Breve biografía del poeta Grigore Vieru (1935 - 2009)

Grigore Vieru nació el 14 de febrero de 1935 en el pueblo de Pererita, antiguo condado de Hotin, Rumania, ahora República de Moldavia. Murió el 18 de enero de 2009 en Chisinau. Fue un poeta rumano originario de Rumania, que vivió en la República Socialista Soviética de Moldavia, más tarde República de Moldavia. Grigore Vieru nació en una familia de labradores rumanos de Pavel y Eudochia Vieru. 

Se graduó de la escuela de siete grados en su ciudad natal en 1950, luego de lo cual asistió a la escuela secundaria en la ciudad de Lipcani, que terminó en 1953.

Hizo su debut editorial en 1957 como estudiante con un folleto infantil, "Alarma", aclamado por la crítica literaria. En 1958, Vieru se graduó en el Instituto Pedagógico "Ion Creanga" de Chisinau, Facultad de Filología e Historia. En el mismo año, apareció su segunda colección de poemas para niños, "Muzicuţe", y fue contratado como editor de la revista infantil "Scînteia Leninista".

En 1960 se casó con Raisa, profesora de rumano y latín, y tuvieron dos hijos juntos: Vieru-Teodor y su hijo menor, Călin.

Fue editor de la revista Nistru, una publicación de la Unión de Escritores de la República de Moldavia. Entre 1960 y 1963, Vieru fue editor de la editorial Cartea Moldovenească, donde también publicó dos placas para poemas infantiles: "Chico guapo y el arcoiris" y Buenos dias, copos! ("Făt-Frumos şi Curcubeul" y "Bună, fulgilor!"). En 1964, publicó en la revista Nistru el poema El pacto ("Legămînt") dedicado al poeta Mihai Eminescu.

En 1965 publicó el volumen "Versos para lectores de todas las edades", por el que fue galardonado con el Premio Republicano Comsomol en el campo de la literatura infantil y juvenil. Posteriormente, la revista Dniéster publicó el poema "Hombres moldavos", dedicado al "nacionalista" Nicolae Testimiţeanu. Se detiene toda la circulación y se elimina la dedicatoria.

En 1968 se produce un lógico punto de inflexión en el destino del poeta, registrado por el volumen de letras líricas "Tu nombre", con prefacio de Ion Druta. El libro es apreciado por la crítica literaria como la aparición poética más original. Incluso en el año de su publicación, el libro se convirtió en objeto de estudio en cursos universitarios de literatura nacional contemporánea. Tres poemas del volumen se titulan "Tudor Arghezi", "Lucian Blaga", "Brîncuşi", y otros dos están dedicados a Nicolae Labiş y Marin Sorescu. Tales dedicatorias aparecen por primera vez en la poesía besarabiana de la posguerra.

En 1969, publicó "Domingo de Palabras" en la Editorial Lumina, con ilustraciones de Igor Vieru, un libro muy querido por los preescolares, que se ha vuelto "obligatorio" en cualquier jardín de infancia.

Un año después, la editorial Lumina publica "Abecedarul", firmado por Spiridon Vangheli, Grigore Vieru y el pintor Igor Vieru. Ha habido una lucha feroz por su aparición durante varios años, una lucha en la que también se involucraron los maestros de Besarabia, siendo el trabajo considerado nacionalista por las autoridades. También en 1970 apareció el volumen selectivo de poemas infantiles "Tres niños". Solo unos días después de su aparición, a raíz de un informe, el volumen se retira de las librerías para el poema "Arco iris", en el que el tricolor rumano estaba "escondido".

En 1973, Grigore Vieru cruzó el río Prut en una delegación de escritores soviéticos. Participa en el encuentro con los editores de la revista "Siglo XX".

En 1974, Zaharia Stancu, presidenta de la Unión de Escritores Rumanos, emitió una invitación oficial de la Unión de Escritores, a la que se dirigió el poeta. Visita Transilvania, acompañado por el poeta Radu Cîrneci. En el mismo año, aparece el volumen de letras líricas "Casi", con ilustraciones en color de Isai Cîrmu.

A fines de la década de 1980, Grigore Vieru estuvo al frente del Movimiento de Liberación Nacional de Besarabia, y sus letras (incluidas las canciones en sus letras) desempeñaron un papel importante en el despertar de la conciencia nacional de los besarabianos. Vieru es uno de los fundadores del Frente Popular y se encuentra entre los organizadores y líderes de la Gran Asamblea Nacional del 27 de agosto de 1989. Participa activamente en los debates de la XIII sesión del Soviet Supremo de la República Socialista Soviética de Moldavia ( MSSR) en el que se vota oficialmente el rumano y la transición a la escritura latina. 

En 1982 se estrenó la película musical infantil "Maria Mirabela", dirigida por Ion Popescu, con las letras de las canciones firmadas por Grigore Vieru, y en 1988 se le otorgó la más prestigiosa distinción internacional en el campo de la literatura infantil: el Diploma de Honor Anderesen.

En 1989, Vieru fue elegido miembro del Parlamento. Reuniendo a su alrededor a los más populares intérpretes y compositores de música ligera de Besarabia, el poeta se embarca en una gira por Moldavia a través del Prut.

Un año más tarde, Grigore Vieru fue elegido Miembro Honorario de la Academia Rumana, en 1991 se convirtió en miembro de la Comisión Estatal de Problemas del Lenguaje, y en 1992, la Academia Rumana lo nominó para el Premio Nobel de la Paz.

En 1993, el poeta fue elegido miembro correspondiente de la Academia Rumana. 

A la edad de 60 años, en 1995, Vieru se celebra oficialmente en Bucarest, Iasi y en la Unión de Escritores de Chisinau. En el mismo año, el poeta fue elegido miembro de la Junta Directiva de la Compañía Rumana de Radiodifusión. En 1996 fue condecorado con la Orden de la República.

En 1997, la editorial Litera de Chisinau lanzó el volumen antológico "Ahora y en un siglo", y 3 años más tarde fue condecorado con la Medalla del gobierno rumano "Eminescu" - 150 años desde su nacimiento.

El 16 de enero de 2009, el poeta sufrió un grave accidente de tráfico cerca de Chisinau. 48 horas después del accidente, el corazón de Grigore Vieru dejó de latir, debido a múltiples politraumatismos y una poliinsuficiencia de los sistemas y órganos.

Grigore Vieru fue enterrado el 20 de enero de 2009 en Chisinau, en el cementerio central de la calle Armeana. Decenas de miles de personas asistieron al funeral. Chisinau no conocía tales funerales desde el funeral de Doina e Ion Aldea Teodorovici. El 20 de enero de 2009 fue declarado día de luto en la República de Moldavia, a las 10:00 toda la república guardó un minuto de silencio.

Grigore Vieru fue condecorado póstumamente con la Orden Nacional "Estrella de Rumania" en el rango de Gran Cruz.

Busto de Grigore Vieru del Parque Central de Chisinau

Varias escuelas en la República de Moldavia, un bulevar en Chisinau y una calle en Iasi y Buzau llevan el nombre de Grigore Vieru. El 11 de febrero de 2010, tres días antes de su cumpleaños, se instaló el busto del poeta en el Callejón de los Clásicos en Chisinau.

Este es Grigore Vieru, el poeta, que dedica poesía a la vida humana. Contemporáneo nuestro, es también un exponente de las ideas dominantes en nuestra conciencia nacional que artísticamente expresa y enriquece con su alma. Es un poeta fecundo, siempre sensible a la conmoción del corazón y al tumulto del tiempo, es el poeta de nuestra época.

Una palabra sobre el poeta Grigore Vieru produce emoción, un sentimiento natural impuesto más allá de todo lo que ocurre en la vida, junto a otros ilustres creadores, representa una escuela poética, en la que la poesía es la vida misma y el alma del hombre.

 

Artículo editado por: Vlada Afteni

La fuente: istoria.md

Cómo Rumania perdió a Cahul, Ismail y Bolgrad

 En octubre de 1878, Rusia cometió una nueva agresión contra Rumanía. Los ejércitos rusos volvieron a ocupar el sur de Besarabia. Estos son los condados de Cahul, Ismail y Bolgrad, que habían sido devueltos a los rumanos después de la Guerra de Crimea. Este nuevo acto de agresión ha despertado una duradera antipatía hacia los rusos, que aún hoy deja sentir sus efectos. 

Rusia se convirtió en vecina de los rumanos solo en el siglo XVIII, después de varias conquistas en detrimento de la Unión Polaco-Lituana y el Imperio Otomano. En 1812, los rusos anexaron por primera vez la tierra rumana entre el Prut y el Dniéster, llamada Besarabia. Inicialmente, los rusos querían ocupar los principados rumanos hasta el Danubio, luego, bajo la amenaza del emperador francés Napoleón I, exigieron Moldavia y luego ocuparon Besarabia.

Pero Rusia sufrió una derrota catastrófica en la Guerra de Crimea, que estalló en 1853, en la que la victoria perteneció a la coalición de Francia, Gran Bretaña, Cerdeña y el Imperio Otomano. Como resultado de la Paz de París, los rusos se vieron obligados a devolver a los rumanos un territorio de más de 9.600 kilómetros cuadrados, que ofrecía a los rumanos acceso a la desembocadura del Danubio y al Mar Negro.

En el territorio retirado, los rumanos vivían con búlgaros, gagauzianos, lipovanos y albaneses. En este territorio, los rumanos fundaron la primera escuela secundaria búlgara de la historia, la de Ismail, junto con decenas de escuelas y el Obispado del Bajo Danubio.

Más de 20 años después de la derrota de la Guerra de Crimea, Rusia volvió a declarar la guerra al Imperio Otomano en 1877. Anteriormente, los rusos firmaron un acuerdo con el gobierno del príncipe Carlos I de Rumania, reconociendo la independencia de Rumania y garantizando su integridad. . Finalmente, la independencia de Rumanía fue conquistada en los campos de batalla de los Balcanes por el ejército comandado por Carlos I de Rumanía, cuya intervención por parte de los rusos cambió el destino de la guerra. Pero después de que los otomanos exigieran la paz, Rusia una vez más violó su promesa a los rumanos y exigió la anexión de los tres condados del sur de Besarabia. Las grandes potencias obligaron a Rumanía a aceptar la rendición del sur de Besarabia. En cambio, devolvieron Dobrogea a Rumania y reconocieron la independencia de Rumania.

La conquista rusa del sur de Besarabia significó una nueva etapa de desnacionalización para los rumanos de Besarabia. Los rusos prohibieron el uso de letras latinas y el apodo rumano. También se prohibieron las liturgias en rumano y la Iglesia Ortodoxa de Moscú se convirtió en una de las herramientas más eficaces para la desnacionalización. El sur de Besarabia regresó a su patria solo en 1918, pero los rusos lo invadieron nuevamente en 1940. Los rumanos liberaron este territorio en 1941, pero los rusos lo volvieron a ocupar en 1944. Ahora, la mayor parte del sur de Besarabia es parte de Ucrania. Como resultado de la colonización masiva y la desnacionalización a través de la escuela y la iglesia, la mayoría de los habitantes de esta tierra rumana se consideran rusos o ucranianos. 

La fuente:  timpul.md

How Romania lost Cahul, Ismail and Bolgrad

In October 1878, Russia committed new aggression against Romania. The Russian armies again occupied southern Bessarabia. These are the counties of Cahul, Ismail and Bolgrad, which had been returned to the Romanians after the Crimean War. This new act of aggression has aroused a lasting antipathy towards the Russians, which still makes its effects felt today.

Russia became a neighbour of the Romanians only in the 18th century, after several conquests to the detriment of the Polish-Lithuanian Union and the Ottoman Empire. In 1812, the Russians annexed for the first time the Romanian land between the Prut and the Dniester, called Bessarabia. Initially, the Russians wanted to occupy the Romanian Principalities up to the Danube, then, under the threat of the French emperor Napoleon I, they demanded Moldova, and later occupied Bessarabia.

But Russia suffered a catastrophic defeat in the Crimean War, which broke out in 1853, in which the victory belonged to the coalition of France, Britain, Sardinia and the Ottoman Empire. As a result of the Paris Peace, the Russians were forced to return to the Romanians a territory of over 9,600 square kilometres, which offered Romanians access to the Danube Mouth and the Black Sea.

n the retreated territory, the Romanians lived with Bulgarians, Gagauzians, Lipovans and Albanians. On this territory, the Romanians founded the first Bulgarian high school in history, the one in Ismail, together with dozens of schools and the Bishopric of the Lower Danube.

More than 20 years after the defeat of the Crimean War, Russia declared war on the Ottoman Empire again in 1877. Earlier, the Russians signed an agreement with the government of Prince Carol I of Romania, recognizing Romania's independence and guaranteeing its integrity. Romanian borders. Finally, Romania's independence was gained on the battlefields of the Balkan Mountains by the army commanded by Carol I of Romania, whose intervention on the part of the Russians changed the fate of the war. But after the Ottomans demanded peace, Russia once again violated its promise to the Romanians and demanded the annexation of the three counties of Southern Bessarabia. The Great Powers forced Romania to accept the surrender of Southern Bessarabia. Instead, they returned Dobrogea to Romania and recognized Romania's independence.

The Russian conquest of Southern Bessarabia meant a new stage of denationalization for the Romanians of Bessarabia. The Russians forbade the use of Latin letters and the nickname Romanian. Romanian-language liturgies were also banned, and the Moscow Orthodox Church became one of the most effective tools for denationalization. Southern Bessarabia returned to its motherland only in 1918, but the Russians invaded it again in 1940. The Romanians liberated this territory in 1941, but the Russians reoccupied it in 1944. Now most of southern Bessarabia is part of Ukraine. As a result of mass colonization and denationalization through school and church, most of the inhabitants of this Romanian land consider themselves Russians or Ukrainians.

The source:  timpul.md

El busto de Vasile Țanțu se instalará en Horodiște, en los lugares donde creció

140 años después del nacimiento de Vasile Țanțu, en Horodiște, se instalará un busto en memoria del maestro, prefecto del condado de Chisinau, diputado en los parlamentos de Chisinau y Bucarest. 

El pueblo de Horodiște del distrito de Călărași es la ciudad natal de Vasile Țanțu. La iniciativa de instalar un busto en su memoria 140 años después del nacimiento del ex diputado en el Consejo del País (1 de marzo de 2022) pertenece a Oleg Chicu, un conocido activista de Horodiște, activamente involucrado en el movimiento unionista.

Oleg Chicu nos contó cómo, desde 2009-2010, comenzó a buscar y preguntar si había gente de Horodiște o de los alrededores que se involucraron y votaron por UNIRE en 1918. El Consejo del País y el nombre de Vasile Tanțu me llamaron la atención, ya que, en nuestro pueblo tenemos el nombre de Țanța. No encontré mucha información en Internet entonces, pero lo importante es que encontré lo que estaba buscando: el lugar de su nacimiento.

Oleg Chicu dice que la novedad lo motivó a buscar más información en los archivos y a escribir algunos artículos sobre la personalidad de su pueblo natal. La búsqueda no se detuvo allí. Oleg Chicu descubrió la tumba de Vasile Țanțu en el Cementerio Central de Chisinau, que había sido reconstruida recientemente por una asociación patriótica. "En mis muchas visitas a los pueblos de Moldavia, me encontré con bustos de personalidades de Besarabia: escritores, pintores heroicos o miembros destacados del Consejo del País. Así que, me dispuse a hacer todo lo que estuviera a mi alcance para instalar un busto en memoria de Vasile Țanțu", agregó el horodisteano.

Mientras tanto, el Consejo Local de Horodiște, decidió que el Museo de Historia y Etnografía del pueblo debería llevar el nombre de Vasile Țanțu. Es por eso que el busto se instalará frente a la institución, sobre todo, porque no lejos de este lugar se encuentra la casa donde creció.

El proyecto está en pleno desarrollo y para cubrir los gastos necesarios (no menos de 5.000 euros) se ha puesto en marcha una campaña de recaudación de fondos. Por lo tanto, se insta a los horodistas de todo el mundo, pero también a los unionistas de todo el globo terráqueo, a involucrarse para completar con éxito este desiderátum.

NOTA:

Vasile Țanțu fue un importante político de la Besarabia de entreguerras: profesor, diputado en el Consejo del País, diputado en el primer Pleno del Parlamento de Rumania, prefecto del condado de Hotin, luego, dos veces, prefecto del condado de Chisinau. Fue traductor en el frente rumano durante la Primera Guerra Mundial, secretario del "Comité Militar Moldavo", presidente de la organización del "Consejo Nacional" y más tarde copresidente del partido "Bloque Moldavo".

Desde el cargo de presidente de la Asociación “Făclia”, a principios de 1918, con la ayuda de Mihail Sadoveanu, trajo artistas de Iași para tocar en los escenarios de Chisinau. Por lo tanto, también se convirtió en el organizador del primer teatro nacional rumano en Besarabia.

Publicó el libro "El campesino libre", titulado "El alfabeto político para campesinos".

El 30 de enero de 1937, gravemente enfermo, Vasile Țanțu murió en el hospital de Iași. Las autoridades rumanas organizaron entonces el funeral nacional.

Vasile Țanțu estaba casado y tenía cuatro hijos. Con la ocupación de Besarabia el 28 de junio de 1940, la NKDV buscó a todos los que votaron por el sindicato para vengarse. Vasile Țanțu, ido al mundo de los justos, nunca fue encontrado. En cambio, encontraron a dos de sus hijos en Chisinau, a quienes dispararon y arrojaron a un pozo de cal junto con otros mártires. El tercer hijo, Mihai Ţanţu, fue arrestado por los comunistas y sentenciado a 25 años de prisión.

La tumba de Vasile Țanţu, ubicada en la parte noroeste del Cementerio Central de Chisinau, también sufrió tras la llegada de los bolcheviques. La inscripción de la lápida, que recordaba que en ese lugar está enterrado un miembro del Consejo de la Nación, incomodó a los dignatarios y fue borrada con un cincel. La casa paterna en Horodiște también fue demolida con excavadoras para borrar cualquier recuerdo de este mártir.

El pueblo de Vasile Țanțu, fundado en 1919, entre dos grandes colinas, en la carretera que va de Nisporeni, directamente a través del campo, al pueblo de Odaia en la comuna de Șîșcani, también ha desaparecido misteriosamente de la historia. La única evidencia que queda son algunas fotos del "bautismo" del pueblo, en el que, los habitantes de Nisporeni y Boldurești, aparecen alrededor de Vasile Țanțu.

El artículo fue escrito por Doina Harea para el diario distrital Expresul.

The bust of Vasile Ţanţu will be installed in Horodişte, on the places where he grew up

140 years after the birth of Vasile Țanțu, in Horodiște, a bust will be installed in the memory of the teacher, the prefect of Chisinau county, the deputy in the parliaments of Chisinau and Bucharest. 

Horodiște village from Călărași district is Vasile Țanțu's hometown. The initiative to install a bust in his memory 140 years after the birth of the former deputy in the Country Council (March 1, 2022) belongs to Oleg Chicu, a well-known activist from Horodiște, actively involved in the unionist movement.

Oleg Chicu told us how since 2009-2010 he started looking for and asking if there were people from Horodiște or the surrounding area who got involved and voted for UNIRE in 1918. ”This is how I came to I carefully check the list of deputies of the Country Council and the name of Vasile Tanțu caught my attention. And that's because in our village we have the name Țanța. I didn't find much information on the internet then, but the important thing is that I found what I was looking for - the place of his birth ".

Oleg Chicu says that the novelty motivated him to search for more information in the archives and to write some articles about the personality of his native village. The search did not stop there. Oleg Chicu discovered the tomb of Vasile Țanțu at the Central Cemetery in Chisinau, which had been recently rebuilt by a patriotic association. "In my many visits to the villages of Moldova, I met busts of Bessarabian personalities - writers, heroic painters or prominent members of the Country Council. So I set out to do everything in my power to install a bust in memory of Vasile Țanțu ", added the Horodistean.

Meanwhile, the Horodiște Local Council decided that the Museum of History and Ethnography in the village should be named after Vasile Țanțu. That is why the bust is to be installed in front of the institution, especially since not far from this place is the house where he grew up.

The project is in full swing, and to cover the necessary expenses (not less than 5,000 euros), a fundraising campaign has been launched. Thus, the Horodists from all over the world, but also the unionists from all over the world are urged to get involved to complete this desideratum.

NOTE:

Vasile Țanțu was an important politician from interwar Bessarabia - professor, deputy in the Country Council, deputy in the first Full Parliament of Romania, prefect of Hotin county, then, twice, prefect of Chisinau county. He was a translator on the Romanian front during the First World War, secretary of the "Moldovan Military Committee", chairman of the organization of the "Country Council", and later co-chairman of the "Moldovan Bloc" party.

From the position of president of the “Făclia” Association, at the beginning of 1918, with the help of Mihail Sadoveanu, he brought artists from Iași to play on the stages in Chisinau. Thus, he also became the organizer of the first Romanian national theater in Bessarabia. He published the book "The Free Peasant", entitled "The Political Alphabet for Peasants".

On January 30, 1937, being seriously ill, Vasile Țanțu died at the hospital in Iași. The Romanian authorities then organized the national funeral.

Vasile Țanțu was married and had four children. With the occupation of Bessarabia on June 28, 1940, the NKDV sought out all those who voted for the union to seek revenge. Vasile Țanțu, gone to the world of the righteous, was never found. Instead, they found two of his sons in Chisinau, who were shot and thrown into a lime pit along with other martyrs. The third son, Mihai Ţanţu, was arrested by the communists and sentenced to 25 years in prison.

The tomb of Vasile Țanţu, located in the northwestern part of the Central Cemetery in Chisinau, also suffered after the arrival of the Bolsheviks. The inscription on the tombstone, which reminded that a member of the Country Council is buried in this place, embarrassed the dignitaries and was erased with a chisel. The parental home in Horodiște was also demolished with bulldozers, in order to erase any memory of this martyr.

The village of Vasile Țanțu, founded in 1919, between two large hills, on the road leading from Nisporeni, directly through the field, to the village of Odaia in the commune of Șîșcani, has also mysteriously disappeared from history. The only evidence left are some photos from the "baptism" of the village, in which the inhabitants of Nisporeni and Boldurești appear around Vasile Țanțu.

The article was written by Doina Harea for the district newspaper Expresul.

¿Quién fue el escritor Alecu Donici?

Los primeros años

El 19 de enero de 1806 nace en el pueblo de Piatra-Bezin, Orhei, Besarabia, el más grande poeta rumano de fábulas, Alecu (Alexandru) Donici. Hoy el pueblo de Piatra-Bezin lleva su nombre: el pueblo de Donici. Es el primero de los cuatro hijos de la familia Donici. El padre es el clucer Dimitrie Donici, y la madre, Elena Donici, nacida Lambrino.  El 1 de enero de 1808 nace su hermano, Petrache Donici (fallecido en 1872).

Adolescencia

Entre el 1 de enero de 1819 y el 1 de enero de 1825, Alecu Donici y su hermano Petrache, se graduaron de la Escuela Secundaria Militar de San Petersburgo.

El 20 de febrero de 1819, junto con su hermano Petrache, Alecu Donici, se matricula en el Liceo de Cadetes núm. 1 de San Petersburgo.

Entre el 1 de enero de 1821 y el 1 de enero de 1822, la familia Donici se traslada a Chisinau.

El 23 de abril de 1825, muere el padre del fabulista, el clucer Dimitrie Donici, a los 46 años, de tuberculosis.

El 28 de abril de 1825, Alecu Donici es enviado con el grado de teniente, en el regimiento de Ekaterimburgo, desplegado en el sur de Besarabia.

Juventud

El 30 de enero de 1826, Alecu Donici es liberado del servicio militar por motivos familiares.

Del 1 de enero de 1829 al 1 de enero de 1830, Alecu Donici es funcionario de la administración civil, luego asesor en el Tribunal Civil de Chisinau.

Entre el 1 de enero de 1829 y el 1 de enero de 1830, Alecu Donici participa en la lucha contra la epidemia de peste en Besarabia, siendo miembro de la comisión de Ciuciuleni, organizada para este fin.

El 4 de noviembre de 1829, en Iasi, la ciudad heroica, Roma Rumana y la ciudad de las colinas, muere el tío del fabulista después de su padre, Andronache Donici (nacido en 1760).

El 7 de julio de 1831, Alecu Donici es elegido asesor de la nobleza en el Tribunal Regional de Conciencia. Ocupó este cargo durante 3 años.

El 1 de enero de 1835, el artículo de A. Hajdeu „Literati basarabeni” aparece en la revista „Teleskop” de Moscú, en el que se presenta a Alecu Donici, como un talentoso traductor de las fábulas de I. Kralov y el poema Gitanos de Alexander Pushkin.

El 1 de enero de 1835, se casa con María, la hija de Costache Rosseti-Balanescu, que muere rápidamente y le deja dos hijos.

El 1 de diciembre de 1835, Alecu Donici se instala en el Principado Rumano de de Moldavia, en Iasi.

Debut literario

El 1 de enero de 1837, se imprime en Bucarest, el poema Gypsies de A. Puskin, traducido por Alecu Donici. 

El 1 de enero de 1839, en „Albina romaneasca”, aparece el poema Amoriu si prietesug de Alecu Donici.

Debut editorial

El 1 de enero de 1840 aparece el volumen Fábulas. Libro I de Alecu Donici en Cantora „Dacia literare”. Aquí están las fábulas: El águila y la abeja, El grillo y la hormiga, El lobo y el cuco, Los gansos, El zorro y el tejón, El águila y el pavo real, Parnaso, La momia y dos compañeros, el cangrejo, Cáncer, la rana y el lucio, El hombre con tres mujeres, El zorro y el burro, El león cazador, El zorro castigado, La peineta, El burro, El cementerio de Arvinte, El zorro en el huerto, El zorro en el huerto, El elefante gobernante, El burro y el ruiseñor, el lobo, el tilo y las encinas, la ardilla. Mihail Kogalniceanu reproduce de esta colección en el primer volumen de „Dacia literaria” algunas fábulas: El himno de Arvinte, El hombre de las tres mujeres, Las ocas, El lobo nazareno, El burro, La momia y los dos compañeros, Parnaso, La zorra y el tejón , El Zorro Castigado.

Madurez

Entre el 1 de enero de 1840  y el 1 de enero de 1845, en esa época, data un fragmento dramático perteneciente a Donici y publicado bajo el título Guraleiul.

El 1 de junio de 1840, en „Curierul romanesc" de Bucarest y en „Foaie pentru minte, inima si literatura" de Brasov, se reimprimen las fábulas El hombre con tres mujeres, Gastele, Momita y Dos compañeros.

El 22 de junio de 1840, Alecu Donici dona 100 copias del volumen publicado a la Epitropía de Educación Pública, en Moldavia.

El 1 de enero de 1841, Alecu Donici se casa con Profira, la hija del vornic Scarlat Krupenski, teniendo 10 hijos.

El 1 de enero de 184, Alecu Donici y su nueva esposa, Propira, se instalan en Piatra-Neamt.

El 1 de enero de 1841, en Hoja para la Mente, el Corazón y la Literatura, se reimprimen de Fábulas. Libro I los siguientes: El entierro de Arvinte, La zorra castigada, El lobo nazareno, El lobo y el cuco, El lobo y el lobo, El burro, Parnaso, El pizmátar y la serpiente, Cáncer, La rana y el lucio.

El 1 de abril de 1841, se publica en "Albina romaneasca", las fábulas: El autor y el ladrón; Hormiga.

El 1 de enero de 1842, Alecu Donici viaja a Bucarest donde conoce al poeta y fabulista Grigore Alexandrescu.

El 1 de enero de 1842, aparecen las fábulas. Libro I segunda edición y Fábulas. Libro II, Iasi, en Cantora "Foaiei satesti" con 25 fábulas: El establecimiento de la fábula, El lobo y el gato, El ratón y el duende, El molinero, La hormiga, Las flores, El río y el estanque, El magnate , El murciélago y las golondrinas, El lobo que perece, Dos perros, El caballo y el burro, La partición, La montaña, El lobo y el ratón, El derrochador y la golondrina, El hierro y la plata, El oráculo, La suerte visitando, El poeta y el rico y 5 poemas: Sr. Grigore Alexandrescu. Al final de la fábula Raúl y el estanque, El autor y el ladrón, Amistad y amor, Epigrama, Primero de abril.

El 1 de enero de 1842, en "Hoja para la Mente, el Corazón y la Literatura", se reproducen las Fábulas. Libro II: El hierro y la plata, El establecimiento de la fábula, El lobo y el ratón, El oso en el erizo.

El 1 de enero de 1842, en el "Calendario del pueblo rumano en 1842", aparece la fábula Varul primare.

El 16 de junio de 1842, Alecu Donici dona 100 ejemplares de Fábulas a la Epitropía de Enseñanzas Públicas. Libro II y 10 ejemplares de Poemas de G. Alexandrescu, también impresos en la Cantora "Foii satesti".

El 1 de enero de 1844, en la revista "Propasirea Foaie stiintifica si literara", se publican las fábulas: Pastorul si mosarul, Musca si poezia Gandul, siendo esto también reproducido en "Curier de ambe sexe", parte de la traducción del cuento Tunsul si Satira a su mente, traducida de Antioh Cantemir, realizada en colaboración con C. Negruzzi.

El 1 de enero de 1844, aparece en Iasi el volumen Sátira y otras composiciones poéticas del príncipe Antioh Cantemir, traducido en colaboración con C. Negruzzi.

El 1 de enero de 1844, en "Hoja para la Mente, el Corazón y la Literatura", se reproducen la Vida del Príncipe Antíoco Cantemir y Sátira a su mente en Sátira, además de otras composiciones poéticas de Antíoco Cantemir.

El 1 de enero de 1844, en "Calendario para el pueblo rumano en 1844", se publican las fábulas Paingul si bondarul si Braminul de Alecu Donici.

El 1 de enero de 1845, en "Albina romaneasca", se publica la fábula Adevarul sau cucosul de la moara.

El 1 de enero de 1845, en "Calendario para el pueblo rumano en 1845", aparece la traducción completa de la historia Tunsul.

El 1 de enero de 1847, en "Albina romaneasca", aparecen las fábulas Bricele si Cainele latrand, siendo publicadas simultáneamente en "Curierul romanesc" y en "Foaie pentru minte, inima si literatura".

El 7 de julio de 1847, Alecu Donici aparece en documento público como aga, presidente del tribunal.

El 18 de mayo de 1850, Alecu Donici es nombrado presidente del Tribunal de Distrito de Neamt.

El 25 de septiembre de 1850, Alecu Donici es ascendido al cargo de miembro de la Corte de Apelaciones.

El 1 de noviembre de 1850, Donici inicia su actividad como miembro de la Corte de Apelaciones.

El 1 de enero de 1851, se publican las fábulas Bondarul misántropo en "Zimbrul" y Umbra si omul en "Calendar pentru poporul romanesc pe anul 1851".

El 1 de agosto de 1851, Donici es nombrado, por oficio real de Grigorie Ghica, presidente del Diván de las Fortificaciones.

El 1 de enero de 1852, en "Calendario para el pueblo rumano en 1852" aparecen las fábulas Dos comensales y un niño y Transeúntes y Cachorros.

El 1 de enero de 1852, por oficio real, Alecu Donici es nombrado miembro de una comisión encargada de imprimir la Crónica de los rumanos de Gheorghe Sincai.

El 22 de enero de 1852, Alecu Donici es elegido miembro del Diván Público, quedando a la vez, presidente del Diván de Fortalecimiento.

El 1 de enero de 1853, en "Calendario para el pueblo rumano en 1853", se publica la fábula Vulpea duioasa y en el periódico "Saptamana", editado por Costache Negruzzi, la fábula Capra si iada.

El 1 de enero de 1853, 'A Alecu Donici' se le confiere el grado de vornic.

Del 1 de enero de 1853 al 1 de enero de 1854, en el periódico "Saptamana", se reimprimen las fábulas: Ardilla, Entierro de Arvinte, Zorro y Tejón, El Hombre de las Tres Mujeres, Gansos, Grillo y Hormiga, León y Conejo, Lobo Nazar, Lobo y El cuco, el zorro y el burro, el águila y la abeja, el águila y el paing, el zorro en el huerto, el lobo y el lobo, el burro, el burro y el ruiseñor, el cebo y dos mate, Parnassus, el peine , castigado, Cáncer, rana y lucio

El 1 de enero de 1854, en la colección de versos impresos este año en Oradea Mare "Versuintii romani, adeca Culesiune versoaria d'in Foiele nacionale de la anul 1838"; se reprodujeron las fábulas: Parnaso, La zorra castigada, El burro, El lobo y el cuco, Cáncer, La rana y el lucio, El lobo y el lobo, El establecimiento de la fábula, Hierro y plata.

El 1 de enero de 1855, en "Romania literara", editada por Vasile Alecsandri, se publican sus fábulas 'Turma si cainele', 'Nada si chiticul' y 'Stiuca si motanul'.

El 1 de enero de 1855, en el "Calendario del pueblo rumano en 1855", aparece la traducción del artículo 'Mar Negro y sus alrededores' de Alecu Donici.

El 1 de enero de 1855, en el "Calendario Predictivo... de la famosa astrónoma Casimia para el año 1855", aparece la interpretación del cuento Tunsul, una verdadera coincidencia en Valaquia.

El 1 de julio de 1855 al 1 de agosto de 1855, Alecu Donici viaja a París, donde lleva a sus dos hijos para estudiar, pero también para cuidar su salud.

El 29 de diciembre de 1855, junto con Costache Negruzzi y Gheorghe Asachi, el escritor Alecu Donici, es elegido miembro del Comité de Teatro, que recomienda obras para ser representadas en el Teatro Nacional.

El 1 de enero de 1856, Alecu Donici publica la fábula 'Teiul si stejarii', en el periódico "Nepartinitorul" y 'Vaporul si calul' en "Steaua Dunarii".

El 1 de enero de 1856, Alecu Donici es designado a una comisión para investigar la autenticidad de un Fragmento Histórico, publicado por G. Boldur-Costachi.

El 1 de enero de 1857, en el "Calendario del pueblo rumano" publicado en Brasov, se publica la fábula Turma y el perro de Alecu Donici, luego reproducida en "Hoja para la mente, el corazón y la literatura".

El 1 de enero de 1857, en el "Calendario del pueblo rumano en 1857", publicado en Iasi, se publican la fábula Frunzele si radacina y el poema Stelele de Alecu Donici.

El 1 de enero de 1857, aparece en el periódico "Buciumul", el poema La Buciumul escrito por Alecu Donici.

El 1 de enero de 1857, aparece en el periódico "Opiniunea", la fábula Presión de Alecu Donici.

El 1 de enero de 1858, en Iasi, aparece el volumen Sátira y otras composiciones poéticas del príncipe Antíoco Cantemir, segunda edición.

El 1 de enero de 1858, en "Steaua Dunarii", se publican las fábulas Lupul nazar y Lupul batran.

El 1 de enero de 1858, la fábula 'Lupul batran' aparece en el periódico "Zimbrul si Vulturul".

El 1 de enero de 1858, data un manuscrito editado por el fabulista: Fábulas. Edición completa de Aleco Donici.

El 1 de enero de 1860, en el periódico "Tribuna romana", aparecen las fábulas Broasca y el dios y el oso Butnari.

El 1 de enero de 1860, aparece en la "Revista Carpatilor" la fábula Jderul si cacomul.

El 1 de febrero de 1860, Alecu Donici es elegido diputado a la Asamblea Electiva de la región histórica rumana de Moldavia por el distrito de Neamt, ocupando dicho cargo del 1 de marzo de 1860 al 1 de abril de 1860.

El 1 de enero de 1861, Alecu Donici publica en el periódico "Viitorul" las fábulas: Carros con ollas, Lucio y gato, Rebaño y perro, Mostos y abejas, así como, un fragmento de la Memoria de la brigada Maureau de Brasey sobre la batalla de 1711 de Stanilesti en el Prut, en traducción al ruso.

El 1 de enero de 1861, en la "Revista Carpatilor", aparece la fábula Mustele y la abeja de Alecu Donici.

El 1 de enero de 1861, se reimprime en la "Revista romana", la fábula "Carele cu oale" de Alecu Donici.

El 1 de enero de 1861, en el diario "Dacia", se reproduce la fábula 'Liliacul' y las golondrinas escrita por Alecu Donici.

El 1 de enero de 1862, Alecu Donici publica en "Revista romana", algunas fábulas y poemas: El deseo del rumano de 1862, La Ceahlau, El Mercader, Los Torrentes y el Pueblo (traducción del poeta ruso M. Lermontov).

El 7 de marzo de 1862, por real cédula, Alecu Donici es nombrado fiscal de sección en la Corte de Casación.

Últimos años:

El 1 de enero de 1863, en "Revista romana", aparece el artículo "Notitie despre Eparhia Basarabiei" de A. Zasciuk, en la traducción de Alecu Donici.

El 1 de enero de 1863, en el "Lector rumano", compuesto por Aron Pumnul (volumen 2; parte I), se reimprime la fábula Fuego y la estatua de cera de Sátira, además de otras composiciones poéticas del príncipe Antíoco Cantemir. También aquí están publicadas las fábulas Imparteala y Muntele.

El 1 de enero de 1863, se publica la fábula Ariciul y el libro de Alecu Doncii, en el periódico "Independenta romana".

El 1 de enero de 1863, en la revista "Amicul scolii" de Sibiu, se reprodujeron los poemas escritos por Alecu Donici: Torrentes y gente, En la tumba de un médico.

En 1 de enero de 1864, en "Lepturariu rumanesc" (tomo 4; parte I), se reproducen las fábulas firmadas por Alecu Donici: Florile, Galbenul, Gastele, Lupul si cucul, Pizmaretul si sarpele, Raul si helesteul, Vulpea si bursucul, Vulpea si magarul , Vulturul y la abeja.

El 1 de enero de 1865, en la hermosa ciudad de Chisinau, la imprenta de A. Popov, ve la luz El curso de rumano primitivo para las clases de primaria y secundaria inferior de I. Doncev, que incluía las fábulas de Alecu Donici: Galbanul, Greierul si ant, Stigletul y el pájaro carpintero , la zorra en el huerto, la zorra castigada, el tilo y las encinas, la zorra y el burro, el león y el conejo, las ocas, la zorra y el tejón, el cangrejo, la rana y el lucio, dos pulpos . Algunas de estas fábulas, Galbanul, Greierul si ant, Stigletul si ciocarlanul, Vulpea in livada, Cancer, broasca si puca, Doua poloboace también fueron incluidas en Abeceda rumana, compuesta para escuelas primarias por el mismo I. Doncev e impresa en Chisinau.

El 21 de enero de 1865, muere Alecu Donici en Piatra-Neamt, a la edad de 59 años.

La fuente: viatasiopera.ro

la fuente de foto: Biblioteca N. Titulescu

Who was the writer Alecu Donici?

The first years 

   January 19, 1806, The greatest Romanian fable poet Alecu (Alexandru) Donici is born in the village of Piatra-Bezin, Orhei, Bessarabia. Today the village of Piatra-Bezin is named after him: the village of Donici. He is the first of the four boys of the Donici family. The father is Dimitrie Donici, and the mother, Elena Donici, was born Lambrino.

   January 1, 1808, His brother Petrache Donici is born (died 1872)

Adolescence

   January 1, 1819 - January 1, 1825, Alecu Donici and his brother Petrache graduated from St. Petersburg Military High School.

   February 20, 1819, Together with his brother Petrache, Alecu Donici is enrolled in the Cadet High School no. 1 of St. Petersburg.

   January 1, 1821 - January 1, 1822, The Donici family moves to Chisinau.

   April 23, 1825, The father of the fabulist, Dimitrie Donici, dies at the age of 46, from tuberculosis.

   April 28, 1825, Alecu Donici is sent as a lieutenant in the Ekaterinburg regiment, deployed in southern Bessarabia.

Youth

   January 30, 1826, Alecu Donici is released from military service for family reasons.

   January 1, 1829 - January 1, 1830, Alecu Donici is a civil servant in the civil administration, then an adviser at the Civil Court in Chisinau.

   January 1, 1829 - January 1, 1830, Alecu Donici participates in the fight against the plague epidemic in Bessarabia, being a member of the commission from Ciuciuleni, organized for this purpose.

   November 4, 1829, In Iasi, the fable's uncle after his father, Andronache Donici (born in 1760), dies

   July 7, 1831, Alecu Donici is elected assessor of the nobility in the Regional Court of Conscience. He held this position for 3 years.

   January 1, 1835, A. Hajdeu's article "Literati bessarabiens" appears in the Moscow magazine "Teleskop", in which Alecu Donici is presented as a talented translator of I. Kralov's fables and Alexander Pushkin's poem Gypsies.

   January 1, 1835, He marries Maria, the daughter of Costache Rosseti-Balanescu, who dies quickly and leaves him with two children.

December 1, 1835, Alecu Donici settles in the Principality of Moldavia, in Iasi.

Literary debut

   January 1, 1837, The poem Gypsies by A. Puskin is printed in Bucharest, translated by Alecu Donici.

   January 1, 1839, In ​​"Albina romaneasca" appears the poem Amoriu si prietesug by Alecu Donici

Editorial debut

   January 1, 1840, The volume Fables appears. Book I by Alecu Donici at Cantora "Dacia literare". Here are the fables: The eagle and the bee, The cricket and the ant, The wolf and the cuckoo, The geese, The fox and the badger, The eagle and the peacock, Parnassus, The mummy and two mates, crab, Cancer, frog and pike, The man with three women, The fox and the donkey, The hunting lion, The punished fox, The comb, The donkey, Arvinte's burial ground, The fox in the orchard, The fox in the orchard, The ruling elephant, The donkey and the nightingale, the wolf, the lime tree and the oaks, the squirrel. Mihail Kogalniceanu reproduces from this collection in the first volume of "Literary Dacia" some fables: Arvinte's Anthem, The Man with Three Women, The Geese, The Nazarene Wolf, The Donkey, The Mummy and Two Mates, Parnassus, The Fox and the Badger, The Punished Fox.

Maturity

   January 1, 1840 - January 1, 1845, From this period dates a dramatic fragment belonging to Donici and was published under the title Guraleiul.

   June 1, 1840 In "Curierul romanesc" from Bucharest and in "Foaie pentru minte, inima si literatura" from Brasov are reprinted fables The man with three women, Gastele, Momita and two mates.

    June 22, 1840 Alecu Donici donates 100 copies of the published volume to the Epitropy of Public Education in Moldova.

   January 1, 1841 Alecu Donici marries Profira, the daughter of the  Scarlat Krupenski. They will have 10 children.

   January 1, 1841, Alecu Donici and his new wife, Profira, settle in Piatra-Neamt.

   January 1, 1841, In "Sheet for Mind, Heart and Literature" are reprinted from Fables. Book I the following: Arvinte's Burial, The Punished Fox, The Nazarene Wolf, The Wolf and the Cuckoo, The Wolf and the Wolf, The Donkey, Parnassus, The Pizmatar and the Snake, Cancer, the Frog and the Pike.

   April 1, 1841 He publishes in "Albina romaneasca" (The Romanian bee) the fables: The author and the thief; Ant.

   January 1, 1842 Alecu Donici travels to Bucharest where he meets the poet and fabulist Grigore Alexandrescu.

   January 1, 1842 Fables appear. Book I second edition and Fables. Book II, Iasi, at Cantora "Foaiei satesti" with 25 fables: The establishment of the fable, The Wolf and the cat, The mouse and the goblin, The miller, The ant, The flowers, The river and the pond, The tycoon, The bat and the swallows, The perishing wolf, Two dogs, The horse and the donkey, The partition, The mountain, The wolf and the mouse, The spendthrift and the swallow, The iron and the silver, The oracle, Luck visiting, The poet and the rich man and 5 poems: Mr Grigore Alexandrescu. At the end of the fable Raul and the Pond, The Author and the Thief, Friendship and Love, Epigram, First Day of April.

   January 1, 1842 In "Sheet for Mind, Heart and Literature" were reproduced from Fables. Book II: The Iron and the Silver, The Establishment of the Fable, The Wolf and the Mouse, The Bear in the Hedgehog.

   January 1, 1842, In the "Calendar for the Romanian people for the year 1842" appears the fable Varul primary.

   June 16, 1842, Alecu Donici donates 100 copies of Fables to the Epitropy of Public Teachings. Book II and 10 copies of Poems by G. Alexandrescu, also printed at the Cantora "Foaiei satesti".

   January 1, 1844 In the magazine "Propasirea. Foaie stiintifica si literara" the fables are published: Pastorul si mosarul, Musca si poezia Gandul - this being also reproduced in "Curier de ambe sexe" - part of the translation of the story Tunsul si Satira to his mind , translated from Antioh Cantemir, made in collaboration with C. Negruzzi.

   January 1, 1844, the volume Satire and other poetic compositions by Prince Antioh Cantemir appears in Iasi, translated in collaboration with C. Negruzzi.

   January 1, 1844, in "Sheet for Mind, Heart and Literature" are reproduced the Life of Prince Antiochus Cantemir and Satire to his mind in Satire and other poetic compositions by Antiochus Cantemir.

   January 1, 1844 In "Calendar for the Romanian people in 1844" the fables Paingul si bondarul si Braminul by Alecu Donici are published.

   January 1, 1845 In "Albina romaneasca" the fable Adevarul sau cucosul de la moara is published.

   January 1, 1845 In "Calendar for the Romanian people in 1845" appears the full translation of the story Tunsul.

   January 1, 1847 In "Albina romaneasca" appear the fables Bricele si Cainele latrand, this being published simultaneously in "Curierul romanesc" and in "Foaie pentru minte, inima si literatura".

July 7, 1847, Alecu Donici appears in a public document as aga, president of the tribunal. May 18, 1850 Alecu Donici is appointed president of the Neamt District Court. On September 25, 1850 Alecu Donici is promoted to the position of member of the Court of Appeal. November 1, 1850 Donici begins his activity as a member of the Court of Appeal. January 1, 1851 The fables Bondarul misanthrope are published in "Zimbrul" and Umbra si omul in "Calendar pentru poporul romanesc pe anul 1851". 01 August 1851 Donici is appointed, by the royal office by Grigorie Ghica, president of the Divan of Fortifications. January 1, 1852 In "Calendar for the Romanian people in 1852" appear the fables Two Eats and a Child and Passers-by and Puppies. January 1, 1852, By royal office, Alecu Donici is appointed to a commission in charge of printing the Chronicle of the Romanians by Gheorghe Sincai. January 22, 1852, Alecu Donici is elected a member of the Public Divan, remaining at the same time president of the Strengthening Divan. January 1, 1853 In "Calendar for the Romanian people in 1853" the fable Vulpea duioasa is published, and in the newspaper "Saptamana" edited by Costache Negruzzi the fable Capra si iada. January 1, 1853 Alecu Donici is conferred the rank of vornic. January 1, 1853 - January 1, 1854 In the newspaper "Saptamana" are reprinted the fables: Squirrel, Arvinte's Burial, Fox and Badger, The Man with Three Women, Geese, Cricket and Ant, Lion and Rabbit, Nazar Wolf, Wolf and Cuckoo, Fox and the donkey, the eagle and the bee, the eagle and the paing, the fox in the orchard, the wolf and the wolf, the donkey, the donkey and the nightingale, the bait and two mate, Parnassus, the comb, punished, Cancer, frog and pike January 1, 1854 In the collection of verses printed this year in Oradea Mare "Versuintii romani, adeca Culesiune versoaria d'in Foiele nacionale de la anul 1838"; the fables were reproduced: Parnassus, The Punished Fox, The Donkey, The Wolf and the Cuckoo, Cancer, the Frog and the Pike, The Wolf and the Wolf, The Establishment of the Fable, Iron and Silver. January 1, 1855 In "Romania literara" edited by Vasile Alecsandri, his fables Turma si cainele, Nada si chiticul, Stiuca si motanul are published. January 1, 1855 In the "Calendar for the Romanian people in 1855" appears the translation of the article Black Sea and its surroundings by Alecu Donici. January 1, 1855 In the "Predictive Calendar ... of the famous astronomer Cazimia for the year 1855" appears the interpretation of the story Tunsul. A real coincidence in Wallachia. July 1, 1855 - August 1, 1855 Alecu Donici travels to Paris, where he takes his two children to study but also to take care of his health. December 29, 1855 Together with Costache Negruzzi and Gheorghe Asachi, the writer Alecu Donici is elected a member of the Theater Committee, which recommends plays to be staged at the National Theater. January 1, 1856 Alecu Donici publishes the fable Teiul si stejarii in the newspaper "Nepartinitorul" and Vaporul si calul in "Steaua Dunarii". January 1, 1856 Alecu Donici is appointed to a commission to investigate the authenticity of a Historical Fragment, published by G. Boldur-Costachi. January 1, 1857 In the "Calendar for the Romanian people" published in Brasov, the fable Turma and the dog by Alecu Donici is published, then reproduced in "Sheet for mind, heart and literature". January 1, 1857 In the "Calendar for the Romanian people in 1857" published in Iasi, the fable Frunzele si radacina and the poem Stelele by Alecu Donici are published. January 1, 1857 The poem La Buciumul written by Alecu Donici appears in the newspaper "Buciumul". January 1, 1857 The fable Presura by Alecu Donici appears in the newspaper "Opiniunea". January 1, 1858 In Iasi appears the volume Satire and other poetic compositions by Prince Antiochus Cantemir, second edition. January 1, 1858 In "Steaua Dunarii" the fables Lupul nazar and Lupul batran are published. January 1, 1858 The fable Lupul batran appears in the newspaper "Zimbrul si Vulturul". January 1, 1858 From this year dates a manuscript edited by the fabulist: Fables. Complete edition by Aleco Donici. January 1, 1860 In the newspaper "Tribuna romana" the fables Broasca and the god and the bear Butnari appear. January 1, 1860 The fable Jderul si cacomul appears in "Revista Carpatilor". February 1, 1860 Alecu Donici is elected deputy for the Elective Assembly of Moldavia from the Neamt district. March 1, 1860 - April 1, 1860 January 1, 1861 Alecu Donici publishes in the newspaper "Viitorul" the fables: Chariots with pots, Pike and cat, Herd and dog, Musts and bees as well as a fragment from the Memorial of Brigadier Maureau de Brasey about the battle of 1711 from Stanilesti on the Prut, in Russian translation.

January 1, 1861 In "Revista Carpatilor" appears the fable Mustele and the bee by Alecu Donici.

   January 1, 1861 The fable Carele cu oale by Alecu Donici is reprinted in "Revista romana".

   January 1, 1861 In the newspaper "Dacia" is reproduced the fable Liliacul and the swallows written by Alecu Donici.

   January 1, 1862, Alecu Donici publishes in "Revista Romana" some fables and poems: The desire of the Romanian from 1862, La Ceahlau, The Merchant, The Torrents and the People (translation from the Russian poet M. Lermontov)

   March 7, 1862 By royal decree, Alecu Donici is appointed section prosecutor at the Court of Cassation.

Last years

   January 1, 1863 In "Revista romana" the article "Note about Eparhia Basarabiei" by A. Zasciuk appears in Alecu Donici's translation.

   January 1, 1863, In the "Romanian Reader" composed by Aron Pumnul (volume 2; part I) is reprinted the fable Fire and the wax statue from Satire and other poetic compositions by Prince Antiochus Cantemir. Also here are published the fables Imparteala and Muntele.

   January 1, 1863 The fable Ariciul and the book by Alecu Doncii are published in the newspaper "Independenta romana".

   January 1, 1863 In the magazine "Amicul scolii" from Sibiu were reproduced the poems written by Alecu Donici: Torrents and people, At the grave of a doctor.

   January 1, 1864 In "Lepturariu rumanesc" (volume 4; part I) are reprinted the fables signed by Alecu Donici: Florile, Galbenul, Gastele, Lupul si cucul, Pizmaretul si sarpele, Raul si helesteul, Vulpea si bursucul, Vulpea si magarul, Vulturul and the bee.

   January 1, 1865 In Chisinau, A. Popov's printing house sees the light of day The primitive Romanian language course for primary and lower secondary school classes by I. Doncev, which included Alecu Donici's fables: Galbanul, Greierul si ant, Stigletul and the woodpecker, the fox in the orchard, the punished fox, the linden tree and the oaks, the fox and the donkey, the lion and the rabbit, the geese, the fox and the badger, the crab, the frog and the pike, two octopuses. Some of these fables, Galbanul, Greierul si ant, Stigletul si ciocarlanul, Vulpea in livada, Cancer, broasca si puca, Doua poloboace were also included in Abeceda rumana, composed for elementary schools by the same I. Doncev and printed in Chisinau.

The end

   January 21, 1865 Alecu Donici dies in Piatra-Neamt, at the age of 59.

 The source: viatasiopera.ro

the source of photo: Biblioteca N. Titulescu

La mansión fue comprada al propietario de Moldavia por el noble polaco de origen armenio Kajetan Ohanowicz (Oganovici) en el siglo XIX

En el parque de 16 hectáreas solía haber tres lagos, un molino de agua, callejones, terrazas, un baño, un sótano de tres habitaciones y una mansión con un ático con cinco entradas. Parece que el propietario era un „espía feroz” y nunca entró por la misma entrada dos veces seguidas.

En 1896 se plantó un parque aquí, se reconstruyó el edificio de la mansión, estilizado después de una pagoda china. Además, se limpiaron y ennoblecieron tres estanques, se construyeron: la necrópolis de piedra de la familia, el molino de agua con una tubería subterránea de un kilómetro. Pero lo más importante es que el plano del parque estaba bien pensado y según él se formaron callejones, se pavimentaron los caminos, sobre el arroyo se hizo un puente de metal perforado, el Puente de la Tristeza ”. La planificación del parque y especialmente su concepción general estuvo a cargo del gran arquitecto, Alexandru Bernardazzi, consultó constantemente la concepción del plan del propietario de la finca, Caetan Oganovici.

Y este concepto estaba lejos de ser simple. Inicialmente el parque estaba dividido en 2 partes iguales, el límite entre ellas era el arroyo con el puente arrojado sobre él. El propio arroyo simboliza el delgado hilo de la vida, que separa la parte superior, terrestre del parque, de la parte inferior, que simboliza, respectivamente, la eternidad. Es en esta parte del parque donde solo hay un edificio: la necrópolis🏛️. Todos los demás edificios de la mansión, la torre de agua y otros anexos domésticos se encuentran en la primera parte del parque, el terreno. 

El camino de la vida

A lo largo del parque hay un largo callejón plantado densamente con carpes, el callejón, que representa el camino de la vida.

🏞️En el medio está atravesado por un arroyo, similar al río Estigia de la mitología griega que separa el mundo de los vivos del mundo de los muertos. Se cree que el viejo barquero que lleva a los muertos al inframundo, Caronte, cruza el río Estigia, donde el perro de cola de dragón Cerberus protege, permitiendo que entren todas las almas y que ninguna salga. El puente calado se arroja sobre este arroyo.

En la mitología griega, hay seis ríos que separan el infierno del mundo de los vivos. Estos son:

🏞️Acheron - el río de la tristeza

🏞️Cocytus - el río de lamentación

🏞️Piriphlegethon - el río de fuego

🏞️Lethe - el río del olvido

🏞️Mnemosynne - el río de la memoria

🏞️Styx - el río del odio

Por lo tanto, a lo largo del arroyo a su izquierda (terrenal), en su tiempo brotan alrededor de 6 manantiales, que alimentan el arroyo, que desemboca en el estanque central de la mansión.

Se prestó gran atención a las variedades de árboles plantados. Por ejemplo, cerca de la necrópolis había un enorme pino negro solitario y comienza el callejón con nueces negras, un símbolo de la eternidad. Este callejón llega en su parte sur hasta el borde del parque, tras el cual se extienden extensiones de campos.

Todo el parque está atravesado por toda una serie de callejones. Otra particularidad del parque es la combinación de árboles decorativos con frutales, es decir, es a la vez parque y huerto, según la forma en que antaño se difundieron por las villas del Imperio Romano los denominados "Árboles Frutales".

En la época soviética, el parque y la mansión recibieron el uso de un campamento de verano y, como resultado, en la finca aparecieron algunos edificios ajenos a este lugar: edificios residenciales, un dormitorio. Hasta hace poco, las esculturas estándar de pioneros, instructores pioneros semidestruidos, estaban esparcidas por todo el parque. El campamento de pioneros ha estado cerrado durante mucho tiempo, y el parque y la mansión se encuentran en un estado indescriptible de deterioro y son destruidos cada año. El edificio de la mansión también está medio destruido, al igual que todos los demás edificios. La necrópolis fue saqueada por los lugareños, por lo que el gobierno del distrito ordenó que se hormigonara la tumba.

De los tres lagos, solo existen 2, el tercero es completamente fangoso y prácticamente ya no existe, los otros 2 también son fangosos.

El bosque en la parte central del parque no ha sido talado durante mucho tiempo por los árboles secos, los arbustos han crecido tanto que son casi imposibles de cruzar y recuerdan más a la jungla.

😔De los 6 manantiales, solo 1 fue restaurado.

"No hay rastro del molino de agua".

Por supuesto, las riquezas dentro de la mansión también fueron robadas, solo quedaron las paredes exteriores y una vieja escalera de madera que conduce al ático.

Y sin embargo, a pesar de estar en ruinas y ruinas, caminando por los callejones del parque y a orillas del lago central, nos encontramos dominados por un estado de ánimo muy especial, y deteniéndonos en el puente sobre el riachuelo sentimos nuestra alma. lleno de paz interior inigualable. Afortunadamente, los callejones y bancos de piedra que se encuentran a lo largo de ellos se han conservado y no permiten que este lugar pierda su verdadera apariencia, fruto del pensamiento y dominio de sus creadores. Sin embargo, al dejar atrás este parque, todavía sentimos una tristeza, pero sobre todo un pesar por no preocuparnos por el legado que dejaron nuestros antepasados ​​y por no haber aprendido a apreciar y preservar la belleza de la tierra.

💡Curiosidades:

☝️La aldea de Mindic se plantó en 1896, durante 40 días, porque el boyardo quería sorprender a su amante polaca, que iba a llegar a Besarabia, para ver su finca.

☝️En 1906 Kajetan Ohanowicz fue asesinado en esta villa.

☝️La familia Ohonowicz tuvo un final trágico. Primero murió la hija, luego el hijo, asesinado, desapareció en la guerra. Los lugareños dijeron que la familia había sido maldecida por la madre de una niña a quien el boyardo había seducido. La niña embarazada se abandonó y se suicidó, y en su dolor, su madre maldijo a los culpables de su extinción. A la muerte de su segundo hijo, el boyardo se volvió loco y el verano pasado apareció en medio del pueblo en un trineo tirado por dos caballos blancos. Después de su muerte, el boyardo fue enterrado en la tumba familiar. Por suerte para ella, su esposa nunca se enteró de la muerte de su hijo, a quien amaba más que a nada en el mundo. Tras la entrada de las tropas rusas en Besarabia, Sofia Ohonowicz se retiró a Rumanía, a Brasov, donde murió.

☝️En el frontispicio de la tumba, antes de su muerte, el boyardo había escrito una advertencia para posibles profanadores de tumbas que sonaba así:

„No despiertes a los que han encontrado aquí su morada eterna, grande será su ira contra los alborotadores”.

☝️Inmediatamente después de 1944, la tumba pasó a ser propiedad del pueblo, convirtiéndose en la sede de un centro pesquero. Uno de los primeros líderes del centro sacó los huesos de la tumba para mostrar a los campesinos quién era el verdadero amo, a los pocos meses murió su única hija. Y, como historia para tener un final especial, el embaucador enterró a su hija en la tumba del boyardo.

☝️1980-1990 en el parque se instala el campamento pionero „Hola”, para que los edificios se modernicen y el territorio se adapte para el juego, la diversión y el descanso.

☝️En 1997, el Gobierno declaró la mansión una sucursal del Museo Nacional de Etnografía e Historia Natural, con el fin de salvar lo que quedaba. Pero el proyecto se detuvo por falta de dinero. En 2003 se aprobó una nueva decisión del gobierno sobre la restauración del monumento, pero no se asignó dinero.

☝️El parque dendrológico de la villa „Mîndîc” tiene una superficie de 16 ha, de las cuales solo 3 ha forman parte del objetivo protegido.

☝️La familia Ohanowicz (Oganowici) descansa en una tumba en la Capilla de la familia Ohanowicz en el Cementerio Católico de Chisinau (también conocido como el Cementerio Polaco) debajo del ala oeste.

😤Desde 1991, la inacción ha llevado a la degradación de los edificios y la vegetación del parque. Actualmente, todos los edificios del parque, incluida la tumba y la villa, están devastados. El lago está lleno de juncos y cañas. 

La fuente: Sprâncean Andrei//facebook.com

This mansion was bought from the Moldavian landlord by the Polish nobleman of Armenian origin Kajetan Ohanowicz (Oganovici) in the 19th century

In the 16-hectare park, there used to be three lakes, a water mill, alleys, terraces, a bathroom, a three-room cellar, and a mansion with an attic with five entrances. It appears that the owner was a "fierce spy" and never entered the same entrance twice in a row.

In 1896 a park was planted here, the mansion building was rebuilt, stylized after a Chinese pagoda. Also, three ponds were cleaned and ennobled, they were built: the stone necropolis of the family, the watermill with a one-kilometer underground pipe. But the most important thing is that the plan of the park was well thought out and according to it, alleys were formed, the paths were paved, over the brook a perforated metal bridge was made - the Sadness Bridge ”. The planning of the park and especially its general conception was taken care of by the great architect - Alexandru Bernardazzi, he constantly consulted the plan-conception of the owner of the estate - Caetan Oganovici.

And this concept was far from simple. Initially, the park was divided into 2 equal parts, the border between them was the stream with the bridge thrown over it. The stream itself symbolizes the thin thread of life, which separates the upper, earthly part of the park from the lower part, which symbolizes, respectively, eternity. It is in this part of the park that there is only one building - the necropolis🏛️. All the other buildings of the mansion, the water tower, and other household annexes are located in the first part of the park, the land.

The road of life

Throughout the park, there is a long alley planted densely with hornbeams, the alley, represents the road of life.

🏞️In the middle it is crossed by a stream, similar to the river Styx from Greek mythology that separates the world of the living from the world of the dead. It is believed that the old boatman carrying the dead to the underworld, Charon, crosses the Styx River, where the dragon-tailed dog Cerberus guards, allowing all souls to enter and none to leave. The openwork bridge is thrown over this stream.

In Greek mythology, six rivers separate hell from the world of the living. These are:

🏞️Acheron - the river of sadness

🏞️Cocytus - the river of lamentation

🏞️Piriphlegethon - the river of fire

🏞️Lethe - the river of oblivion

🏞️Mnemosynne - the river of memory

🏞️Styx - the river of hatred

Therefore, along the stream on his left (earthly), in his time springs about 6 springs, which fed the stream, which flows into the central pond of the mansion. 

Great attention was paid to the varieties of trees planted. For example, near the necropolis was a huge lone black pine and the alley with black nuts begins - a symbol of eternity. This alley reaches in its southern part to the border of the park, after which there are expanses of fields.

The whole park is crossed by a whole series of alleys. Another specific feature of the park is the combination of decorative trees with fruit trees, ie it is both a park and an orchard, according to the manner once spread around the villas of the Roman Empire, the so-called "Fruit Trees".

In Soviet times, the park and the mansion were given the use of a summer camp, and as a result on the estate appeared some buildings foreign to this place - residential buildings, a dormitory. Until recently, standard sculptures of pioneers, semi-destroyed pioneer instructors, were scattered throughout the park. The pioneer camp has been closed for a long time, and the park and mansion are in an indescribable state of disrepair and are being destroyed further each year. The mansion building is also half-destroyed, as are all the other buildings. The necropolis was looted by the locals, which is why the district government ordered the tomb to be concreted.

Of the three lakes, only 2 exist, the third is completely muddy and practically no longer exists, the other 2 are also muddy.

The forest in the central part of the park has not been cleared for a long time by the dry standing trees, the bushes have grown so much that they are almost impossible to cross and are more reminiscent of the jungle.

😔Of the 6 springs, only 1 was restored.

"There is no trace of the watermill."

Of course, the riches inside the mansion were also stolen, only the outer walls and an old wooden staircase leading to the attic remained.

And yet, even though it is in ruins and ruins, walking on the alleys of the park and the shores of the central lake, we find ourselves dominated by a very special mood, and stopping on the bridge over the creek we feel our soul filled with peace. unparalleled interior. Fortunately, the alleys and stone benches that stand along them have been preserved and do not allow this place to lose its true appearance, the fruit of the thoughts and mastery of its creators. However, leaving this park behind, we still feel sadness, but especially a regret that we do not care about the legacy left by our ancestors and that we have not learned to cherish and preserve the beauty of the earth. our.

💡Curiosities:

☝️The village of Mindic was planted in 1896, for 40 days, because the boyar wanted to surprise his Polish mistress, who was to arrive in Bessarabia, to see his estate.

☝️In 1906 Kajetan Ohanowicz was assassinated at this villa.

☝️The Ohonowicz family had a tragic end. First, the daughter died, then the son, killed, disappeared in the war. The locals said that the family had been cursed by the mother of a girl whom the boyar had seduced. The pregnant girl abandoned herself and committed suicide. In her grief, her mother cursed the culprits for their extinction. At the death of his second child, the boyar lost his mind. Last summer he appeared in the middle of the village in a sleigh pulled by two white horses. After his death, the boyar was buried in the family grave. Luckily for her, her wife never found out about the death of her son, whom she loved more than anything in the world. After the entry of Russian troops into Bessarabia, Sofia Ohonowicz retired to Romania, to Brasov, where she died.

☝️On the frontispiece of the tomb, before his death, the boyar had written a warning for possible grave desecrators that sounded like this:

„Do not awaken those who have found their eternal abode here, great will be their rage against the troublemakers.”

☝️Immediately after 1944, the tomb became the property of the village, becoming the headquarters of a fishing center. One of the first leaders of the center took the bones out of the tomb to show the peasants who the real master was. In a few months, his only daughter died. And, as a story to have a special ending, the trickster buried his daughter in the boyar's grave.

☝️1980-1990 in the park is set up the pioneer camp "Hello" so that the buildings are modernized and the territory is adapted for play, fun, and rest.

☝️In 1997, the Government declared the mansion a branch of the National Museum of Ethnography and Natural History, to save what was left. But the project was halted due to a lack of money. A new government decision on the restoration of the monument was approved in 2003, but no money was allocated.

☝️The dendrological park at the „Mîndîc” villa has an area of ​​16 ha, of which only 3 ha are part of the protected objective.

☝️The Ohanowicz family (Oganowici) rests in a tomb in the Chapel of the Ohanowicz family in the Catholic Cemetery in Chisinau (also known as the Polish Cemetery) under the western wing.

😤Since 1991, inaction has led to the degradation of the park's buildings and vegetation. Currently, all the buildings in the park, including the tomb and the villa, are devastated. The lake is littered with reeds and reeds.

The source: Sprâncean Andrei//facebook.com

"Translations from a good writer open the way for other translations"

Our project - whose goal is very well expressed by the statement of the writer and editor Gheorghe Erizanu: "Romanian literature has a huge potential for export" - is more than the analysis of a literary success or an exercise in admiration. In fact, by contacting translators and publishers to find out what led them to promote a Romanian author, we propose elements of reflection on how Romanian literature can be made known in the world. More precisely, the texts we will gather reveal only the first part of this process: how is a Romanian author discovered, how is he chosen to be translated and promoted abroad?

We decided to start our project with Tatiana Țîbuleac, whose success on the international literary market - from the Republic of Moldova to Brazil - is such a surprising story, with a rather unpredictable trajectory, from a marginal position to a central one. . His two novels, Summer in which his mother had green eyes and The Glass Garden, were published by Cartier Publishing House in Chisinau in 2017 and 2018, respectively. benefited in some countries from a remarkable reception. In an interview with Cosmin Perța, via PressOne, the author already mentioned ten editions of her first novel in Spanish. The last translation, chronologically speaking, appeared in November of this year, at the Croatian publishing house V.B.Z., the translator being Ivana Olujić. Other translations already published or ready to be published are signed by Mauro Barindi (Italian), Jarmila Horáková (Czech), Attila Joo (Hungarian), Dominik Maleciki (Polish), Aleš Mustar (Slovenian), Manuela Sota (Albanian), Ernest Wichner ( German).

Some of the foreign editors who contributed to the first file of the project emphasize the essential role of the translators they collaborate with (we even urge you to note the flavor of the Romanian language in which the translators express themselves; the editors' contributions were translated from English by the undersigned). We learn, for example, from Enrique Redel (Spain) the decisive role that Marian Ochoa de Eribe played in compiling the catalog of Impedimenta Publishing House and in penetrating Romanian literature on the Hispanic book market. František Malík (BraK Publishing House, Slovakia) is grateful to translator Eva Kenderessy. Some publishers such as Olimpia Verger (Syrtes Publishing House, Switzerland) and Signe Prøis (Camino Publishing House, Norway) are themselves interested in translation, and from this position they are more sensitive to publishing news in the languages ​​they speak.

We can therefore see that at least the first stage of the complex mechanism that is set in motion for the promotion of Romanian authors abroad, namely their discovery, weighing their value, has a favorable ground: among the most active and subtle readers of literature There are more and more Romanian translators into foreign languages. Of the growing number of groups since 2005, a few have gained enough legitimacy and persuasive power to gain the trust of publishers.

The quick retrieval of Tatiana Țîbuleac's novels from one country to another, from one language to another shows us how translation into a language of international circulation becomes an open door to other book markets. In this case, it seems that the Spanish edition was the first link in a chain of revelations.

However, we note that, despite the increasing number of publications and certain advances in visibility over the last 20 years, due to institutional steps such as the TPS translation program of the Romanian Cultural Institute or FILIT editions and programs for foreign translators, literature Romanian remains a niche literature in the book markets abroad. Prestigious success rarely turns into public success. There are many relatively new names among receptive publishers, some at the very beginning of the road - which can be an advantage when they are eager to grow with the authors they publish and resort to effective promotion strategies.

The interest and attractiveness of a literature multiplies with each of its valuable representatives. Or, as Gheorghe Erizanu, the first editor of Tatiana Țîbuleac, puts it: “Translations from a good Romanian writer open the way for other translations of Romanian writers. Tatiana Țîbuleac paved the way for other Romanian writers ".

We will return, therefore, with new Romanian writers and with the opinions of their translators and publishers from abroad.

Thanks to the editors who put the translators' names on the cover

Tatiana ȚÎBULEAC

When I think of translators, I think of my father and his shelf. In my parents' library, there was always a shelf with only three books, which we were not allowed to mix with the others. These were the books he translated from Ukrainian, a language he loved deeply. I remember the confused feeling I had when he said "my books", although the name of his name was not on the cover, but of some strangers. But it was his books. The translations were for my father the most important reward and reconciliation with his own unwritten work. Many times I wrote his name in pencil on the inside cover to avenge him.

In the last year, The summer when my mother had green eyes and the Glass Garden has been translated into over ten languages. This excites me. I know that now my books are not just mine. They also belong to the translators, they also sit on their shelves, as they deserve. I talked to some of them often, others never. We became close friends with a few, and our friendship transcended the boundaries of literature. I understand and respect everyone's way of working. Thank you all for choosing Summer and the Garden for their worlds. But most of all, thank you to the publishers who put the translators' names on the cover.

Tatiana Țîbuleac was born in 1978 in Chisinau, Republic of Moldova. She has a degree in journalism. She became known in 1995 as the author of True Stories in the Daily Flux. In 1999, he joined the PRO TV Chisinau team as a reporter, editor and news presenter and worked in Moldova for UNICEF. He has lived in Paris since 2008. She made her debut as a writer in 2014 with a collection of short stories, Fabule Moderne, at Urma Ta Publishing House, Chisinau. In 2017, her first novel, Summer in which her mother had green eyes, appeared, Cartier Publishing House. He received the prize of the Writers' Union of Moldova, the prize of the literary magazine Cultural Observatory of Bucharest and the Lyceum prize at the FILIT festival in Iași. In Spain, the novel was awarded the Booksellers Recommend 2020 for fiction and the Calamo Prize. The Glass Garden is her second novel and has won the 2019 European Union Prize for Literature.

Tatiana Țîbuleac was a prose writer when she did not know that she was a prose writer

Gheorghe Erizanu (Cartier Publishing House, Chisinau)

I need the author's trust and distance from me

Fernando Klabin (translator, Brazil)

About 30 years ago, driven by the curiosity to deepen the German language and the atmosphere as oppressive as the appeal of Georg Trakl's writings, I began to translate. Maybe I started translating even earlier by other means when I wanted to decipher the small inscriptions on the stamps of my collection started at the age of 7 or the age of 11 making up the family tree with exotic names and locations.

During my informal, slow but sure translation, I had a moment of enlightenment full of innocence, in a course offered by Casa Guilherme de Almeida in São Paulo. There I realized that translating is much more than a claustrophobic exercise and that the translator today is much more than an anonymous medieval monk. I realized that in Brazil the names of translators had begun to emerge from the shadows and appear on the covers of books. I learned about Antoine Berman and Henri Meschonnic and began to understand the role that the translator does not necessarily need, but can play in the literary and cultural landscape, according to his craft, talent and intentions.

So that I am more and more convinced of the translator's right to autonomy as wide as the writer's autonomy. Because, in the end, translating is creating again, regardless of the methods and intentions are chosen.

I'm telling you all this to try to give you an answer related to the writer-translator tandem. That's why I don't usually work with texts by living authors. Tatiana Țîbuleac, who had been warmly recommended to me by Gheorghe Erizanu from Cartier in Chisinau and hugged at least as warmly by Silvia Naschenveng from Mundaréu in São Paulo, was a happy exception. Maybe I bothered her about two or three times with some punctual questions. Otherwise, to work freely, I need the author's trust and distance. I can't feel her breath in the back of my head, I need room for manoeuvre so that I can transpose, in my native culture and in her way of perceiving reality, the foreign text, recreating it so that it can be accessed by the Brazilian reader. Tatiana was always available and at no time did she want to exert any influence on my labour, as a mother aware that her child is following the second life of her own.

And if a translation can never be identical to the original anyway, why not try to make it at least as perfect, if not improved? Here I believe that a close collaboration between author and translator can be as fruitful and decisive as that between composer and conductor, although the translator still dares - or is sometimes even forced - to change notes or instruments.

Fernando Klabin was born in São Paulo, Brazil, and graduated in Political Science from the University of Bucharest, where he lived for sixty years. He is a translator, writer, actor, photographer, travel guide and, in 2016, he was awarded the Order of Cultural Merit of Romania in the rank of officer. He studied for a master's degree in Letters at the University of São Paulo. He translated into Portuguese works signed by Mircea Cartarescu, Mircea Eliade, Max Blecher, Emil Cioran and Lucian Blaga, among others.

A successful career in Latin America

Silvia Naschenveng, (Mundaréu Publishing House, São Paulo, Brazil)

Editing Tatiana Țîbuleac's book, Summer in which my mother had green eyes, in order to be published in Brazil, offered me a strong literary emotion. I received the Spanish edition of the book, published by Impedimenta, at the Frankfurt Book Fair in 2019. I was so excited and surprised that I immediately signed a contract with Cartier Publishing House in Chisinau.

The novel is not only exceptionally good but also out of the ordinary, standing out in the main literary currents of recent times. And this is due to the literary choices made by the author (especially that of depicting a deeply emotional love story from the relationship between a mother and an adult son, but which begins in an abominable way), especially in the current context in which it is published. many stories about pregnancy and motherhood from the perspective of mothers with young children. Nothing is conventional in the Summer when my mother had green eyes - to start with the atypical narrative.

Mundaréu publishes European narratives "from the Center to the East", such as those signed by Ernst Toller, Joseph Roth and Mircea Cărtărescu. However, I would prefer to include Summer in which my mother had green eyes alongside other books we publish, written by Latin American women, such as Hurricane Season by Fernanda Melchor and Don't accept sweets from strangers by Andrea Jeftanovic . And I should add others because Latin America has witnessed the emergence of many bold and talented writers besides Melchor and Jeftanovic: María Fernanda Ampuero, Ariana Harwicz, Samanta Schweblin. The list is long! Even taking into account the differences between these writers, I see in their group Tatiana Țîbuleac, a writer with strong narrative control skills and an alert rhythm. The Romanian author is not afraid to approach sensitive and complex topics, she does not necessarily look for simple and direct answers, she has a bold voice and a keen eye for what it means to be a woman in today's world, but especially a great sensitivity to beauty, even if it is in agony or surrounded by garbage or tragedy.

Being a small and independent publishing house, I really want to be able to present The summer in which my mother had the green eyes of a wider audience in Brazil because Tatiana Țîbuleac fully deserves a fruitful career in Latin America.

The first novel I translated from Romanian

Sindre Andersen (translator, Norway)

The summer when my mother had the green eyes of Tatiana Țîbuleac was the first novel I translated from Romanian. The contact with the writer herself helped me a lot, although I only communicated by e-mail. I waited before sending him the questions; I gathered a lot, but initially, I tried to find solutions without involving the writer. Anyway, Tatiana explained a lot of important details to me and helped me avoid some misunderstandings.

I also had access to the French and Spanish translations of the book, and I discovered some differences between them. For example, in the book, summer - in fact, the summer of the narrator's life - is imagined as "relentless as a nun." In the French version, the nun became a "bonne soeur", a woman living in a monastery. In the Spanish version, the translator chose "mantis", meaning the "mantis" insect. In such a metaphor, it would be possible to use the word in a double sense, but Tatiana confirmed to me that the French solution is true to the original.

There was also a bit of confusion regarding the word "staves", more precisely with some "rusty staves" described in the book. To me, staves are the wooden parts of a barrel. How can they be rusty? Tatiana explained to me that in Bessarabia, the "staves" are actually the metal parts, not the wooden ones. A linguistic heritage from her grandmother - the only regionalism in the Republic of Moldova found in the book. Of course, it is important for a translator to have access to collaboration with the writer, even if they are not in contact very often.

This fall I will translate The Glass Garden, Tatiana Țîbuleac's second novel, a more difficult text than the first. I imagine that this time I will have many more questions.

Sindre Andersen (born 1982) is a poet, translator and literary critic. He lives in Oslo.

In Norwegian culture, hatred is not a familiar subject

Sign PRØIS (Camino Publishing House, Gressvik, Norway)

The Romanian to Norwegian translator Sindre Andersen came to me and suggested that I read Tatiana Țîbuleac's novel, Summer in which my mother had green eyes. Fortunately for me, the novel had been translated in Spain, where much had been said about it. As I am a translator myself (from Spanish), I had the pleasure of reading the novel from the very beginning. What a book! I hadn't read anything like it before - and I'm just used to South American literature, which is my main source of reading.

I immediately fell in love with Tatiana's direct and unprejudiced way of approaching mother-child relationships, mental health issues, our choices to belong to a family or a society.

Prior to publication, Tatiana's novel was selected from the Norwegian Arts Council's exclusive program so that it could be purchased in bookstores across the country. After publication, it had two reviews, both very good. It would have been difficult to get more, partly because the Camino publishing house is a recent publishing brand, partly because of the lack of knowledge or, more precisely, because of the prejudices of Norwegians about everything that comes from Eastern Europe. Plus the fact that the subject of the mother-child relationship is a sensitive one, especially when the main character hates his mother, as Aleksey does at the beginning of the novel.

In Norwegian culture, hatred is not a familiar subject. However, those who read Sommeren mamma had grønne øyne unanimously appreciated the novel. We believe that he will have a long destiny here in Norway, especially since we will give a new "impulse" by publishing, at the beginning of next year, Tatiana's second novel, The Glass Garden. And this is because we agree perfectly with what was recently stated by a journalist in El Correo, namely that Tatiana Țîbuleac is one of those authors who does not look like anyone else!

Walking with Tatiana in her arms through her Chisinau (or Paris). In dream

Eva Kenderessy (translator, Slovakia)

I met Tatiana Țîbuleac's prose for the first time in 2017, finalizing the coordination and translation of texts for the Slovak magazine Revue svetovej literatúry (Revue svetovej literatúry - which no longer appears, unfortunately), number 4, dedicated to Bessarabian literature. Unfortunately, I can't boast that I put together a comprehensive presentation - I even missed Tatiana's prose, which has meanwhile crept under my skin - and I, as a translator, couldn't cope. It was the first postponement of Tatiana's translation.

The second postponement came naturally - we accepted two proposals from the publishers, which is not negligible, given the peripheral status of the so-called small literature in even smaller literature… This time it was of some long-term projects: the novel Solenoid by Mircea Cărtărescu and an Anthology of Contemporary Poetry, the volume coordinated by Claudiu Komartin, totalling no less than 200 poems and 35 poets and poets.

But Tatiana's time has come! We met in person in the summer of 2019, during the Author Reading Month Festival, a series of readings and debates organized by the Czech agency and publishing house "Větrné mlýny" in collaboration with partners from Slovakia, Poland and Ukraine, held in five cities in the four Central European countries, at a reasonable distance, over five consecutive evenings. For an author, an author, of course, a tiring tour.

Tatiana Țîbuleac convinced her Slovak audience both through her text (an excerpt from the novel The summer in which her mother had green eyes) and through the answers and opinions exchanged in the dialogue with the audience. Perhaps even a slight discrepancy between the cruelty of the text and its appearance aroused even more intense interest. The two of us had a late conversation, which resulted, at least on my part, in an immediate sympathy, but also in an exclusivity offered to me, for which I am grateful, for the translation of the novel The Glass Garden into Slovak.

The first impulse, therefore, for the translation and publication of the novel The Glass Garden in Slovakia belongs to me (since we don't have many literary agents): I looked for a suitable publishing house, I found it, I didn't succeed, and, through an imaginary arc, I returned to the BRAK publishing house, with which I had already collaborated on the translations of Nostalgia and the Solenoid by Mircea Cărtărescu. Through its director, František Malík, BRAK Publishing House also took on this project.

Thanks to the Fund for the Support of the Arts in Slovakia, I took advantage of a scholarship for translation, and in February 2021, in the midst of a pandemic and severe restrictions, I enjoyed a two-week residency in the cultural centre "Eleuzína" in the medieval Slovak town of Banská Štiavnica, a new initiative resulting from the collaboration between the Bratislava Literary Information Center and the respective cultural centre, dedicated to authors and translators in general.

I will long remember the special, somehow magical atmosphere of the place, closely related to Tatiana's text, as well as the intensity of the translation, undisturbed by "prosaic" purposes. There I finished the first version of the translation, which to this day is waiting, politely and patiently, for the right time to be reviewed and consulted, I hope, directly, at least through the technique, with the author.

My dream, however - to clarify my topography, the local specifics, the special structure of the sentence, to translate correctly or, on the contrary, to leave untranslated the typical Bessarabian lexicon related to fruits and vegetables, walking with Tatiana in my arms Her Chisinau (or Paris) - dissolved into a pandemic. But who knows, hope dies last…

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