CARAGIALE AND THE PRESS
CARAGIALE AND THE PRESS

Summary/Abstract: The work of Caragiale, not very voluminous, but varied in typological aspect, surprised the author's contemporaries by successfully switching from one species to another, from classical realism to naturalism. The eye of the prozator, available at the most insignificant detail, distributes his attention to the social and human aspects that are representative of the middle world that he strongly evasive in his moments and sketches. From this patos of the derizorium, which the writer follows everywhere: at the brewery, on the street, on the train, at the café, etc., from this rhetoric of the banality consisting of the thorough recording of a marginal universe, that of the sluice (not so Geographic, as it was noted), Caragiale establishes, paradoxally, a mythology of the derizorium and the humble universe.The essence of the Caragialian opera is not only related to political change and historically datable but to an anthropological perspective involving a vast universe from the perspective of moral and spiritual categories that they are scrubbing. His human categories are timeless in the process of adapting from rural civilisation to the citatin. As we will show in the article, with the genetic pleasure to bufonerie, with the fine observation of the gazette that "See and feel monstrous", Caragiale has actually radiographed the passage of Romania from the spirit Oriental-Balkan to monarchy.

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