35 Facts About Haralamb Lecca

Haralamb Lecca belonged to an upper-class family, being the grandson of artist Constantin Lecca and brother of genealogist Octav-George Lecca, as well as nephew and rival of writer Ion Luca Caragiale.

Haralamb Lecca had an unsettled youth, studying medicine and law for a while, and reaching a Sub-Officer's rank in the terrestrial army.

Haralamb Lecca debuted in literature under the guidance of Bogdan Petriceicu Hasdeu, who employed Lecca's services as a medium.

Briefly a collaborator of Junimea society, then of its dissident wings, Haralamb Lecca never joined the fledgling Symbolist movement, and spent his later life in relative isolation from all literary circles.

Haralamb Lecca's poetry, recognized as formally accomplished in its context, won him literary awards from the Romanian Academy, but was discarded by later critics as uninspired and ultimately insignificant.

Haralamb Lecca's numbered set of tragicomedies, veering into naturalism and political theater, were the height of fashion in ca.

Haralamb Lecca worked directly with the actors, as director of his and others' plays, and sometimes even took up roles on the stage; both his own performance and his insistence on method acting by others were often repudiated or ridiculed.

Haralamb Lecca had been largely forgotten as a writer, and was being derided by modernists, even though his plays continued to be performed into the 1930s.

Haralamb Lecca was a maternal cousin of the dramatist Ion Luca Caragiale, and, for a while, the love interest of poet Mihai Eminescu.

Haralamb Lecca was an Oltenian by birth, his work sometimes included in regionalist anthologies.

Haralamb Lecca graduated from the law faculty in Bucharest, but only after along hiatus, and reportedly held both a Medical Doctor degree and a doctorate in letters.

At the time, Haralamb Lecca was translating from Tennyson's Enoch Arden, from a French version.

Haralamb Lecca printed this in 1896, followed a while after by selected verses from Romania's German-speaking queen, Carmen Sylva.

Haralamb Lecca attained superior technical quality when it came to meter, but even his skill was panned by Iorga, who noted that Haralamb Lecca had "nothing to surprise us with in his rhymes or rhythms".

Haralamb Lecca was an amateur draftsman, who contributed 89 vignettes to his own Octava, 18 of which were copied from other artists.

Haralamb Lecca was interested in translating foreign drama, and printed in Convorbiri Literare his version of William Shakespeare's Taming of the Shrew, followed by Victor Hugo's Hernani, which was used by the National Theater in the 1898 repertoire.

Already by Quinta, Haralamb Lecca, who directed his own plays, had stabilized his preferred team of actors, which included Demetriade, Livescu, Romanescu, and Nottara.

However, Iorga notes Haralamb Lecca stood out in this family of dramatists in the "French fashion" for his "savvy web of movements and dialogues".

Around 1900, Haralamb Lecca was under contract with Alcaly publishers and was coordinating their Biblioteca pentru toti, a serial for the popularization of foreign and domestic literature.

Haralamb Lecca had quarrels with critic Mihail Dragomirescu, who maintained that he was a nonentity.

Haralamb Lecca was finally relieved of his position when disgruntled actors, who knew him since his days at Iasi Theater, expressed their opposition.

Subsequently, Haralamb Lecca was one of the writers commissioned to translate for the National Theater by its chairman, Pompiliu Eliade, who used his version of Dumas-fils' L'Etrangere.

At around that time, Haralamb Lecca married Natalia Botezat, with whom he lived for a while in Barlad.

Haralamb Lecca's move there was announced on July 13,1911.

That year, Haralamb Lecca rendered into Romanian Jules Verne's Around the World in Eighty Days, while his earlier work inspired Zicu Araia, who adapted his Romanian Enoch Arden into Aromanian.

Facla, the more left-wing Symbolist review, was more categorical, describing Haralamb Lecca as "overreaching and trite".

Haralamb Lecca contributed the political essays and conferences in Noi, Romanii, where he attacked the mores and psychology of his era.

Haralamb Lecca pined for what he saw as better days, referring to the cultural work of Hasdeu, George Ionescu-Gion, and psychologist Nicolae Vaschide, whose work he introduced for the public.

Haralamb Lecca wrote short stories, collected as Crangi, and episodes from the life of Napoleon Bonaparte.

Ahead of the Balkan Wars, Haralamb Lecca was recalled into active service at Bucharest Arsenal, then eventually under arms.

In 1914, Haralamb Lecca published versions of Pere Goriot by Honore de Balzac and Jack by Alphonse Daudet, as well as working on Giovanni Boccaccio's Decameron.

Haralamb Lecca returned to the National Theater Bucharest, where Tertia was again performed that year, while working on staging and adapting Ilderim, by Carmen Sylva and Victor Eftimiu.

Subsequently, during the campaigns of World War I, Haralamb Lecca was a Captain of the Ammunition Department in the 22nd Division, which withdrew with the rest of the army into Western Moldavia.

Haralamb Lecca was buried at Bellu Cemetery, in Plot 92b, with no cultural official on show.

In 1930, Rosetti proposed that Haralamb Lecca's plays be revived "with today's actors, costumes, techniques", and that Casta-Diva be reprised by the Bucharest National Theater.