Italian) "Mihail Sadoveanu", biographical note in Cronologia de

lla letteratura rumena moderna (1780-1914) database, at the University of Floren ce's Department of Neo-Latin Languages and Literatures; retrieved April 7, 2008 4.^ a b c d e f g h i j k l m n o p q r s t u v (Romanian) Cornel Ungureanu, "Mi hail Sadoveanu - sectiuni dintr-o geografie literara", in Convorbiri Literare, F ebruary 2006 5.^ a b Crohmalniceanu, p.193 6.^ Calinescu, p.615; Crohmalniceanu, p.192-193, 213-214; Vianu, Vol.III, p.233235 7.^ Vianu, Vol.III, p.233 8.^ Vianu, Vol.III, p.235 9.^ a b Calinescu, p.667 10.^ a b c d e f g h i (Romanian) Mihail Constantineanu, Sadoveanu n ultimul an d e viata - Neverosimila vacanta, at the Memoria Library; retrieved April 6, 2008 11.^ Calinescu, p.615; Crohmalniceanu, p.193, 214 12.^ Crohmalniceanu, p.193, 213-214; Vianu, Vol.III, p.237-238 13.^ Crohmalniceanu, p.193, 194 14.^ Crohmalniceanu, p.193, 194; Vianu, Vol.III, p.238 15.^ Calinescu, p.615; Crohmalniceanu, p.193-194 16.^ a b c d e f g h i j k l m n o p q r s (Romanian) Mihail Sadoveanu. Cronolog ie, at the Museum of Romanian Literature; retrieved April 6, 2008 17.^ a b c d e f (Romanian) Alex Mitru, "Patriarhul cuvntului romnesc se ntoarce n a mintiri, la Casa din deal", in Evenimentul, November 5, 2004 18.^ a b c d e f (Romanian) "Calendar. Click istoric", in Jurnalul National, Oct ober 19, 2007 19.^ Vianu, Vol.III, p.205. See also Crohmalniceanu, p.194. 20.^ a b c d e Crohmalniceanu, p.194 21.^ a b c d Crohmalniceanu, p.195 22.^ Crohmalniceanu, p.195, 214 23.^ a b c d e f g h i j k l m n o p q r s t u (Romanian) Ion Simut, "Centenarul debutului sadovenian", in Romnia Literara, Nr. 41/2004 24.^ Calinescu, p.615; Crohmalniceanu, p.196 25.^ a b c d (Romanian) Antonio Patras, "Cu Profira Sadoveanu, n dulcele stil cla sic", in Convorbiri Literare, December 2007 26.^ a b (Romanian) 22 Septembrie 2010, Radio Romnia Cultural calendar page; retr ieved December 30, 2010 27.^ Calinescu, p.967 28.^ Vianu, Vol.III, p.243. According to Crohmalniceanu (p.195-196), Sadoveanu w as personally invited to contribute by fellow writer Zaharia Brsan, but felt clos est to Iosif. 29.^ Vianu, Vol.III, p.244 30.^ a b c Crohmalniceanu, p.197 31.^ a b Calinescu, p.575-576 32.^ (Romanian) Bianca Burta-Cernat, " 'Cazul' Mariana Vidrascu", in Revista 22, Nr. 1067, August 2010 33.^ a b c d e f g h i j k l m n o p q r s (Romanian) Constantin Coroiu, "Sadove anu din spatele operei. Part II" (interview with Constantin Ciopraga)", in Eveni mentul, October 10, 2005 34.^ Vianu, Vol.III, p.205, 243 35.^ a b Raileanu, p.5 36.^ a b c d e f g h i (Romanian) Radu Cernatescu, "Sadoveanu si francmasoneria" (with a note by Cornel Ungureanu), in Orizont, Nr. 6/2010 (republished by the R omanian Cultural Institute's Romnia Culturala); retrieved December 30, 2010 37.^ Ornea, Junimea si junimismul, p.50, 67, 71, 126, 127; Vianu, Vol.I, p.334-3 35, 337, 397-398; Vol.III, p.207 38.^ Ornea, Junimea si junimismul, p.157 39.^ Vianu, Vol.II, p.67; Vol.III, p.207-209 40.^ Calinescu, p.601-602 41.^ Calinescu, p.601 42.^ Calinescu, p.601-602, 974-975 43.^ Calinescu, p.602; Vianu, Vol.II, p.67-69

44.^ Vianu, Vol.III, p.209, 244 45.^ a b Calinescu, p.646 46.^ a b c d e (Romanian) Constantin Coroiu, "Sadoveanu din spatele operei", in Evenimentul, January 14, 2006 47.^ Crohmalniceanu, p.196-197 48.^ a b c d e f (Romanian) Uniunea Scriitorilor din Romnia. Scurt istoric, at th e Romanian Writers' Union site; retrieved April 5, 2008 49.^ a b (Romanian) Cassian Maria Spiridon, "Secolul breslei scriitoricesti", in Convorbiri Literare, April 2008 50.^ (Italian) "Cumpana", note in Cronologia della letteratura rumena moderna (1 780-1914) database, at the University of Florence's Department of Neo-Latin Lang uages and Literatures; retrieved April 7, 2008. See also Crohmalniceanu, p.197 51.^ a b (Romanian) Krikor Zambaccian, Chapter VII: "Mediul artistic si literar dintre cele doua razboaie mondiale", in nsemnarile unui amator de arta, published and hosted by Editura LiterNet; retrieved August 21, 2009 52.^ a b Crohmalniceanu, p.584 53.^ Chendi, p.61, 64 54.^ a b c Sandulescu, in Toprceanu, Vol.I, p.XXI-XXII 55.^ Boia, "Germanofilii", p.104, 299-301, 306, 331-332, 362. See also Crohmalni ceanu, p.197 56.^ Boia, "Germanofilii", p.123, 237, 300-301 57.^ a b c d e (Romanian) Adrian Prvu, "Casa cu turn din Copou", in Jurnalul Nati onal, October 28, 2005 58.^ (Romanian) Arthur Gorovei, "ntre socialisti, la Iasi", in Magazin Istoric, F ebruary 2003. See also Crohmalniceanu, p.196. 59.^ Cernat, p.144-145 60.^ Crohmalniceanu, p.114, 137, 198, 582-583 61.^ a b Calinescu, p.598 62.^ a b (Romanian) Paul Cernat, "Senzationalul unor amintiri de mare clasa", in Observator Cultural, Nr. 130, August 2002 63.^ Calinescu, p.727 64.^ Toprceanu, Vol. II, p.562-563 (Sandulescu, in Toprceanu, Vol. II, p.703) 65.^ Cioroianu, Lumina vine de la Rasarit, p.28; Cioroianu, Pe umerii lui Marx, p.281 66.^ a b c Cioroianu, Lumina vine de la Rasarit, p.28 67.^ (Romanian) Victoria Gabriela Gruber, Partidul National Liberal-Bratianu (re zumatul tezei de doctorat), Lucian Blaga University of Sibiu, 2006, Chapter II 68.^ a b (Romanian) Florentina Tone, "Scriitorii de la Adeverul", in Adevarul, D ecember 30, 2008 69.^ a b c Cioroianu, Lumina vine de la Rasarit, p.23 70.^ a b Ornea, Anii treizeci, p.458 71.^ a b Ornea, Anii treizeci, p.459 72.^ Crohmalniceanu, p.198; Ornea, Anii treizeci, p.435, 458-465 73.^ Crohmalniceanu, p.198; Ornea, Anii treizeci, p.460-461 74.^ Ornea, Anii treizeci, p.462-465; Toprceanu, Vol. II, p.561 75.^ Toprceanu, Vol. II, p.560-562 (Sandulescu, in Toprceanu, Vol. II, p.582) 76.^ Ornea, Anii treizeci, p.464-465 77.^ a b (Romanian) Ion Simut, "A fost sau n-a fost?", in Romnia Literara, Nr. 7/ 2007 78.^ (Romanian) Valeriu Rpeanu, "Propaganda, manipulare, dar si cultura n adevarat ul nteles al cuvntului", in Curierul National, February 28, 2004 79.^ a b (Romanian) "Cabana lui Sadoveanu, rezervata politistilor", in Romnia Lib era, January 30, 2008 80.^ (Romanian) Bianca Burta, " 'Femeile ntre ele' n 1937", in Observator Cultural , Nr.290, October 2005 81.^ Vianu, Vol. III, p.205-230 82.^ Cioroianu, Pe umerii lui Marx, p.121-123, 126-128, 145-146 83.^ Cioroianu, Pe umerii lui Marx, p.285 84.^ Cioroianu, Lumina vine de la Rasarit, p.25 85.^ Cioroianu, Lumina vine de la Rasarit, p.22-23; Frunza, p.189-190. See also

Vasile, p.59-60, 244 86.^ Cioroianu, Lumina vine de la Rasarit, p.50 87.^ Cioroianu, Lumina vine de la Rasarit, p.50-51, 55-56 88.^ Cioroianu, Lumina vine de la Rasarit, p.23, 25, 34 89.^ Cioroianu, Pe umerii lui Marx, p.282, 289 90.^ a b c (Romanian) Paula Mihailov Chiciuc, "Comunism - Iscusitele condeie din slujba 'democratiei' ", in Jurnalul National, July 17, 2007 91.^ a b c d e f Cioroianu, Pe umerii lui Marx, p.282 92.^ Frunza, p.303 93.^ a b c Frunza, p.374 94.^ a b c d e f g "Rural Life in Ruritania", in Time, June 22, 1962 95.^ a b c Cioroianu, Pe umerii lui Marx, p.283 96.^ Cioroianu, Pe umerii lui Marx, p.286-289 97.^ Cioroianu, Pe umerii lui Marx, p.283; Crohmalniceanu, p.199; Vasile, p.81-8 2 98.^ (Romanian) Valeriu Rpeanu, "Ce roman, viata lui Zaharia Stancu", in Magazin Istoric, September 1998 99.^ Mihailescu, 97-98 100.^ Selejan, p.116-117 101.^ Selejan, p.147, 151-152, 156, 163-164 102.^ Crohmalniceanu, p.199 103.^ Cioroianu, Pe umerii lui Marx, p.135 104.^ Cioroianu, Pe umerii lui Marx, p.283; Crohmalniceanu, p.199 105.^ Mihailescu, p.97, 101 106.^ Cioroianu, p.283; Crohmalniceanu, p.199; Frunza, p.374 107.^ a b Cioroianu, Pe umerii lui Marx, p.284 108.^ a b (Romanian) "Revista presei", in Observator Cultural, Nr.167, May 2003 109.^ Cornis-Pope, p.500; Crohmalniceanu, p.137, 192, 196-198, 582-584 110.^ a b c (Romanian) " 'Ceahlaul literaturii romne', sarbatorit la Chisinau", i n Timpul, November 9, 2005 111.^ Calinescu, p.766 112.^ Crohmalniceanu, p.19, 189, 255, 262, 298 113.^ a b c d Cornis-Pope, p.447 114.^ Vianu, Vol.III, p.206 115.^ Calinescu, p.501, 575, 581, 617, 618, 620, 631, 672, 822, 835 116.^ a b c d e Calinescu, p.631 117.^ Ornea, Junimea si junimismul, p.259; Vianu, Vol.II, p.115. According to Vi anu, Sadoveanu "worshiped Gane as [his] maestro". 118.^ Calinescu, p.452-453 119.^ Vianu, Vol.III, p.211-212 120.^ Calinescu, p.803; Cernat, p.320; Crohmalniceanu, p.34-35, 39, 49 121.^ Cernat, p.143, 144-145, 320 122.^ Sandqvist, p.228, 248-249 123.^ Cernat, p.209 124.^ Calinescu, p.615, 803; Vianu, Vol.II, p.115. See also Crohmalniceanu, p.19 8 125.^ Calinescu, p.778 126.^ a b c d e f Calinescu, p.622 127.^ Calinescu, p.620, 621, 626, 627, 803; Crohmalniceanu, p.207-208, 229 128.^ a b c d e f g h Calinescu, p.621 129.^ Vianu, Vol.III, p.212-218, 248-249 130.^ Crohmalniceanu, p.192 131.^ a b c d Calinescu, p.803 132.^ Calinescu, p.631; Vianu, Vol.III, p.218. See also Crohmalniceanu, p.253 133.^ Vianu, Vol.III, p.219 134.^ a b c d Stanomir, p.26 135.^ Crohmalniceanu, p.198; Vianu, Vol.III, p.230 136.^ Calinescu, p.625, 627, 628; Crohmalniceanu, p.225, 233, 239-240; Vianu, Vo l.III, p.225-226 137.^ Calinescu, p.627-628, 794, 914; Crohmalniceanu, p.228-229, 238-240, 253-25

4. Crohmalniceanu (p.239) notes that this "bewitching musical synthesis" of mode rn and ancient language is at times doubled by ironic pastiche. 138.^ Calinescu, p.627, 631; Vianu, Vol.III, p.225-226, 246-247; Crohmalniceanu, p.232, 239, 240, 254, 250-252 139.^ Vianu, Vol.III, p.224-225 140.^ Crohmalniceanu, p.139, 192, 228-254 141.^ Calinescu, p.413; Vianu, Vol.I, p.337; Vol.III, p.207 142.^ Vianu, Vol.III, p.227, 236 143.^ Ornea, Junimea si junimismul, p.50; Vianu, Vol.III, p.207 144.^ Vianu, Vol.III, p.220 145.^ Vianu, Vol.III, p.221 146.^ Vianu, Vol.III, p.251-252; Raileanu, p.16-17 147.^ Toprceanu, Vol. II, p.337 148.^ Sandqvist, p.252 149.^ Vianu, Vol.II, p.213-214 150.^ Toprceanu, Vol. II, p.336 151.^ a b c d e f Calinescu, p.616 152.^ Calinescu, p.616, 803 153.^ Calinescu, p.616; Crohmalniceanu, p.202; Vianu, Vol.III, p.222-223 154.^ a b Calinescu, p.617 155.^ Calinescu, p.617-618, 620-621. See also Crohmalniceanu, p.195, 196, 201-20 3, 213-224. 156.^ Calinescu, p.618-619, 620 157.^ Calinescu, p.618 158.^ Crohmalniceanu, p.203-204, 209-210, 225, 226-227, 243, 247-248 159.^ Calinescu, p.619; Crohmalniceanu, p.201 160.^ Calinescu, p.619 161.^ Crohmalniceanu, p.225, 234, 247 162.^ a b c d Calinescu, p.620 163.^ Crohmalniceanu, p.199-212, 248-253, 540 164.^ Crohmalniceanu, p.195-196 165.^ Crohmalniceanu, p.213-215, 223-224 166.^ Crohmalniceanu, p.214-215 167.^ Calinescu, p.620-621; Crohmalniceanu, p.215, 216, 219 168.^ Crohmalniceanu, p.218-219, 224, 447 169.^ a b c Calinescu, p.630 170.^ Crohmalniceanu, p.219-221 171.^ Crohmalniceanu, p.216-218, 219 172.^ Crohmalniceanu, p.221-224 173.^ Ornea, Anii treizeci, p.16, 458-459 174.^ Calinescu, p.622; Vianu, Vol.I, p.25 175.^ Calinescu, p.622; Crohmalniceanu, p.208, 240; Raileanu, p.11 176.^ a b c d Calinescu, p.623 177.^ Calinescu, p.623; Crohmalniceanu, p.230, 231-232 178.^ Crohmalniceanu, p.205-206, 208 179.^ Crohmalniceanu, p.225-226, 229, 232, 233 180.^ Calinescu, p.623-624; Raileanu, p.13 181.^ Calinescu, p.624; Crohmalniceanu, p.229, 230 182.^ a b Calinescu, p.624 183.^ a b c d Calinescu, p.625 184.^ Crohmalniceanu, p.229 185.^ Calinescu, p.627. Although it went through several editions after that dat e, and was partly revised to cover events in Sadoveanu's later career, Calinescu 's book does not include an analysis of the final volume. 186.^ Calinescu, p.626; Crohmalniceanu, p.235-238 187.^ Calinescu, p.626 188.^ a b Calinescu, p.626-627 189.^ Crohmalniceanu, p.228, 230-231, 233-234, 238, 247 190.^ a b Calinescu, p.627 191.^ Crohmalniceanu, p.207

192.^ Calinescu, p.629; Crohmalniceanu, p.204-205 193.^ Calinescu, p.629; Crohmalniceanu, p.205 194.^ a b c Calinescu, p.629 195.^ Crohmalniceanu, p.205 196.^ Crohmalniceanu, p.206 197.^ Marian Chiselite, "Hutulii din Bucovina", in National Geographic Romanian edition, August 2009, p.56 198.^ Crohmalniceanu, p.244-245 199.^ a b c d e f Calinescu, p.628 200.^ a b c d e Calinescu, p.661 201.^ Calinescu, p.830; Crohmalniceanu, p.197 202.^ Crohmalniceanu, p.193, 213-214 203.^ a b Calinescu, p.628-629 204.^ Crohmalniceanu, p.203, 204, 242, 245-246, 247-248, 249 205.^ a b Vianu, Vol.III, p.227 206.^ Cornis-Pope, p.500 207.^ Vianu, Vol.III, p.253 208.^ Raileanu, p.14 209.^ Cornis-Pope, p.500-501 210.^ Calinescu, p.629; Crohmalniceanu, p.215; Raileanu, p.5-6 211.^ Calinescu, p.629-630; Crohmalniceanu, p.215-216 212.^ Calinescu, p.630-631 213.^ Crohmalniceanu, p.203, 209-210, 227 214.^ Crohmalniceanu, p.204, 241 215.^ Vianu, Vol.I, p.12 216.^ Raileanu, p.7 217.^ Toprceanu, Vol. II, p.336-338 218.^ Cioroianu, Lumina vine de la Rasarit, p.34; Pe umerii lui Marx, p.282; Sta nomir, p.26 219.^ Selejan, p.211 220.^ Bogdan Ivascu, "Mimetismul totalitar", in Idei n Dialog, Vol. IV, Nr. 9 (48 ), September 2008, p.39 221.^ Selejan, p.21, 93, 95, 152, 172, 175, 331-332, 347 222.^ Cioroianu, Lumina vine de la Rasarit, p.27; Stanomir, p.24 223.^ Cioroianu, Lumina vine de la Rasarit, p.26-27 224.^ Cioroianu, Lumina vine de la Rasarit, p.62-63 225.^ a b Stanomir, p.25 226.^ Cioroianu, Lumina vine de la Rasarit, p.23, 25, 55-56, 62 227.^ Cioroianu, Lumina vine de la Rasarit, p.55-56 228.^ Stanomir, p.27 229.^ Selejan, p.351-352 230.^ Boia, Un nou Eminescu, p.72; Selejan, p.152, 224, 319. See also Vasile, p. 98, 244 231.^ Cioroianu, Pe umerii lui Marx, p.282; Selejan, p.152 232.^ a b Boia, Un nou Eminescu, p.72 233.^ a b Alexandra Olivotto, "Cele mai nocive carti din cultura romneasca", in C otidianul, October 19, 2005 234.^ a b c (Romanian) Ioan Lacusta, "1952. Filmul romnesc la raport n Consiliul d e Ministri", in Magazin Istoric, January 1998 235.^ Cornis-Pope, p.501; Raileanu, p.5; Vianu, Vol.III, p.251-253 236.^ Raileanu, p.16-17; Vianu, Vol.III, p.251-253. See also Crohmalniceanu, p.2 38, 239 237.^ Raileanu, p.7-10. See also Crohmalniceanu, p.234, 235 238.^ Selejan, p.95 239.^ a b c Cornis-Pope, p.501 240.^ a b Crohmalniceanu, p.212 241.^ a b c (Romanian) Teodor Vrgolici, "Caracatita cenzurii comuniste", in Adeva rul, December 27, 2006 242.^ (Romanian) Ion Hadrca, "Constantin Stere si Nicolae Iorga: antinomiile idea lului convergent (I)", in Convorbiri Literare, June 2006

243.^ Chendi, p.62 244.^ Crohmalniceanu, p.226, 229-234, 247-248 245.^ Boia, "Germanofilii", p.299-300 246.^ Boia, "Germanofilii", p.237, 300-301, 362 247.^ Calinescu, p.661-662. Calinescu notes that this is evident in Sadoveanu's novel Haia Sanis, where the Jewish woman is seen as a victim. 248.^ Crohmalniceanu, p.123, 129-130, 142 249.^ Crohmalniceanu, p.198 250.^ Ornea, Anii treizeci, p.104 251.^ Crohmalniceanu, p.234-235 252.^ Cioroianu, Pe umerii lui Marx, p.281 253.^ Crohmalniceanu, p.15, 166 254.^ Calinescu, p.661; Ornea, Anii treizeci, p.245, 458-465 255.^ Ornea, Anii treizeci, p.463-464 256.^ Ornea, Anii treizeci, p.460-461, 463, 465 257.^ Ornea, Anii treizeci, p.461-462, 464-465 258.^ Ornea, Anii treizeci, p.460-461 259.^ a b c Ornea, Anii treizeci, p.462 260.^ Crohmalniceanu, p.198-199 261.^ Ornea, Anii treizeci, p.461 262.^ (Romanian) Paula Mihailov, "Carol al II-lea - precursorul lui Ceausescu", in Jurnalul National, July 12, 2005. The other figures cited in this context are Arghezi, Lucian Blaga, George Calinescu, Constantin Daicoviciu, Perpessicius, C amil Petrescu, Constantin Radulescu-Motru and Ionel Teodoreanu. 263.^ a b (Romanian) Lavinia Betea, " 'Recunostinta' Partidului fata de cei care l-au subventionat", in Magazin Istoric, August 1997 264.^ (Romanian) Boris Marian, "Norman Manea. Despre literatura Holocaustului", in Realitatea Evreiasca, Nr. 256-257 (1056-1057), June July 2006 265.^ (Romanian) Liviu Rotman (ed.), Demnitate n vremuri de restriste, Editura Ha sefer, Federation of Jewish Communities of Romania & Elie Wiesel National Instit ute for Studying the Holocaust in Romania, Bucharest, 2008, p.74-75, 182. ISBN 9 78-973-630-189-6 266.^ Cioroianu, Lumina vine de la Rasarit, p.34-35; Stanomir, p.24-25 267.^ Cioroianu, Lumina vine de la Rasarit, p.34 268.^ Cioroianu, Lumina vine de la Rasarit, p.35; Stanomir, p.24 269.^ Cioroianu, Lumina vine de la Rasarit, p.34-35 270.^ Cioroianu, Lumina vine de la Rasarit, p.50-51. Cioroianu suspects that thi s episode shows Sadoveanu was copying the behavior of French writer Andr Gide, wh o made a similar tour during the 1930s. 271.^ Stanomir, p.26-27 272.^ Cioroianu, Pe umerii lui Marx, p.283-284; Frunza, p.374 273.^ Cioroianu, Pe umerii lui Marx, p.287 274.^ Frunza, p.302-303 275.^ (Romanian) Adrian Bucurescu, "Straniul destin al lui Nicolae Labis", in Ro mnia Libera, April 3, 2008 276.^ Cioroianu, Lumina vine de la Rasarit, p.28; partially rendered in Stanomir , p.25 277.^ Cioroianu, Lumina vine de la Rasarit, p.28. Also according to Cioroianu, S adoveanu "would have perhaps also wanted to be assimilated into the category [.. .] of radicalized left-wing sympathizers", but was in effect a "political opport unist" (Pe umerii lui Marx, p.281). 278.^ Vladimir Tismaneanu, Stalinism pentru eternitate, Polirom, Iasi, 2005, p.1 61. ISBN 973-681-899-3 279.^ a b Cioroianu, Lumina vine de la Rasarit, p.22-23 280.^ Cioroianu, Lumina vine de la Rasarit, p.22 281.^ Vasile, p.279 282.^ Calinescu, p.674, 675, 725, 932 283.^ Crohmalniceanu, p.371 284.^ a b (Romanian) Ioan Holban, "Oamenii, ca pietrele din Bistrita", in Luceaf arul, Nr. 10/2011

285.^ Calinescu, p.765 286.^ Cernat, p.145 287.^ Boia, Un nou Eminescu, p.71-72; Mihailescu, p.87 288.^ Mihailescu, p.313 289.^ Selejan, p.137, 320-324 290.^ Selejan, p.236 291.^ Crohmalniceanu, p.586-587 292.^ Mihailescu, p.153 293.^ (Romanian) Andrei Terian, "Momeala povestitorului", in Ziarul Financiar, S eptember 7, 2007 294.^ (Romanian) "150 de romane", in Observator Cultural, Nr. 45-46, January 200 1 295.^ a b Vianu, Vol.III, p.229 296.^ Cernat, p.221 297.^ Cristian Popisteanu, "Ultima locuinta a scriitorului", in Magazin Istoric, October 1977, p.19 298.^ Adrian Marino, Pentru Europa. Integrarea Romniei: Aspecte ideologice si cul turale, Polirom, Iasi, 2005, p.66-67. ISBN 973-681-819-5 299.^ (Romanian) Eugenia Bojoga, "Manifestare culturala la Praga", in Observator Cultural, Nr.332, August 2006 300.^ Dennis Deletant, "Romania", in Peter France (ed.), The Oxford Guide to Lit erature in English Translation, Oxford University Press, Oxford etc., 2000, p.21 5. ISBN 0-19-818359-3 301.^ Toprceanu, Vol. II, p.20-29 302.^ Toprceanu, Vol. II, p.244, 422-423 (Sandulescu, in Toprceanu, Vol. I, p.288) 303.^ Calinescu, p.761. See also Crohmalniceanu, p.379 304.^ Nicolae Labis, Poezii, Editura Albatros, Bucharest, 1985, p.21-24. OCLC 16 222193 305.^ Vianu, Vol.III, p.147-148 306.^ Ionel Jianu, Stefan Dimitrescu, Editura de stat pentru literatura si arta, Bucharest, 1954, p.24-26, illustration 32. OCLC 30307206 307.^ a b c (Romanian) Alina Purcaru, "Corneliu Baba: autoportretul din dosarul de cadre PCR", in Cotidianul, September 28, 2007 308.^ Zambaccian, Corneliu Baba, illustrations 10-12, 35-40 309.^ Zambaccian, Corneliu Baba, p.16 310.^ (Romanian) "Portretul lui Sadoveanu pictat de Baba intra definitiv n patrim oniul Casei-muzeu din Iasi", in Adevarul, June 8, 2002 311.^ (Romanian) Monumente de for din Jud. Suceava at the Suceava County Directo rate for Culture, Religious Affairs and National Patrimony Items site; retrieved April 6, 2008 312.^ (Romanian) Initiativa importanta a U.S.R. Placi memoriale pentru scriitori i romni, at the Romanian Writers' Union site; retrieved April 7, 2008 313.^ (Romanian) "Busturi / Sculptura si pictura monumentala: Mihail Sadoveanu", entry in Patrimoniul istoric si arhitectural al Republicii Moldova database; re trieved May 7, 2011 314.^ a b c d e f Mihail Sadoveanu at the Internet Movie Database 315.^ a b Vasile, p.244-247 316.^ Mihailescu, p.89 317.^ (Romanian) Cultural - Muzee. Casa Memoriala Mihail Sadoveanu, at falticeni .ro; retrieved April 6, 2008 318.^ a b (Romanian) "Iasi. Un secol de Sadoveanu", in Evenimentul, November 6, 2004 319.^ (Romanian) Dominica Vasiliu, "Zeci de scriitori 'Pe urmele lui Sadoveanu' ", in Monitorul de Neamt, March 9, 2006 320.^ (Romanian) Festivalul International de Sah Mihail Sadoveanu, editia I, at the Romanian Central Commission for Correspondence Chess site; retrieved April 5 , 2008 References[edit] Lucian Boia, "Germanofilii". Elita intelectuala romneasca n anii Primului Razboi M

ondial, Humanitas, Bucharest, 2010. ISBN 978-973-50-2635-6 Lucian Boia (ed.), Miturile comunismului romnesc, Editura Nemira, Bucharest, 1998 . ISBN 973-569-209-0: Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Rasarit. 'Noua imagine' a Uniunii Sovietice n Romnia postbelica, 1944-1947", p. 21-68 George Calinescu, Istoria literaturii romne de la origini pna n prezent, Editura Mi nerva, Bucharest, 1986 Paul Cernat, Avangarda romneasca si complexul periferiei: primul val, Cartea Romne asca, Bucharest, 2007. ISBN 978-973-23-1911-6 (Romanian) Ilarie Chendi, "Vieata literara n 1911 (o privire generala)", in Lucea farul, Nr. 3/1912, p. 61-65 (digitized by the Babes-Bolyai University Transsylva nica Online Library) Adrian Cioroianu, Pe umerii lui Marx. O introducere n istoria comunismului romnesc , Editura Curtea Veche, Bucharest, 2005. ISBN 973-669-175-6 Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "T he Search for a Modern, Problematizing Historical Consciousness: Romanian Histor ical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), Hi story of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499-505. ISBN 90-272-3452-3 Ovid Crohmalniceanu, Literatura romna ntre cele doua razboaie mondiale, Vol. I, Ed itura Minerva, Bucharest, 1972. OCLC 490001217 Victor Frunza, Istoria stalinismului n Romnia, Humanitas, Bucharest, 1990. ISBN 97 3-28-0177-8 Florin Mihailescu, De la proletcultism la postmodernism, Editura Pontica, Consta nta, 2002. ISBN 973-9224-63-6 Z. Ornea, Anii treizeci. Extrema dreapta romneasca, Editura Fundatiei Culturale R omne, Bucharest, 1995. ISBN 973-9155-43-X Junimea si junimismul, Vol. II, Editura Minerva, Bucharest, 1998. ISBN 973-21-05 62-3 Petre Raileanu, "Constructie si semnificatie n fictiunea istorica", preface to Mi hail Sadoveanu, Nicoara Potcoava, Editura Militara, 1990, p. 5-17. ISBN 973-32-0 114-6 Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridg e, Massachusetts & London, 2006. ISBN 0-262-19507-0 Ana Selejan, Literatura n totalitarism. Vol. II: Batalii pe frontul literar, Cart ea Romneasca, Bucharest, 2008. ISBN 978-973-23-1961-1 Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievic i, Ioan Stanomir, Explorari n comunismul romnesc, Polirom, Iasi, 2004, p. 13-45. I SBN 973-681-817-9 George Toprceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Sandulescu), Editura Minerva, Bucharest, 1983. OCLC 10998949 Cristian Vasile, Literatura si artele n Romnia comunista. 1948-1953, Humanitas, Bu charest, 2010. ISBN 978-973-50-2773-5 Tudor Vianu, Scriitori romni, Vols. I-II, Editura Minerva, Bucharest, 1970. OCLC 7431692 Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatura si arta, Buc harest, 1958. OCLC 163693643 External links[edit] Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works) , at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master T randafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Hap pened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), transl ations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Path newsreel sh owing Sadoveanu and other delegates

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