Jump to content

Traian Demetrescu

From Wikipedia, the free encyclopedia
Traian Rafael Radu Demetrescu
Born(1866-12-05)December 5, 1866
Craiova,United Principalities of Moldavia and Wallachia
DiedApril 9, 1896(1896-04-09)(aged 29)
Solca,Austria-Hungary
Pen nameTradem
Occupation
  • Poet
  • journalist
  • novelist
  • short story writer
  • translator
Period1884–1896
Genrelyric poetry,psychological novel,short story,novella,memoir
Subjectliterary criticism, social criticism, theater criticism
Literary movementImpressionism,Naturalism,Realism,Symbolism

Traian Rafael Radu Demetrescu(Romanian pronunciation:[traˈjanrafaˈelˈradudemeˈtresku];also known under hispen nameTrademor, occasionally, asTraian Demetrescu-Tradem;December 5, 1866 – April 17, 1896) was a Romanian poet, novelist and literary critic, considered one of the firstsymbolistauthors inlocal literature.Influenced by French writers such asFrançois Coppéeand theDecadentMaurice Rollinat,as well as by the local poetMihai Eminescu,he was made popular by his poems, many of which served as the basis of popularromanzas.Receptive toimpressionismandnaturalism,he wrote a number ofpsychological novelsand several short stories, some of which are remembered for theirmelancholicand occasionallymacabrethemes.

Also noted for hissocialistconvictions and his contributions as a journalist, Demetrescu advocated an original view of literature, which, despite placing emphasis onprogressivism,was distinct from theMarxistviews of his contemporariesConstantin Dobrogeanu-GhereaandConstantin Mille.A friend and associate of the influential poetAlexandru Macedonski,he played a minor part in a lengthy polemic with theconservativeliterary societyJunimea,and authored a series of essays and memoirs documenting the Romanian intellectual environment.

Tradem was affected by the infectious disease,tuberculosis,which his contemporaries said was to be found in thedepressiveor exuberant tones in his writings. His original take on poetry served to inspire theRomanian symbolist groups.He is seen as a predecessor toŞtefan Petică,N. DavidescuandGeorge Bacovia,while his prose was an influence onCaton Theodorian.

Biography

[edit]

Born inCraiova,Traian Demetrescu was the son of a pub owner known by the name ofGherbea;he had a sister, Victoria, and two brothers.[1]One of them, Radu Demetrescu, graduated from theTheatrical ConservatoryinBucharest,where he befriended actor and futureavant-gardedramatistGeorge Ciprian,together with whom he was later employed by theNational Theater Craiova.[2]

Tradem kept memories of the house where he grew up, and especially of the fact that it was situated "among trees".[1]After attending theCarol I High Schoolin his native city, he was withdrawn by his parents, and sent to work in a shop—he was nonetheless able to complete his studies after taking private lessons in 1884.[1]Later in life, he admitted being upset over having been forced to quit school, and indicated that he had to surmount "a lot of obstacles" in order to improve his situation.[1]

It was during the same period that he debuted as a poet, having one of his pieces, titledPloaie din senin( "Sudden Rain" ) published by the local magazineVocea Oltului.[1]His contributions attractedAlexandru Macedonski's attention, who praised his abilities and re-published some of his lyrics in his Bucharest-based journalLiteratorul.[1]In autumn 1884, on their way toParis,Macedonski and his wife Anna stopped in Craiova to meet with Tradem.[3]Four years later, the latter recalled being gripped by "tremors of emotion" upon receiving his mentor's visit.[3]

The two writers grew closer after Macedonski returned from his trip, and frequently engaged in discussions on scientific and philosophical topics.[4]Tradem recalled having spent an entire summer in Macedonski'sBucharesthouse.[5]However, they came to disagree and eventually grew estranged—answering to claims that Macedonski was a vain and vindicative man,Tudor Vianu,his friend and biographer, indicated that this and other splits occurred "without coldness and the heart's versatility".[6]

In March 1888, together with the lawyer G. D. Pencioiu, Tradem foundedRevista Olteană,a magazine dedicated to literary and social criticism.[1][7]In one of his articles, Demetrescu justified the new enterprise, arguing that Craiova displayed "a kind of snoozing, a sickly indifference in respect to intellectual life."[7]He and Pencioiu were soon joined by other journalists, among themNicolae Basilescu,Eduard Hübsch,Ralian Samitca,Moses Schwarzfeld,andHenric Streitman.[7]

Revista Olteanăwas loosely based on the socialist magazineContemporanul,although their respective ideologies were rather different.[7]Tradem's leftist viewpoints did not set the tone for the publication, and was contrasted by Pencioiu (the latter, although he respectedKarl Marx's views, remained a supporter ofliberalism).[7]The publication met with financial difficulties and ceased to be issued after March 1890, but was revived by its original founder and the poetCarol Scrobin November 1891 (when it became a supplement for the local newspaperEconomistul).[7]Demetrescu probably had a disagreement with Scrob, and left soon after—the magazine survived his departure, but suddenly ceased print just months after.[7]In summer 1892, he withdrew to the locality ofCilieni,where he completedIntim( "Intimate" ), his most influential poetry volume.[7]

During that period, Tradem was especially close to the socialist circles, and, in turn, their members held him in high esteem.[8]In 1890–1892, he was also a collaborator forConstantin Mille's leftist newspaperAdevărul,[7][9]one of his notable contributions being a study on the works of poetThéodore de Banville.[10]During spring 1893, he became a member of the short-livedRomanian Social-Democratic Workers' Party,and helped organize it at a grassroots level, together with, among others,Alexandru RadoviciandGeorge Diamandy(Demetrescu ran the Craiova base, Radovici was active inGalaţi,and Diamandy represented theRomanian diaspora).[11]Traian Demetrescu defendedConstantin Dobrogeanu-Ghereain his polemic withJunimistleaderTitu Maiorescu,and, after 1893, was among a group of younger socialists to mount a press campaign againstJunimea(other people in the group includedDimitrie Anghel,Anton Bacalbaşa,Emil Fagure,Garabet Ibrăileanu,Raicu Ionescu-Rion,Sofia Nădejde,Henri Sanielevici,Constantin Stere,andAvram Steuerman-Rodion).[12]One other socialist writer with whom Demetrescu came to associate at the time was the futureOrthodoxpriestGala Galaction.[13]

Over the early 1890s, Demetrescu's condition worsened, and he sought treatment for tuberculosis in theAlpine climateregions ofGerman Empireand inAustria-Hungary.In 1894, he was inMunichand later at the Rheyer Villa inBad Reichenhall.[1]He subsequently traveled toVienna,where he visited theCathedral of Saint Stephen.[1]The following year, he was present in theBukoviniantown ofSolca,where he attempted to cure his illness by living in the close proximity offirsand breathing in the scented air.[1]Tradem's efforts were fruitless, and he died one year later, at the age of 29, after a particularly severe episode ofhemoptysis.[1]

Works

[edit]

Style

[edit]
First page ofAquarele,1896

Literary historianGeorge Călinescudescribed Traian Demetrescu as "one of the first [Romanian] poets with «fits of nerves» and «thrills»".[1]He commented at length on Demetrescu's character and in particular his eccentricities, attributing them to the problems posed by tuberculosis.[14]According to Călinescu, Tradem was "alternatively exuberant and silent", with "unhealthy dumbnesses", and described by his acquaintances as having "a monstrous mixture of virginal purity and horrifying mental ruin".[1]Rumors collected by Călinescu had it that the poet was made emotional by even "the rustling of dresses", and that he could become seriously upset if his friends did not have "good perfumes" in their houses.[1]This was connected to what Călinescu deemed "sensory sharpness" and attributed to his disease: in one instance, Demetrescu was reportedly moved "to the brink of fainting" by the sensory images of a rose garden.[15]

George Călinescu indicated that Demetrescu was a read man, who was well-acquainted with works by some major figures ofMedieval literature(François Villon),Renaissance literatureandHumanism(Dante Alighieri,Petrarch,Torquato Tasso), theAge of Enlightenment(Jean-Jacques Rousseau,Antoine François Prévost), andRomanticism(Giacomo Leopardi,Edgar Allan Poe,Alfred de Vigny,William Wordsworth).[1]Tradem was especially interested in the literature of his day, and readrealistauthors such asFyodor Dostoevsky,Dumas fils,Henrik Ibsen,Leo Tolstoy,Ivan Turgenev,andJules Vallès.[1]He was also familiar with the contributions ofnaturalists,impressionists,and symbolists,—among themÉmile Faguet,Edmond Haraucourt,José María de Heredia,Jules Lemaître,Pierre Loti,Guy de Maupassant,Sully Prudhomme,Jean Rameau,andAugust Strindberg—, as well as with members of theGroupe des Vivants—Raoul PonchonandJean Richepin.[1]A noted influence on his choice of subjects wasFrançois Coppée,[1]while Tradem's imagery was many times inspired by theDecadentauthorMaurice Rollinat.[16]

Early in its existence,Revista Olteanăpublished many critical studies by Demetrescu and others, in which they discussed the literary works of the 19th century. Among the figures analyzed by him were Coppée,Louise-Victorine Ackermann,Paul Bourget,Alfred de Musset,as well as the Romanian RomanticsVasile Alecsandri,Dimitrie Bolintineanu,Mihai Eminescu,Veronica Micle,Nicolae Nicoleanu,andMihail Zamphirescu.[7]Alongside these pieces were theater chronicles he signed, showing that he closely followed developments on thelocal scene.[7]He also translated several foreign dramatic pieces intoRomanian.[7]

Despite taking an interest in Symbolism, Demetrescu is known to have declared himself perplexed by their "bizarre originality".[1]Instead, he looked up to Realism and Naturalism, and called on young writers to study the works of Dostoevsky, Maupassant,Georg Brandes,Alphonse Daudet,Honoré de Balzac,Gustave FlaubertandÉmile Zola.[17]Tradem defined his style of literary criticism as "Impressionist", taking for his modelAnatole France—in this assessment of France's style, he focused on one of the latter's statements ( "The good critic is one who recounts his soul's adventures among the masterpieces" ).[7]

Nevertheless, he was an immediate precursor to theRomanian Symbolist school,[1][7]or a representative of its "proletarian"side.[18]Discussing this latter aspect, literary criticPaul Cernatnotes that Demetrescu stood alongsideMihail Cruceanu,Alexandru TomaandAndrei Naum,all of whom merged a socialist discourse into their poetic vision, thus contrasting with Macedonski's post-Parnassianschool, as well as with theballadesqueliterature produced byȘtefan Octavian Iosif.[18]According to Călinescu, Demetrescu's commitment to Symbolism was especially obvious in his attitudes, which he argued were linked to "spleen"[1](ahumoralisticterm used byCharles Baudelaireto definemelancholy). In Călinescu's opinion, the Symbolist elements in Demetrescu's writings served to explain his close relationship with Macedonski, which contrasted with their backgrounds and political opinions.[19]Researcher Lidia Bote proposed that Macedonski and Demetrescu were botheclecticfigures representing a period when Symbolism was one of the many competing influences, and argued that a "pure" Symbolism only imposed itself in Romania after 1902, whenŞtefan Peticăpublished his earliest poems.[20]

Demetrescu was one of Romania's earliest socialist poets, in the same generation asConstantin MilleandIon Păun-Pincio,and a versifier of socialist battle hymns.[21]According to his own words, Demetrescu had studied "the works of great socialist writers".[1]He also took interest in the works ofEvolutionistsandPositivistssuch asHerbert Spencer,[1]Jean-Marie Guyau,andHippolyte Taine.[17]His sympathy for the proletariat accompanied his political credo. As Călinescu noted, he was mostly preoccupied with the plight of certain discriminated social groups, such as prostitutes,Jews,alcoholics,aging artists, orphans, the insane, as well as strolling performers such as theRomanitribe of theUrsari;his compassion extended to old dogs that had been chased away by their masters.[1]Several of his poetry writings published byRevista Olteanăhad an obvious socialist message.[7]In one of the essays published there, Tradem discussed the implications of the 1888 peasants' uprising in theRomanian Old Kingdom:he rejected the view that rebels had been manipulated by the political class, and argued that the real causes were fatigue and the threat of starvation.[7]

Literary disputes

[edit]
First page ofProfile literare,1891

Traian Demetrescu was influenced byConstantin Dobrogeanu-Ghereaand supported him in conflicts withTitu Maiorescu,showing that he did not endorse theJunimistviews of an "art for art's sake".[22]He believed Maiorescu was valuable, but no longer relevant.[17]Nevertheless, he was critical of socialist arguments, in particular the notion that the value of literary works resided in their social message.[22]Instead, he mediated between the two visions, arguing in favor ofprogressivemessages and stressing that "art should not have beauty for its sole purpose".[22]This position was also illustrated in his Positivist critique of Romanticism, which saw Tradem arguing that art "is a product of the social environment".[7]He was however persistent in arguing that there was no absolute connection betweensocial classesand artistic creation.[17]

In parallel, he was involved in a dispute withRaicu Ionescu-RionandGarabet Ibrăileanu,after he allowedpsychological noveltechniques to seep into his prose and spoke in favor of theDecadent movement(placing decadent novels on equal footing with works of social criticism).[17]His primordial interest in thesubjective experienceled him to claim that there was no possibility for a completelyobjectiveperspective (an idea akin to his Impressionist tenets).[17]He argued: "I understand the wordwritingto mean the original, superior and beautiful gift of materializing a personality, an artistic temperament, in the shape of words. But this disposition does not always manifest itself with the exactitude of clocks; it is often capricious and pertains to various exterior and psychic causes. First of all, the artist needs an absolute material self-sufficiency which may lead him away from all common employments that kill or weaken the most beautiful forces of talent. Not all poets are born rich like Alecsandri; and since in our country literature has not yet come to live off public support, it is only natural that one often sees talented poets abducted by political journalism or the glitter of other jobs which provide them with the means of existence... "[17]

His relative independence was visible in his work of essays,Profile literare( "Literary Profiles" ), where he attacked writers on both sides with what Călinescu argued were "unforgiving judgments".[15]Thus, when discussing his fellow leftist Mille, Tradem described his poetic works as "boring".[15]In reference to Mille's works, he stated: "Without profound meditation, without sensitivity, without imagination, an artist cannot become anything other than, at most, a fecund and passable worker, and not an illustrious figure that would endure."[17]

Beginning in 1888, Tradem also authored short memoirs of his many meetings with Macedonski, in particular of their conversations.[4]He recalled being familiar with many of Macedonski's original theories on various subjects, includingastronomyand the works ofCamille Flammarion.[5]Demetrescu noted that Macedonski's theories claimed to explain the workings of the Universe in "a different way" and based "on his imagination", but argued that "for a moment [in conversation], it seemed like he could convince anyone".[23]He also recorded that thetheisticMacedonski answered "positive science" with "the grin of skepticism".[24]Nevertheless, according to Tradem, Alexandru Macedonski flirted withNaturalismduring the early part of his career, and admired the works ofGustave FlaubertandÉmile Zola.[25]His memoirs also provided detail on Macedonski's interest in visual arts, indicating that the older poet had always wished to become a painter, and that his determination had instead shaped the artistic career of his sonAlexis.[26]

At times, Demetrescu was contradicting himself. Călinescu noted that Tradem initially describedFlorile Bosforului( "The Flowers of theBosphorus"), a book of poems by the Bolintineanu, with enthusiasm, but later considered them" banalities [and] light-hearted fantasies ".[15]Similarly, he was initially supportive of Vasile Alecsandri when Macedonski derided his works, but later came to consider many of his poems "a husk of banal words, not animated by any powerful thought, and a very often riddled with intolerable grammatical mistakes."[7]In this context, Demetrescu opposed the aging Romantic poet to a new generation of intellectuals and artists, one he believed was expressing and favoring "the fracticious, daring, deep thoughts".[7]However, soon after Alecsandri died in 1890, he wrote: "In these times ofneuroses,of deceptions andpessimism[...] Alecsandri's poetry is like a harmonious and beneficent music. He was a great poet, an illustriouspatriot,and a joyful person. "[7]His views ofMihai Eminescualso oscillated between rejection and praise, but, with time, the latter became a major influence on his own style.[7]

Poetry

[edit]

Călinescu linked Demetrescu's Symbolist-like "spleen" this to a "nostalgiafor mysterious lands ", which he found to be one of the poet's main themes.[1]In one of his poems, Tradem pined for a different climate:

Similarly, one of his poems deals with the unknown forces dragging sailors out to sea:

Traian Demetrescu's poetry often included lyrical depictions ofdepressivemoods.[27]This was notably present in a poem depicting the landscape of winter:

In analyzing Tradem's contributions, George Călinescu also indicated that, especially in interior scenes, the poet focused on images of "boredom", which "immerses [his] soul in the color black".[28]In one such setting, the clock becomes "the satanical and exact instrument measuring the vigil".[28]The poem in question read:

The imagery and tone of Tradem's poetry have been described by Călinescu as "heartbreakingly pathetic".[28]This atmosphere, he argued, gave them originality, although he believed that they were not accomplished pieces ( "a great many of his [poems] are prosaic" ).[28]

In addition, he praised Demetrescu the poet for his musical feel, and especially for his rendition of "the acoustic of fluids" (extending to images of theOlt River,fields of grain swept by the wind, and currents of air passing through trees on theDanubeshore).[15]Also according to Călinescu, Tradem was a musical person, who lovedclassical music,in particular thecelloand thezither,[15]and who often introduced concrete references to composers of "sad music" in his poems.[28]The latter category includedFrédéric ChopinandCarl Maria von Weber,whom Tradem invoked as a means to highlight his moods.[28]In one of his poems, he wrote:

Prose

[edit]
First page ofIubita,1895

Demetrescu's prose works include a series ofnovellasand shorter literary pieces, as well as two novels. According to Călinescu, many of the former two were generally lyrical in nature, being centered on the author'ssubjective experience.[28]Themselves melancholic, they were dismissed by the critic for displaying a "sentimental humanism which is foremost loved by the plebs".[27]

Tradem's collected short stories,Refractarii( "The Fracticious Ones" ), portrays various misfit characters, and its subjects occasionally turn to themacabre.[15]In one of them, the protagonist Costin is shown to be heartbroken when a malicious child destroys his favorite flower.[15]In one other novella, a medicine student steals the corpse of a beautiful woman from themorgue,and hangs her skeleton on his wall.[15]Various of his stories and essays also compliment cultural figures whose works Tradem enjoyed. Alongside mentions of Chopin and Weber, they referenceEdgar Allan Poe,Fyodor Dostoevsky,andCamille Saint-Saëns.[15]

His two novels both deal with the subject ofunrequited love,and George Călinescu argued that they were in fact disguisedeulogies.[15]The critic also argued that they showed Tradem to be "too moon-struck to be understood by women".[15]One of them was titledIubita( "The Lady-Love" ), and showed the protagonist, a teacher named Emil Corburescu, falling in love with his pupil's sister—although she does not reject his advances, she eventually marries a more adjusted person.[15]Călinescu concluded that "[Corburescu] is a failure".[15]Similarly, Tradem'sCum iubim( "The Way We Love" ) deals with Nestor Aldea, a young law student who encounters a beautiful blond woman while promenading in a park: the two fall in love, but she refuses to marry Aldea. They meet each other again after she has married, and end up committingadultery.[15]Călinescu dismissed the work, stating: "Everything [in it] is vapory, as annoying as a thick fog."[15]

Legacy

[edit]

Many of Tradem's poems gained popularity for their musical nature. Many of them served as inspiration for composers (such asGeorge Stephănescu,who used them as lyrics for his songs),[29]while others survive asromanzas.[30]Among the latter was astanzamany believe to be anonymous:[1]

According to Călinescu, Tradem'sRefractarii,with its depictions of misfits, announces the short stories ofIoan Alexandru Brătescu-Voineşti,while his intense love for rose gardens recalls the poems of SymbolistDimitrie Anghel.[15]Demetrescu's poetry has been a direct influence on Symbolists such asŞtefan Petică,[31]Radu D. Rosetti,[32]N. Davidescu,[33]and especiallyGeorge Bacovia.[34]Călinescu noted that Tradem and Bacovia shared important traits: "proletarian sentimentalism, a fracticious attitude, morbid nostalgia, sad «philosophies» and most of all the tone of a heartbreaking romanza".[34]Refractariihas also influenced the non-SymbolistCaton Theodorian.[35]

BothTudor Vianuand Davidescu focused on Traian Demetrescu's place of origin as a staple of his style, and spoke of Demetrescu, Macedonski,Ion Minulescuand others as representatives of "WallachianSymbolism ", in contrast withMoldavianssuch as Bacovia, Petică, andBenjamin Fondane.In their view, Demetrescu and his fellow Wallachians was less focused on depicting obscurity andmelancholy,and more precise in approach.[36]

Tradem's legacy notably comprises his presence in the memoirs ofNicolae Condiescu,a fellow Craiova citizen,[35]and a eulogistic mention in one of Bacovia's poems (titledAmurgul,"The Crepuscule" ).[34]Shortly after Demetrescu died,Gala Galactionwrote an article which proclaimed him as the model intellectual for "the happy days toward which humanity was taking its [...] steps..."[13]In 1950sCommunist Romania,his socialist leanings brought him official endorsement, at a time when many other writers were dismissed as "bourgeois"(other literary figures to be awarded such recognition due to their political opinions includedIon Păun-PincioandDumitru Theodor Neculuţă).[37]

In Craiova, Demetrescu is honored with a bust in his likeness, which was erected some ten years after his death, following intense campaigning byAdevăruljournal.[38]In 1978, the local authorities in that city have instituted the Traian Demetrescu-Tradem National Poetry Contest, which takes place annually.[39]The festivities are occasionally hosted by the descendants of Tradem's relatives.[39]His name was also given to a high school in the city and to the Traian Demetrescu House of Culture (which is itself financed by the local authorities).[40]There is a Traian Demetrescu Street in Craiova, and others of the same name inBraşov,SibiuandTimișoara.

Published works

[edit]
  • Poezii(poetry, 1885)
  • Freamăte(poetry, 1887)
  • Amurg(poetry, 1888)
  • Cartea unei inimi(poetry, 1890)
  • Săracii(poetry, 1890)
  • Profile literare(essay, 1891)
  • Intim(poetry, 1892)
  • Sensitive(poetry, 1894)
  • Iubita(novel, 1895)
  • Privelişti din viaţă(1895)
  • Aquarele(poetry, 1896)
  • Cum iubim(novel, 1896)
  • Simplu(1896)

Notes

[edit]
  1. ^abcdefghijklmnopqrstuvwxyzaaabacCălinescu, p.561
  2. ^George Ciprian,Măscărici şi mîzgălici,Editura de stat pentru literatură şi artă,Bucharest, 1958, p.101
  3. ^abVianu, Vol. II, p.361
  4. ^abVianu, Vol. II, p.377, 389-390
  5. ^abVianu, Vol. II, p.389-390
  6. ^Vianu, Vol. II, p.391
  7. ^abcdefghijklmnopqrstu(in Romanian)Alexandru Melian,Polemici implicite. II. Cercetări şi fişe de istorie literară în registru minor: "Revista Olteană" (1888-1890, 1892)at theUniversity of Bucharest;retrieved October 16, 2007
  8. ^Călinescu, p.561; Kiriţescu, p.14-15; Popescu, 5.1.1
  9. ^(in Romanian)Florentina Tone,"Scriitorii de laAdevĕrul"Archived2009-04-27 at theWayback Machine,inAdevărul,December 30, 2008
  10. ^(in Romanian)Dan Grigorescu,"Cultura cotidiană"Archived2018-03-25 at theWayback Machine,inCurierul Naţional,March 13, 2004
  11. ^Kiriţescu, p.14-15
  12. ^Z. Ornea,Junimea şi junimismul,Vol. II,Editura Minerva,Bucharest, 1998, p.357-358.ISBN973-21-0562-3;Popescu, 5.1.1
  13. ^abVianu, Vol. III, p.285-286
  14. ^Călinescu, p.561, 563
  15. ^abcdefghijklmnopqCălinescu, p.563
  16. ^Călinescu, p.562, 563
  17. ^abcdefghPopescu, 5.1.3
  18. ^abCernat, p.16
  19. ^Călinescu, p.683
  20. ^Cernat, p.15
  21. ^Kiriţescu, p.15-16
  22. ^abcCălinescu, p.563; Popescu, 5.1.3
  23. ^Vianu, Vol. II, p.390
  24. ^Vianu, Vol. II, p.389
  25. ^Vianu, Vol. II, p.421
  26. ^Vianu, Vol. II, p.409
  27. ^abCălinescu, p.562-563
  28. ^abcdefghijCălinescu, p.562
  29. ^(in Romanian)George StephănescuArchived2007-11-14 at theWayback Machine,profile at theInstitute of Cultural Memory;retrieved October 17, 2007
  30. ^Călinescu, p.561, 692
  31. ^Călinescu, p.686
  32. ^Călinescu, p.593
  33. ^Călinescu, p.697
  34. ^abcCălinescu, p.706
  35. ^abCălinescu, p.923
  36. ^Cernat, p.17
  37. ^Victor Frunză,Istoria stalinismului în România,Humanitas,Bucharest, 1990, p.373.OCLC24069514
  38. ^(in Romanian)Florentina Tone,"RecordurileAdevĕrului"Archived2012-07-17 atarchive.today,inAdevărul,December 24, 2008
  39. ^ab(in Romanian)Tradem ed. a 28 – aArchived2011-07-28 at theWayback Machine,atCraiova City HallArchived2007-10-12 at theWayback Machine;retrieved October 13, 2007
  40. ^(in Romanian)Casa de cultură 'Traian Demetrescu'Archived2011-07-28 at theWayback Machine,atCraiova City HallArchived2007-10-12 at theWayback Machine;retrieved October 17, 2007

References

[edit]
[edit]
RomanianWikisourcehas original text related to this article:
Wikimedia Commons has media related toTraian Demetrescu.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Traian_Demetrescu&oldid=1256612906"