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In short, as we aim to show, if a term occurs a number of x times in a y number of novels, and as we have checked the context of the corresponding occurrences up close, we could say that we have assessed the meanings of those terms as they appear in the entire novel production. In other words, the term does not effectively exist elsewhere, at least not as much as to shift our perspective or to alter our categories. These relatively small numbers get even smaller when taking into consideration that many of these occurrences are metaphorical, either describing that someone is diligent or denominating activities which have no connection whatsoever with labour but rather with abstract results of work describing any process.
This means that during the most unregulated, i. The situation is even more interesting when considering that, between and and between and MDRR2 3, labour seems to undergo an upsurge, it seems to intensify, at least when considering occurrences of the terms4. For a figure of the people is from the very beginning subjected to conjectural forces as to a predetermined faith, it can be passive without necessarily showing weakness, for it embodies the impersonal strength of class tradition, and the manner in which it gives voice to its feelings and emotions can be likewise clearer, since it happens naturally, without excessive artistic elaboration and without falling victim to the uniformization that high culture unavoidably undertakes.
We are aware that the archive is not complete for the period, but its completion would nonetheless show even more occurrences, strengthening our argument that it is during this time that work shifts from the background to the forefront. But work appears less in the nineteenth century. And if the peasant is so ubiquitous, but the words denominating work and the worker are employed so rarely, two crucial questions inevitably arise: what do these peasants actually do in the novels?
In short: how, why, and by whom is work performed throughout these novels? And what does that convey about the representation of the division of labour in nineteenth-century Eastern Europe? In order to work, in real life and in literature alike, the peasants require tools.
Likewise, in several instances, the plough is deployed to describe characters e. Notwithstanding, the word is so 6 Z. What is their use, then? This fact is explained, first of all, through the roles ascribed to peasants. Until , they are cast as main characters in only four novels published in magazines, two of which uncompleted, therefore also not included in the MDRR 8.
The most prominent category comprises the romanticized heroes. In certain instances, as in Ioachim C. In cases like these, traditional work is always a form of nostalgia and marks the desire to return to a normal life. This is why it is idealized and vilified in equal measure: its melancholic remembrance is regarded as diversion, weakness or act of cowardice In hajduk novels, working the field is 8 T.
Come to momma, come home! As you made a fool of your nation for the sake of the scythe and for the sake of your mother… Stay with them! You are now a master! I am leaving! You have stolen so many years of service for your country, and I have to pay for them! Work appears here as a mere potential activity, like something that the peasants are eager to return to after the war, or participate in instead of going to war.
Work is a desirable utopia, and the man who works, but does nothing else besides that, is considered to be actually deserting. The idyllical stance is also quantitatively consistent. Work is either completely eliminated from the rural setting, as the village is reduced to a landscape14 or to a space of leisure for the boyars and for the emerging financial elite.
Otherwise, it is heralded but still unrepresented, i. But there is a point, however, where these two representations converge. Eu plec! Idealizing, aestheticizing, and perhaps even objectifying the peasant fulfils the same function as in the most well-known paintings of the period. Although literature is the most dynamic artistic mean of the time, the scenes that involve peasants are as static as the paintings of Nicolae Grigorescu — and of every other painter of rural themes, for that matter.
Work is an idealized projection, wherein the peasant is depicted donning a beautiful attire and poses in the field for the snapshot. It suffices to mention the backbreaking, brutalizing work of the peasants. The novelist does not feel the need to show it as well, especially since most nineteenth-century novels that fall under the category of social novels19 cultivate sometimes even knowingly a nationalist narrative.
In fact, the novelists depict the hardworking peasant only when aiming to criticize the foreign exploiter. His mind painted the pictures by itself: endless fields of wheat, thousands of peasants sickling under the scorching sun, bare-chested, pulling out the treasures of the earth with sunburnt and scratched hands. In this case, the labour of the rural lower classes serves as a psychological palliative for the upper classes to feel better about themselves.
What can be said about rural labour after these inquiries? There are almost no sickles and only a few ploughs, which appear to fulfil an aspirational purpose. Yet they are not doing it in all the instances, but only when they should not be doing it. In other instances, they do the exact opposite. It is hard to fathom what the piano meant for nineteenth-century culture without simultaneously insisting on its rarity.
Except for hajduk novels and historical novels set in the Middle Ages, the nineteenth-century Romanian novel invariably features a piano somewhere between its covers. Oftentimes as simple accessory to the narrative, since its mere mentioning is 23 Out of 24 occurrences throughout 20 novels, only one refers to labour, and even then, the sound of a hammer is heard by several members of the upper class traveling by train and awakening in the thundering sounds of work.
We have unearthed to this peculiar obsession for it is an obsession during this time, as the authors often seem to add the piano only retrospectively, when they suddenly remember its omission in the novel through a semantic search as well. Taking into consideration that many of the novels with which we worked are hajduk novels or historical novels, we come to the conclusion that the piano is a compulsory element in all the other novels.
The piano, it seems, embodies modernity itself. Not the industry, not necessarily the technology of labour and production, but rather this symbol of the private space of the bourgeois and aristocratic circles is, for the Romanian novelists, the symbol of modernization. Of course, it is far-fetched to claim that novelists consider it contemptible to depict rural physical or industrial labour, but we cannot help but notice the careful omission of working tools and, at the same time, the emphasis on the symbols of the upper class, which are sometimes inserted artificially, when there is no need for them.
However, there is always something happening around them as well. In other words: work is done In La gura sobei [By the Fireplace] , following a lovemaking scene, a female character turned facing him with an expression of devout love and resignation. Sit at the piano and play something for me!
The piano illustrates that being a nobleman or a bourgeois is not that easy. This is all the more strange since, as we have shown in the first section of this article, physical labour is almost entirely absent. Among all the cases that we have encountered in the novels, one seems symptomatic in this regard: the aforementioned Elena by Dimitrie Bolintineanu.
Elena sat at the piano, the ivory keys started moving, emitting enchanting sounds under her white, gracious hands. She withdrew from society; her soul passionately dived into a torrent of harmony that took over it entirely and made it vanish into a world of ecstasy. This passage described the scene in which the main protagonist of the novel plays Schubert for an audience of people from high society.
This is also the first consistent occurrence of the instrument in the Romanian novel: as an instrument that torments, exhausts, one that requires work and sacrifice. But, far from studying the bottom of the social pyramid, they aim to fortify its top.
This gave rise to a different question and a new semantic inquiry: how does work look like for the small Romanian urban bourgeoisie in a time where the nouveau riche wage a Darwinist battle against the old aristocratic structures? Except that, in their case, the perspective through which work is portrayed is even more constrained, limiting itself mainly to satire. If work is a thing of the past for the grand bourgeoisie since they merely pursued reaching the top of the social hierarchy , for the petite bourgeoisie, work is supposed to be a daily activity.
Therefore, we can divide this civil servant class that has not yet reached the stage of not having to work anymore into two categories: a. The servants who desire to climb the social ladder or preserve, from within the public system, their privileged position, and for whom work is only simulated; b.
The servants who genuinely attempt to do their jobs and for whom work becomes a tedious chore or a disappointment. Generally speaking, the productivity of the civil servants in the first category consists of establishing a network of political and economic relations, corruption, fraud, influence peddling, and so on.
To a certain extent, nineteenth-century Romanian novelists present a detailed description of city dwellers, the bourgeois, and the civil servants in order to publicly ridicule them. Following this logic, those who actively produce the peasants are not depicted as working precisely because they are idealised or objectified. And those whose work is strictly abstract or intellectual civil servants are depicted as working with a view to being criticized.
It is because of this that work itself is very rarely featured as work: it is always performed in other ways than those that define it. Such an undiversified approach can be explained by the very negative reputation of the bourgeoisie working in the public system of the nineteenth century, 37 Al.
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A doua directie de dezvoltare a dramaturgiei originale o constituie drama istorica de inspiratie nationala. Pelimon Curtea lui Vasile Voda , , C. Inceputul cel mai edificator in drama istorica romaneasca il face Vasile Alecsandri cu piesa Cetatea Neamtului tiparita in si al carei subiect , marturiseste autorul , ,,e tras din novela istorica a d-lui C. Dupa ce contribuise prin numeroase articole la indrumarea teatrului , pledand pentru un repertoriu original , pentru sinceritate si firesc in interpretarea scenica , el elaboreaza drama Domnita Ruxandra si tragedia Raposatul postelnic, exercitii teatrale fara valori deosebite.
Le urmea insa in poemul dramatic Razvan si Vidra , rod al maturizarii artistice , as acumularilor importante la care ajunsesera cercetarile sale istorice. Valoarea operei sale rezulta , desigur , din ansamblul ei teatru , proza , teorie si critica dar , fara indoiala , in acest ansamblu predomina literatura dramatica. Daca dezvoltarea comediei satirice ajunge cu opera lui Caragiale in faza clasica a dramaturgiei romanesti , evolutia dramei istorice de inspiratie nationala atinge aceasta culme prin contributiile lui Alexandru Davila si Barbu Stefanescu Delavrancea.
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