Păstorel Teodoreanu

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

After an unsuccessful but scandalous debut in drama, Teodoreanu perfected his work as a satirist, producing material which targeted the historian-politician Nicolae Iorga and the literary scholar Giorge Pascu, as well as food criticism which veered into fantasy literature. As an affiliate of ''Țara Noastră'', he favored a brand of Romanian nationalism which ran against Iorga's own. Corrosive or contemplative, Păstorel's various sketches dealt with social and political issues of the interwar, continuing in some ways the work of Ion Luca Caragiale. In the 1930s, inspired by his readings from Anatole France and François Rabelais, he also published his celebrated "Jester Harrow" stories, mocking the conventions of historical novels and Renaissance literature. His career peaked in 1937, when he received one of Romania's most prestigious awards, the National Prize.

Teodoreanu was employed as a propagandist during World War II, supporting Romania's participation on the Eastern Front. From 1947, Păstorel was marginalized and closely supervised by the communist regime, making efforts to adapt his style and politics, then being driven into an ambiguous relationship with the Securitate secret police. Beyond this facade conformity, he contributed to the emergence of an underground, largely oral, anti-communist literature. In 1959, Teodoreanu was apprehended by the communist authorities, and prosecuted in a larger show trial of Romanian intellectual resistants. He spent some two years in prison, and reemerged as a conventional writer. He died shortly after, without having been fully rehabilitated. His work was largely inaccessible to readers until the 1989 Revolution.

Biography

Early life

The Teodoreanu brothers were born to Sofia Muzicescu, wife of the lawyer Osvald Al. Teodoreanu. The latter's family, originally named Turcu, hailed from Comănești; Osvald's grandfather had been a Romanian Orthodox priest. Constantin Ostap
"Păstorel Teodoreanu, reeditat in 2007"
in ''Ziarul de Iași'', February 6, 2007 Sofia was the daughter of Gavril Muzicescu, a famous composer from Western Moldavia. Mihai Haivas
"Personalități dorohoiene: Alexandru Oswald Teodoreanu (Păstorel) fiu al Dorohoiului (1)"
in ''Dorohoi News'', March 15, 2014Teodoreanu & Ruja, p. 7 Vasile Iancu

in ''Convorbiri Literare'', May 2011 When Păstorel was born, on July 30, 1894, she and her husband were living at Dorohoi. Ionel (''Ioan-Hipolit Teodoreanu'') and Puiuțu (''Laurențiu Teodoreanu'') were his younger siblings, born after the family had moved to Iași, the Moldavian capital city. Osvald's father, Alexandru T. Teodoreanu, had previously served as City Mayor, Gina Popa
"Se stinge 'ulița copilăriei' "
, in '' Evenimentul'', March 31, 2010 while an engineer uncle, also named Laurențiu, was the first manager of the original Iași Power Plant. The Teodoreanus lived in a townhouse just outside Zlataust Church. They were neighbors of poet Otilia Cazimir and relatives of novelist Mărgărita Miller Verghy.

From 1906, Alexandru Osvald attended the National High School Iași, in the same class as the film critic and economist D. I. Suchianu.Ostap (2012), p. 54 Young Păstorel had a vivid interest in literary activities and, critics note, acquired a solid classical culture. The final two years of his schooling were spent at Costache Negruzzi National College, where he eventually graduated.Ciobanu, p. 244 He became friends with a future literary colleague, Demostene Botez, with whom he shared lodging at the boarding school. Years later, in one of his reviews for Botez's books, Teodoreanu confessed that he once used to steal wine from Botez's own carboy.

In 1914, just as World War I broke out elsewhere in Europe, he was undergoing military training at a Moldavian cadet school, leading him to graduate from the Artillery School of Bucharest in 1916. Over the following months, Osvald Teodoreanu became known for his support of prolonged neutrality, which set the stage for a minor political scandal. When, in 1916, Romania joined the Entente Powers, Alexandru was mobilized, a Sub-lieutenant in the 24th artillery regiment, Romanian Land Forces. He had just published his first poem, a sonnet of unrequited love, uncharacteristic for his signature writing. As he recalled, his emotional father accompanied him as far west as the army would allow.Teodoreanu & Ruja, p. 8 The future writer saw action in the Battle of Transylvania, then withdrew with the defeated armies into besieged Moldavia. His fighting earned him the Star of Romania and the rank of Captain.

Meanwhile, Puiuțu Teodoreanu volunteered for the French Air Force and died in April 1918. During the same interval, Ionel, still in Iași, fell in love with Ștefana "Lily" Lupașcu, who became his wife. Cornelia Pillat
"Ștefana Velisar Teodoreanu. Corespondență inedită: scrisori din roase plicuri"
in '' România Literară'', Issue 20/2001 She was half French, and, through her, the Teodoreanus became cousins in law of Cella and Henrieta Delavrancea (orphaned daughters of writer Barbu Ștefănescu Delavrancea); and of Stéphane Lupasco, the French philosopher.

In 1919, upon demobilization, Alexandru returned to Iași. Like Ionel, he became a contributor to the magazines ''Însemnări Literare'' and ''Crinul'',Tudor Opriș, ''Istoria debutului literar al scriitorilor români în timpul școlii (1820–2000)'', p. 135. Bucharest: Aramis Print, 2002. and also proofread for the former. He took a law degree from Iași University, and, in 1920, moved to the opposite corner of Romania, employed by the Turnu Severin Courthouse. He only spent a few months there. Before the end of the year, he relocated to Cluj, where Cezar Petrescu employed him as a staff writer for his literary magazine, ''Gândirea''.Teodoreanu & Ruja, p. 9 The group's activity was centered on Cluj's New York Coffeehouse. Constantin Coroiu
"Mitul cafenelei literare"
, in ''Cultura'', Issue 302, December 2010 Together with another ''Gândirea'' author, Adrian Maniu, Teodoreanu wrote the fantasy play ''Rodia de aur'' ("Golden Pomegranate"). It was published by the Moldavian cultural tribune, '' Viața Românească'', and staged by the National Theater Iași in late 1920. Some months later, Teodoreanu was co-opted by theatrologist Ion Marin Sadoveanu into the ''Poesis'' literary salon, whose members militated for modernism.

In short while, Al. O. Teodoreanu became a popular presence in literary circles, and a famous '' bon viveur''. The moniker ''Păstorel'', candidly accepted by Teodoreanu, was a reference to these drinking habits: he was said to have "tended" (''păstorit'') the rare wines, bringing them to the attention of other culinary experts. His first contribution to food criticism was published by '' Flacăra'' on December 31, 1921, with the title ''Din carnetul unui gastronom'' ("From a Gastronomer's Notebook").Pîrjol, pp. 19, 25 Teodoreanu integrated with the bohemian society in several cities, leaving written records of his drunken dialogues with linguist Alexandru Al. Philippide. Bogdan Crețu
"Corespondența lui Păstorel"
in '' Ziarul Financiar'', October 22, 2009 At Iași, the Teodoreanus, including Ștefana, tightened their links with ''Viața Românească'', and with novelist Mihail Sadoveanu; Păstorel greatly admired the group's doyen, critic Garabet Ibrăileanu. A visitor, modernist poet-critic Felix Aderca, reported seeing Păstorel at ''Viața Românească'', "plotting" against the National Theater Bucharest, because, unlike the nationalist theatrical companies of Iași, it only rarely staged Romanian plays. Aderca's antagonistic remarks, published in '' Sburătorul'', reflected growing tensions between the modernist circles in Bucharest and the cultural conservatives in Iași.

''Țara Noastră'' period

Teodoreanu's only solo work as a playwright was the one-act comedy ''V-a venit numirea'' ("Your Appointment Has Been Received"), written in 1922. In 1923, he published his "Inscriptions on a Coffeehouse Table" in the satirical magazine ''Hiena'', which was edited by ''Gândirea''s Pamfil Șeicaru. While receiving his first accolades as a writer, Păstorel was becoming a sought-after public speaker. Together with ''Gândirea''s other celebrities, he toured the country and gave public readings from his works (1923). He also made an impact with his welcome speech for Crown Princess Ileana and her "Blue Triangle" Association of Christian Women. The address culminated in a polite pun: "I finally understood that the Blue Triangle is not a circle, but a sum of concentric circles, whose center is Mistress Ileana, and whose radius reaches into our hearts."

Teodoreanu was also involved in the cultural and political quarrels of postwar Greater Romania, taking the side of newcomers from Transylvania, who criticized the country's antiquated social system; they proposed an " integral" version of Romanian nationalism. In January 1925, Păstorel began writing for the Transylvanian review ''Țara Noastră'' and became, together with Octavian Goga and Alexandru "Ion Gorun" Hodoș, its staff polemicist. In the mid-1920s, Păstorel's satire had found its main victim: Nicolae Iorga, the influential historian, poet and political agitator. According to Goga and Hodoș, Iorga's older brand of nationalism was unduly self-serving, irresponsible, and confusing.

Teodoreanu followed up with satirical pieces, comparing the omnipresence of Iorga "the demigod" with the universal spread of novelty Pink Pills. He also ridiculed Iorga's ambitions in poetry, drama, and literary theory: "Mr. Iorga doesn't get how things work, but he is able to persuade many others: he is dangerous." Teodoreanu was courted by the modernist left-wing circles, which were hostile to Iorga's traditionalism, and was a guest writer for a (formerly radical) art magazine, '' Contimporanul''. Păstorel's editorial debut came only later. In 1928, Cartea Românească publishers issued his parody historical novel, titled ''Hronicul Măscăriciului Vălătuc'' ("The Chronicle of Jester Harrow"). His ''Trei fabule'' ("Three Fables") were taken up by '' Bilete de Papagal'', an experimental literary newspaper managed by poet Tudor Arghezi.Călinescu, p. 1020 While Teodoreanu expected ''Hronicul'' to be an inside joke for him and his friends, it was a national best-seller. It also earned him a literary award sponsored by the Romanian Academy.

Teodoreanu made frequent appearances in Bucharest, for instance participating at the Romanian Writers' Society functions—in November 1926, he attended the banquet honoring Rabindranath Tagore, who as visiting Romania. In 1929 the National Theater, chaired by Liviu Rebreanu, staged a new version of ''Rodia de aur''. The event brought Păstorel into collision with the modernists: at '' Cuvântul'', theatrical reviewer Ion Călugăru ridiculed ''Rodia de aur'' as a backward, "childish", play. Dumitru Hîncu
"Acum optzeci de ani — Bătaie la ''Cuvântul''"
in '' România Literară'', Issue 44/2009 The verdict infuriated Teodoreanu, who, according to press reports, visited Călugăru at his office, and pummeled him in full view. According to '' Curentul'' daily, he threatened onlookers not to intervene, brandishing a revolver. At Casa Capșa, where he was residing ca. 1929, Păstorel was involved in another publicized squabble, throwing cakes at a table where Rebreanu sat together with the modernists Camil Baltazar, Ion Theodorescu-Sion and Ilarie Voronca. At the time, the Ilfov County tribunal received a legal complaint from Călugăru, who accused Teodoreanu of assault and repeated death threats. History does not record whether Teodoreanu was ever brought to court. ''Contimporanul'' also took its distance from Teodoreanu, who received negative reviews in its pages.Cernat (2007), p. 152

Păstorel returned to food criticism, with chronicles published in ''Lumea'', a magazine directed by literary historian George Călinescu, in ''Bilete de Papagal'', and in the left-wing review '' Facla''. He was involved in the dispute opposing Ibrăileanu to philologist Giorge Pascu, and, in December 1930, published in ''Lumea'' two scathing articles against the latter. Pascu sued him for damages. Also in 1930, he joined the National Theater Iași directorial staff, where he supported the production of plays by Ion Luca Caragiale;Ciobanu, p. 245 his colleagues there were Moldavian intellectuals from the ''Viața Românească'' group: Sadoveanu, Demostene Botez, Mihail Codreanu, Iorgu Iordan.Teodoreanu & Ruja, p. 10 Like Sadoveanu and Codreanu, he was inducted into the Romanian Freemasonry's Cantemir Lodge. The formal initiation had an embarrassing twist: Teodoreanu turned up inebriated, and, during the qualifying questionnaire, stated that he was "damned well pleased" to become a Mason. Constantin Țoiu
"Întâmplări cu Păstorel"
in '' România Literară'', Issues 51–52/2008

''Gastronomice'' years

The volume ''Strofe cu pelin de mai pentru/contra Iorga Neculai'' ("Stanzas in May Wormwood for/against Iorga Neculai") was published in 1931, reportedly at the expense of Păstorel's friends and allies, since it had been refused "by all of the nation's publishing houses". However, bibliographies list it as put out by a ''Viața Românească'' imprint. The book came out just after Iorga had been appointed Prime Minister. According to one anecdote, the person most embarrassed by the ''Strofe'' was Osvald Teodoreanu, who had been trying to relaunch his public career. Osvald is said to have toured the Iași bookstores on the day ''Strofe'' came out, purchasing all copies because they could reach the voters. Rodica Mandache
"Boema. La Capșa cu Ion Barbu, Păstorel, Șerban Cioculescu"
in '' Jurnalul Național'', May 12, 2012 Bianca Tănase
Teodoreanu, de la umor la conflict''"
in ''Historia'' (online edition) Iorga sued Păstorel for defamation, but gave up on his claim for compensation.Ioan Stoica, "Insolitul ospăț al unui devorator de arhive", in ''Bucureștiul Literar și Artistic'', Vol. VIII, Issue 5, May 2018, pp. 14–15

More officially, Teodoreanu published two sketch story volumes: in 1931, ''Mici satisfacții'' ("Small Satisfactions") with Cartea Românească; in 1933, with Editura Națională Ciornei—Rosidor, ''Un porc de câine'' ("A Swine of a Dog"). Eventually, Teodoreanu left Moldavia behind, and moved to Bucharest, where he rented a Grivița house. With help from the cultural policy-maker, General Nicolae M. Condiescu, he was employed as a book reviewer for The Royal Foundations Publishing House, under manager Alexandru Rosetti.

He also became a professional food critic for the literary newspaper ''Adevărul Literar și Artistic'', with a column he named ''Gastronomice'' ("Gastronomics"), mixing real and imaginary recipes.Pîrjol, pp. 19–20 It was in Bucharest that he met and befriended Maria Tănase, Romania's leading female vocalist."Păstorel toarnă la Securitate"
in '' Jurnalul Național'', June 25, 2007 Still indulging in his pleasures, Teodoreanu was living beyond his means, pestering Călinescu and Cezar Petrescu with requests for loans, and collecting from all his own debtors. Ibrăileanu, who still enjoyed Teodoreanu's capers and appreciated his talent, sent him for review his novel, ''Adela''. Păstorel lost and barely recovered the manuscript, then, in his drunken escapades, forgot to review it, delaying its publication.

A collection of Al. O. Teodoreanu's lampoons and essays, of which some were specifically directed against Iorga, saw print in two volumes (1934 and 1935). Published with Editura Națională Ciornei, it carries the title ''Tămâie și otravă'' ("Frankincense and Poison"), and notably includes Teodoreanu's thoughts on social and cultural policies. The two books were followed in 1935 by another sketch story volume, eponymously titled ''Bercu Leibovici''. In its preface, Teodoreanu announced that he refused to even classify this work, leaving classification to "morons and rubberneckers".Teodoreanu & Ruja, p. 14 The following year, the prose collection ''Vin și apă'' ("Wine and Water") was issued by Editura Cultura Națională. Also in 1936, Teodoreanu contributed the preface to Romania's standard cookbook, assembled by Sanda Marin.

Osvald Teodoreanu and his two living sons participated in the grand reopening of Hanul Ancuței, a roadside tavern in Tupilați, relocated to Bucharest. The other members and guests were literary, artistic and musical celebrities: Arghezi, D. Botez, Cezar Petrescu, Sadoveanu, Cella Delavrancea, George Enescu, Panait Istrati, Milița Petrașcu, Ion Pillat and Nicolae Tonitza. Păstorel tried to reform the establishment into a distinguished wine cellar, and wrote a code of conduct for the visitors.Călinescu, p. 778 The pub also tried to engender a literary society, dedicated primarily to the reformation of Romanian literature, and, with its profits, financed young talents. The Hanul Ancuței episode ended when Teodoreanu was diagnosed with liver failure. Sponsored by the Writers' Society, he treated his condition at Karlovy Vary, in Czechoslovakia. The experience, which meant cultural isolation and a teetotal's diet, led Teodoreanu to declare himself an enemy of all things Czechoslovak. During his stays in Karlovy Vary, he corresponded with his employer, Rosetti, keeping with the events in Romania, but wondering if Romanians still remembered him.

Păstorel was a recipient of the 1937 National Prize for Prose. The jury comprised other major writers of the day: Rebreanu, Sadoveanu, Cezar Petrescu, Victor Eftimiu. Teodoreanu was especially proud about this achievement: in his own definition, the National Prize was an endorsement "worth its weight in gold". He impressed the other literati at the celebratory dinner, where he was "dressed to the nines" and drank with moderation. After the event, Teodoreanu turned his attention to his poetry writing: in 1938, he published the booklet ''Caiet'' ("Notebook"). The same year, Ionel joined his older brother in Bucharest.

World War II and communist takeover

The Teodoreanu brothers were public supporters of the authoritarian regime instituted, in 1938, by King Carol II, contributing to the government propaganda. The king returned the favor and, also in 1938, Păstorel was made a Knight of '' Meritul Cultural'' Order, 2nd Class. From autumn 1939, when the start of World War II left Romania exposed to foreign invasions, Teodoreanu was again called under arms. Stationed with his 24th artillery regiment in the garrison of Roman,Teodoreanu & Ruja, p. 15 he put on hold his regular food chronicles. However, his military duties quickly dissolved into wine-drinking meals. This was attested by Corporal Gheorghe Jurgea-Negrilești, an aristocrat and memoirist, who served under Teodoreanu and remained his friend in civilian life. In 1940, Teodoreanu worked with Ion Valentin Anestin, writing the editorial "Foreword" to Anestin's satirical review, ''Gluma'', and published a series of aphorisms in '' Revista Fundațiilor Regale''. Returning to Bucharest, he stayed at Carlton Tower, until the building was destroyed in the November 10 earthquake; for a while, Teodoreanu himself was presumed dead.

By then, Romania, under '' Conducător'' Ion Antonescu, became an ally of Nazi Germany. In summer 1941, the country joined in the German attack on the Soviet Union ( Operation Barbarossa). Teodoreanu took employment as an Antonescu regime propagandist, publishing, in the newspaper '' Universul'', a panegyric dedicated to pilot Horia Agarici. ''Țara'' newspaper of Sibiu hosted his scathing anti-communist poem, ''Scrisoare lui Stalin'' ("A Letter to Stalin"). His brother and sister in law followed the same line, the former with novels which had anti-Soviet content.

A second edition of ''Bercu Leibovici'' came out in 1942, followed in 1934 by a reprint of ''Caiet''. Still living in Bucharest, Teodoreanu kept company with Jurgea-Negrilești. According to the latter, Păstorel had friendly contacts with novelist Paul Morand, who was the diplomatic representative of Vichy France in Bucharest. The story shows a high-strung Teodoreanu, who defied wartime restriction to obtain a bowler hat and gloves, and dressed up for one of Morand's house-parties. In mid-1944, at the peak of Allied bombing raids, Teodoreanu had taken refuge in Budești, a rural commune south of the capital. He was joined there by Maria Tănase and her husband of the time.

After the King Michael's Coup broke apart Romania's alliance with the Axis Powers, Teodoreanu returned to regular journalism. His food criticism was again taken up by ''Lumea'', and then by the general-interest ''Magazin''. Lacking a stable home, he was hosted at The Royal Foundations Publishing House, and could be seen walking about its library in a red housecoat. G. Pienescu
"Al. O. Teodoreanu"
in '' România Literară'', Issue 27/2007 Teodoreanu's contribution to wartime propaganda made him a target for retribution in the Romanian Communist Party press. Already in October 1944, '' România Liberă'' and '' Scînteia'' demanded for him to be excluded from the Writers' Society, noting that he had "written in support of the anti-Soviet war". Ionel and his wife also faced persecution for sheltering wanted anti-communists Mihail Fărcășanu and Pia Pillat-Fărcășanu.

Păstorel's career was damaged by the full imposition, in 1947, of a Romanian communist regime. In May 1940, Teodoreanu had defined humor as "the coded language that smart people use to understand each other under the fools' noses". Resuming his food writing after 1944, he began inserting subtle jokes about the new living conditions, even noting that the widespread practice of rationing made his texts seem "absurd". Traditionally, his cooking recommendations had been excessive, and recognized as such by his peers. He firmly believed that '' cozonac'' cake required 50 eggs for each kilogram of flour (that is, some 21 per pound).

The communists were perplexed by the Păstorel case, undecided about whether to punish him as a dissident or enlist him as a fellow traveler. Păstorel was experiencing financial ruin, living on commissions, handouts and borrowings. He tried to talk Maria Tănase into using his poems as song lyrics, and stopped seeing her altogether when her husband refused to lend him money. In 1953, aged 58 or 59, he married Marta Poenaru, daughter of the renowned surgeon Constantin Poenaru Căplescu and more distantly descended from architect Pierre Charles L'Enfant. Păstorel's brother Ionel died suddenly in February 1954, leaving Păstorel devastated. He compensated for the loss by keeping company with other intellectuals of the anti-communist persuasion. His literary circle, hosted by the surviving Bucharest locales, included, among others, Jurgea-Negrilești, Șerban Cioculescu, Vladimir Streinu, Aurelian Bentoiu, and Alexandru Paleologu.Pîrjol, pp. 21, 25

Censorship and show trial

By 1954, Teodoreanu was being called in for questioning by agents of the Securitate, the communist secret police. Pressure was put on him to divulge his friends' true feelings about the political regime. He avoided a direct answer, but eventually informed Securitate about Maria Tănase's apparent disloyalty. While harassed in this manner, Teodoreanu was already earning a leading place in underground counterculture, where he began circulating his new anti-communist compositions. According to literary critic Ion Simuț, the clandestine poetry of Păstorel, Vasile Voiculescu and Radu Gyr is the only explicit negation of communism to have emerged from 1950s Romania. Ion Simuț
"A existat disidență înainte de Paul Goma?"
in '' România Literară'', Issue 22/2008 As other Securitate records show, the public was aware of Teodoreanu's visits to the Securitate, but distinguished between him, who was "called over" to confess, and those who made voluntary denunciations. Adrian Neculau
"O zi din viața lui Conu Sache"
in ''Ziarul de Iași'', November 6, 2010

In trying to salvage his career, Teodoreanu was forced to diversify his literary work. In 1956, his literary advice for debuting authors was hosted by the gazette ''Tînărul Scriitor'', an imprint of the Communist Party School of Literature. He also completed and published translations from Jaroslav Hašek ('' Soldier Švejk'') and Nikolai Gogol ('' Taras Bulba''). In 1957, he prefaced the collected sonnets of Mihail Codreanu, and issued, with Editura Tineretului, a selection of his own prose, ''Berzele din Boureni'' ("The Storks of Boureni"). Samples of his communist-era works were read out at the Bucharest Literary Week in December of that year. With Călinescu, Teodoreanu worked on ''La Roumanie Nouvelle'', the French-language communist paper, where he had the column ''Goutons voir si le vin est bon'' ("Let's Taste the Wine and See if It's Good").Pîrjol, p. 22

From 1957 to 1959, Teodoreanu resumed his food chronicles in ''Magazin'', while also contributing culinary reviews in '' Glasul Patriei'' and other such communist propaganda newspapers. According to researcher Florina Pîrjol: "the scion of bourgeois intellectuals, with his liberal values and his aristocratic spirit, unsuitable for political "taming", Al. O. Teodoreanu had a rude awakening into a world where, perceived as a hostile element, he was unable to exercise his profession".Pîrjol, p. 21 According to literary reviewer G. Pienescu, who worked with Teodoreanu in the 1960s, the ''Glasul Patriei'' collaboration was supposed to grant Păstorel a "certificate of good citizenship".

Under pressure from communist censorship, Teodoreanu was reconfiguring his literary profile. Dropping all references to Western cuisine

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