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Ion #2
286 pages, Hardcover
First published January 1, 1967
About the author
Liviu Rebreanu
62 books367 followersLiviu Rebreanu was a Romanian novelist, playwright, short story writer, and journalist.
Born in Târlişua (currently Bistriţa-Năsăud County), Transylvania, then part of Austria-Hungary, he was the second of thirteen children born to Vasile Rebreanu, a schoolteacher, and Ludovica Diuganu, descendants of peasants. His father had been a classmate of George Coşbuc's and was an amateur folklorist. Liviu Rebreanu went to primary school in Maieru (where he was taught by his father), and then in Năsăud and Bistriţa, to military school at Sopron and then to the military academy in Budapest. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Transylvanian Alps into Romania, and lived in Bucharest.
He joined several literary circles, and worked as a journalist for Ordinea, then for Falanga literară şi artistică. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911-1912 he was secretary for the National Theater in Craiova, where he worked under the direction of short story writer Emil Gârleanu. He got married to actress Fanny Rădulescu.
His first published in 1912 with a volume of novellas gathered under the title Frământări ("Troublings"). During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories: Golanii ("The Hooligans") and Mărturisire (Confession) in 1916 and Răfuială ("Resentfullness") in 1919. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
In 1920 Rebreanu published his novel Ion, the first modern Romanian novel, in which he depicted the struggles over land ownership in rural Transylvania. For Ion, Rebreanu received a Romanian Academy award - he became a full member of the institution in 1939. Between 1928 and 1930 he was chairman of the National Theatre of Bucharest, and from 1940 to 1944 he was President of the Romanian Writers' Society.
In 1944, aged 59, he was diagnosed with throat cancer. Rebreanu shot himself in the mouth, in his country house in Valea Mare, Argeş County
Born in Târlişua (currently Bistriţa-Năsăud County), Transylvania, then part of Austria-Hungary, he was the second of thirteen children born to Vasile Rebreanu, a schoolteacher, and Ludovica Diuganu, descendants of peasants. His father had been a classmate of George Coşbuc's and was an amateur folklorist. Liviu Rebreanu went to primary school in Maieru (where he was taught by his father), and then in Năsăud and Bistriţa, to military school at Sopron and then to the military academy in Budapest. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Transylvanian Alps into Romania, and lived in Bucharest.
He joined several literary circles, and worked as a journalist for Ordinea, then for Falanga literară şi artistică. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911-1912 he was secretary for the National Theater in Craiova, where he worked under the direction of short story writer Emil Gârleanu. He got married to actress Fanny Rădulescu.
His first published in 1912 with a volume of novellas gathered under the title Frământări ("Troublings"). During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories: Golanii ("The Hooligans") and Mărturisire (Confession) in 1916 and Răfuială ("Resentfullness") in 1919. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
In 1920 Rebreanu published his novel Ion, the first modern Romanian novel, in which he depicted the struggles over land ownership in rural Transylvania. For Ion, Rebreanu received a Romanian Academy award - he became a full member of the institution in 1939. Between 1928 and 1930 he was chairman of the National Theatre of Bucharest, and from 1940 to 1944 he was President of the Romanian Writers' Society.
In 1944, aged 59, he was diagnosed with throat cancer. Rebreanu shot himself in the mouth, in his country house in Valea Mare, Argeş County
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September 21, 2026
Prăbușirea morală și sancțiunea htonică în „Glasul iubirii”
Dacă prima jumătate a romanului „Ion” ilustrează o mecanică socială a supraviețuirii, partea a doua, „Glasul iubirii”, mută accentul pe dezintegrarea psihologică și morală a individului. Odată ce Ion Pop al lui Glanetașu obține pământurile lui Vasile Baciu, el descoperă zădărnicia posesiunii materiale în absența echilibrului interior. Satisfacerea instinctului de proprietate nu aduce liniștea, ci declanșează întoarcerea violentă a refulatului, pulsiunea erotică pentru Florica. Această a doua parte a romanului demonstrează fatalitatea naturii umane scindate și marchează trecerea de la drama socială la o tragedie a instinctelor eliberate de sub controlul rațiunii, antrenând toți actorii într-o spirală a autodistrugerii.
Traseul tragic al Anei culminează printr-un gest de o luciditate dureroasă. Transformată treptat într-un simplu inventar agricol de către tatăl și soțul ei, ea experimentează o formă acută de alienare, fiind un simplu animal de povară transferat de la un maestru la altul. Alegerea grajdului ca spațiu al sinuciderii nu este întâmplătoare, ea confirmă internalizarea completă a acestui statut. Într-un univers absurd și profund dezumanizat, spânzurătoarea devine paradoxal singurul ei act de „eliberare”, forțat de incepția lucidității în mintea ei. În acel moment, Ana refuză să mai aparțină stăpânilor fizici și decide să-și transfere hamurile către Dumnezeu sau, mai degrabă, către abisul etern. Ea își asumă condiția de „obiect” epuizat și dispune de propriul corp, lăsându-l drept mărturie macabră a violenței psihologice la care a fost supusă de o comunitate complet lipsită de empatie.
Prăbușirea lui Ion este accelerată de moartea lui Petrișor, eveniment care anulează justificarea juridică și biologică a tuturor schemelor sale. Din perspectivă etică, Ion a încălcat imperativul fundamental al umanității, i-a tratat pe Ana și pe copil exclusiv ca pe niște mijloace pentru a-și atinge scopul material, refuzând să le recunoască valoarea de scop în sine. Odată ce pământul reintră sub spectrul pierderii, rațiunea instrumentală a lui Ion intră în colaps. El se abandonează complet dictaturii erosului, ignorând orice normă socială sau prudență în încercarea obsesivă de a o poseda pe Florica, devenită soția lui George Bulbuc.
Moartea lui Ion reprezintă o capodoperă a simbolismului naturalist. Faptul că lovitura fatală îi zdrobește capul, adică tocmai centrul cunoașterii și al calculului pragmatic care a orchestrat întreaga tragedie, are o valoare sancționatoare supremă. Agonia sa, marcată de un sâsâit și horcăit animalic, îl asociază simbolic cu șarpele biblic, o creatură htonică. Ion acționează în economia romanului ca o forță demonică, un catalizator care aduce la suprafață umbra colectivă a comunității. El nu corupe un sat inocent, ci doar forțează exteriorizarea brutalității, lăcomiei și ipocriziei deja latente în personaje precum Vasile Baciu sau preotul Belciug, înlocuindu-le divinitatea autentică cu idolatria materiei. Ironia absolută a destinului său este instrumentul execuției: sapa. Ion este ucis cu unealta pământului pe care l-a divinizat, materia cerându-și înapoi tributul.
„Glasul iubirii” se încheie simetric, aducând romanul înapoi la drumul de la marginea satului, însă imaginea finală propune o ironie amară. Faptul că, după moartea lui Ion, cerul redevine senin și Hristosul de tinichea sclipește în soare nu reprezintă o mântuire divină sau o reparație morală a lumii, ci o iluzie optică a unei naturi cosmic indiferente. Ion a funcționat doar ca un țap ispășitor, odată eliminat, presiunea se disipează, dar fondul corupt al satului rămâne intact. Reluarea horei de duminică subliniază această tăcere nepăsătoare a universului în fața tragediei. Totuși, uitarea rapidă a celor morți și continuarea ritmului vieții nu constituie un act de cruzime colectivă, ci cursul firesc al lucrurilor, un instinct vital. Este acceptarea implicită a absurdității existenței: satul își cicatrizează rana și merge mai departe, căutând fragmente de fericire într-o existență efemeră. În fața acestui destin implacabil, eșecul lui Ion și al Anei devine o simplă notă de subsol în istoria unui pământ care absoarbe totul fără să judece.
Dacă prima jumătate a romanului „Ion” ilustrează o mecanică socială a supraviețuirii, partea a doua, „Glasul iubirii”, mută accentul pe dezintegrarea psihologică și morală a individului. Odată ce Ion Pop al lui Glanetașu obține pământurile lui Vasile Baciu, el descoperă zădărnicia posesiunii materiale în absența echilibrului interior. Satisfacerea instinctului de proprietate nu aduce liniștea, ci declanșează întoarcerea violentă a refulatului, pulsiunea erotică pentru Florica. Această a doua parte a romanului demonstrează fatalitatea naturii umane scindate și marchează trecerea de la drama socială la o tragedie a instinctelor eliberate de sub controlul rațiunii, antrenând toți actorii într-o spirală a autodistrugerii.
Traseul tragic al Anei culminează printr-un gest de o luciditate dureroasă. Transformată treptat într-un simplu inventar agricol de către tatăl și soțul ei, ea experimentează o formă acută de alienare, fiind un simplu animal de povară transferat de la un maestru la altul. Alegerea grajdului ca spațiu al sinuciderii nu este întâmplătoare, ea confirmă internalizarea completă a acestui statut. Într-un univers absurd și profund dezumanizat, spânzurătoarea devine paradoxal singurul ei act de „eliberare”, forțat de incepția lucidității în mintea ei. În acel moment, Ana refuză să mai aparțină stăpânilor fizici și decide să-și transfere hamurile către Dumnezeu sau, mai degrabă, către abisul etern. Ea își asumă condiția de „obiect” epuizat și dispune de propriul corp, lăsându-l drept mărturie macabră a violenței psihologice la care a fost supusă de o comunitate complet lipsită de empatie.
Prăbușirea lui Ion este accelerată de moartea lui Petrișor, eveniment care anulează justificarea juridică și biologică a tuturor schemelor sale. Din perspectivă etică, Ion a încălcat imperativul fundamental al umanității, i-a tratat pe Ana și pe copil exclusiv ca pe niște mijloace pentru a-și atinge scopul material, refuzând să le recunoască valoarea de scop în sine. Odată ce pământul reintră sub spectrul pierderii, rațiunea instrumentală a lui Ion intră în colaps. El se abandonează complet dictaturii erosului, ignorând orice normă socială sau prudență în încercarea obsesivă de a o poseda pe Florica, devenită soția lui George Bulbuc.
Moartea lui Ion reprezintă o capodoperă a simbolismului naturalist. Faptul că lovitura fatală îi zdrobește capul, adică tocmai centrul cunoașterii și al calculului pragmatic care a orchestrat întreaga tragedie, are o valoare sancționatoare supremă. Agonia sa, marcată de un sâsâit și horcăit animalic, îl asociază simbolic cu șarpele biblic, o creatură htonică. Ion acționează în economia romanului ca o forță demonică, un catalizator care aduce la suprafață umbra colectivă a comunității. El nu corupe un sat inocent, ci doar forțează exteriorizarea brutalității, lăcomiei și ipocriziei deja latente în personaje precum Vasile Baciu sau preotul Belciug, înlocuindu-le divinitatea autentică cu idolatria materiei. Ironia absolută a destinului său este instrumentul execuției: sapa. Ion este ucis cu unealta pământului pe care l-a divinizat, materia cerându-și înapoi tributul.
„Glasul iubirii” se încheie simetric, aducând romanul înapoi la drumul de la marginea satului, însă imaginea finală propune o ironie amară. Faptul că, după moartea lui Ion, cerul redevine senin și Hristosul de tinichea sclipește în soare nu reprezintă o mântuire divină sau o reparație morală a lumii, ci o iluzie optică a unei naturi cosmic indiferente. Ion a funcționat doar ca un țap ispășitor, odată eliminat, presiunea se disipează, dar fondul corupt al satului rămâne intact. Reluarea horei de duminică subliniază această tăcere nepăsătoare a universului în fața tragediei. Totuși, uitarea rapidă a celor morți și continuarea ritmului vieții nu constituie un act de cruzime colectivă, ci cursul firesc al lucrurilor, un instinct vital. Este acceptarea implicită a absurdității existenței: satul își cicatrizează rana și merge mai departe, căutând fragmente de fericire într-o existență efemeră. În fața acestui destin implacabil, eșecul lui Ion și al Anei devine o simplă notă de subsol în istoria unui pământ care absoarbe totul fără să judece.
November 14, 2016
Target audience: Common people, anyone interested in historical fiction, psychological novels and the period of the World War I and the land of Transylvania.
About the author: According to Wikipedia, Liviu Rebreanu was a Romanian novelist, playwright, short story writer, and journalist. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Southern Carpathians into Romania, and lived in Bucharest. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911–1912 he was secretary for the National Theater in Craiova. During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
Structure of the book: The novel has 416 pages, divided in two parts.
Overview: The action of the novel takes place in the Romanian village of “Pripas” in Transylvania, sometime before the First World War. At that time the region was still under the rule of the Austria-Hungarian Empire. The action takes place on two plans, of the peasants and of the rural intellectuality. Characters belonging to both plans are presented at the beginning of the novel in a symbolical scene of a social event involving traditional Romanian dance.
At the center of the action is “Ion al Glanetasului” (“Ion” is the Romanian equivalent of the English name “John”), a poor single male, humiliated and mocked by the rich people of the village. His main concern is to earn the respect of the others and climb the social hierarchy, and the only way to do that is by quickly acquiring wealth. However, he realizes that he can’t escape poverty neither through work nor heritage. So, the main goal of Ion’s existence is to gain land, and he is determined to fulfill his goal by any means necessary.
The novel is split in two parts, Glasul pamantului (“The Call of the Land”) and Glasul iubirii (“The Call of Love”). These two parts are metaphors for two categories of needs of the human being. In the famous Abraham Maslow’s pyramid, the first two bottom layers of the pyramid are filled with the basic needs – food, water, property – safety needs and security of resources. On the third layer there is the need for love, sexual intimacy and friendship. So, Ion’s psyche is tormented by the struggle between these two categories of needs and he has to choose between them. On the one hand there is Florica, a poor beautiful girl who also likes him. If he takes Florica, he will remain poor for the rest of his life. On the other hand there is Ana, a wealthy ugly girl he does not love, but she is the only way through which he can quickly become rich.
Given the fact that the first part of the novel is called Glasul pamantului, Ion’s first choice is not hard to guess. After long inner struggles, he chooses to satisfy his basic needs no matter what. His choice is also favored by Ana’s father, Vasile Baciu, who humiliates Ion in public. So, in order to revenge on Vasile Baciu, he seduces Ana and she is forced to marry him after she remains pregnant, despite the anger of her father. However, marrying Ana does not fulfill his dream to become rich; Vasile Baciu does not want to give him the land as dower, but only as heritage. So, Ion spills his anger over Ana, whose life turns into a hell after marrying Ion. Ion’s decision to take Ana also marked the start of a conflict between him and George Bulbuc, another young man in the village who truly likes Ana.
The second part is Glasul iubirii - a metaphor for the superior needs – of love, sex and affection – that pressure Ion’s psyche once the basic needs have been satisfied. After he satisfied his basic needs, Ion immediately to satisfy his secondary needs. Even at his wedding with Ana, Ion realizes once again that he loves Florica. Beaten by Ion and rejected by her father, Ana finds comfort only in her child. However, the relationship with Ion and her father continues to deteriorate, and the only solution left is suicide. She hangs herself. His wife’s death has no impact on Ion, who rather sees the event as a relief. After he managed to obtain the land, for Ion Ana turned into an obstacle between him and Florica, or better said. But things get complicated after Ion’s child dies and Florica gets married with George Bulbuc. The outcome is foreseeable: because Ion seduces Florica, George kills Ion. George is arrested, Florica remains alone and Ion’s wealth is given to the church.
In the other plan of the novel, of the rural intellectuality, the rivalry between the priest and the teacher has baleful effects upon the latter. He has a family: wife, a boy who dreams to become a poet, and two girls at the age of marriage but without dowry. In addition, he built his house on the church’s land, with the approval of the priest. After the relations between them deteriorate – Ion’s actions are the reason of discord – the teacher feels threatened. On the other hand, the priest has a strong character. Widower, he dedicates his entire life to his community. His tenaciously follows his dream to build a new church in the village, and the novel ends with the consecration of the new church.
Quote: Poor John! Said Ms. Herdelea. He died so fast… Perhaps this is how it was written [in the heavens]!… [my translation].
Strong points: This is not my favorite novels of the Romanian literature; some people do like Ion or Morometii, I prefer Ultima noapte de dragoste, intaia noapte de razboi. Nevertheless, Ion is a very good novel. Easy to read, interesting plot, and a course of events that does not, let’s say, allow you to get bored. I especially like how the author manages to depict the inner, psychological, struggles, - as in other of his novels – or how he describes the thoughts and the feelings of the characters.
Weak points: Again, as in the case of other Romanian novels, I believe that the one weak point is that it was written in Romanian. And I am not a fan of novels that end tragically.
_______________
★★★ Follow us on Goodreads
★★★ Visit our website www.reasonandreligion.org
About the author: According to Wikipedia, Liviu Rebreanu was a Romanian novelist, playwright, short story writer, and journalist. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Southern Carpathians into Romania, and lived in Bucharest. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911–1912 he was secretary for the National Theater in Craiova. During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
Structure of the book: The novel has 416 pages, divided in two parts.
Overview: The action of the novel takes place in the Romanian village of “Pripas” in Transylvania, sometime before the First World War. At that time the region was still under the rule of the Austria-Hungarian Empire. The action takes place on two plans, of the peasants and of the rural intellectuality. Characters belonging to both plans are presented at the beginning of the novel in a symbolical scene of a social event involving traditional Romanian dance.
At the center of the action is “Ion al Glanetasului” (“Ion” is the Romanian equivalent of the English name “John”), a poor single male, humiliated and mocked by the rich people of the village. His main concern is to earn the respect of the others and climb the social hierarchy, and the only way to do that is by quickly acquiring wealth. However, he realizes that he can’t escape poverty neither through work nor heritage. So, the main goal of Ion’s existence is to gain land, and he is determined to fulfill his goal by any means necessary.
The novel is split in two parts, Glasul pamantului (“The Call of the Land”) and Glasul iubirii (“The Call of Love”). These two parts are metaphors for two categories of needs of the human being. In the famous Abraham Maslow’s pyramid, the first two bottom layers of the pyramid are filled with the basic needs – food, water, property – safety needs and security of resources. On the third layer there is the need for love, sexual intimacy and friendship. So, Ion’s psyche is tormented by the struggle between these two categories of needs and he has to choose between them. On the one hand there is Florica, a poor beautiful girl who also likes him. If he takes Florica, he will remain poor for the rest of his life. On the other hand there is Ana, a wealthy ugly girl he does not love, but she is the only way through which he can quickly become rich.
Given the fact that the first part of the novel is called Glasul pamantului, Ion’s first choice is not hard to guess. After long inner struggles, he chooses to satisfy his basic needs no matter what. His choice is also favored by Ana’s father, Vasile Baciu, who humiliates Ion in public. So, in order to revenge on Vasile Baciu, he seduces Ana and she is forced to marry him after she remains pregnant, despite the anger of her father. However, marrying Ana does not fulfill his dream to become rich; Vasile Baciu does not want to give him the land as dower, but only as heritage. So, Ion spills his anger over Ana, whose life turns into a hell after marrying Ion. Ion’s decision to take Ana also marked the start of a conflict between him and George Bulbuc, another young man in the village who truly likes Ana.
The second part is Glasul iubirii - a metaphor for the superior needs – of love, sex and affection – that pressure Ion’s psyche once the basic needs have been satisfied. After he satisfied his basic needs, Ion immediately to satisfy his secondary needs. Even at his wedding with Ana, Ion realizes once again that he loves Florica. Beaten by Ion and rejected by her father, Ana finds comfort only in her child. However, the relationship with Ion and her father continues to deteriorate, and the only solution left is suicide. She hangs herself. His wife’s death has no impact on Ion, who rather sees the event as a relief. After he managed to obtain the land, for Ion Ana turned into an obstacle between him and Florica, or better said. But things get complicated after Ion’s child dies and Florica gets married with George Bulbuc. The outcome is foreseeable: because Ion seduces Florica, George kills Ion. George is arrested, Florica remains alone and Ion’s wealth is given to the church.
In the other plan of the novel, of the rural intellectuality, the rivalry between the priest and the teacher has baleful effects upon the latter. He has a family: wife, a boy who dreams to become a poet, and two girls at the age of marriage but without dowry. In addition, he built his house on the church’s land, with the approval of the priest. After the relations between them deteriorate – Ion’s actions are the reason of discord – the teacher feels threatened. On the other hand, the priest has a strong character. Widower, he dedicates his entire life to his community. His tenaciously follows his dream to build a new church in the village, and the novel ends with the consecration of the new church.
Quote: Poor John! Said Ms. Herdelea. He died so fast… Perhaps this is how it was written [in the heavens]!… [my translation].
Strong points: This is not my favorite novels of the Romanian literature; some people do like Ion or Morometii, I prefer Ultima noapte de dragoste, intaia noapte de razboi. Nevertheless, Ion is a very good novel. Easy to read, interesting plot, and a course of events that does not, let’s say, allow you to get bored. I especially like how the author manages to depict the inner, psychological, struggles, - as in other of his novels – or how he describes the thoughts and the feelings of the characters.
Weak points: Again, as in the case of other Romanian novels, I believe that the one weak point is that it was written in Romanian. And I am not a fan of novels that end tragically.
_______________
★★★ Follow us on Goodreads
★★★ Visit our website www.reasonandreligion.org
November 14, 2016
Target audience: Common people, anyone interested in historical fiction, psychological novels and the period of the World War I and the land of Transylvania.
About the author: According to Wikipedia, Liviu Rebreanu was a Romanian novelist, playwright, short story writer, and journalist. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Southern Carpathians into Romania, and lived in Bucharest. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911–1912 he was secretary for the National Theater in Craiova. During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
Structure of the book: The novel has 416 pages, divided in two parts.
Overview: The action of the novel takes place in the Romanian village of “Pripas” in Transylvania, sometime before the First World War. At that time the region was still under the rule of the Austria-Hungarian Empire. The action takes place on two plans, of the peasants and of the rural intellectuality. Characters belonging to both plans are presented at the beginning of the novel in a symbolical scene of a social event involving traditional Romanian dance.
At the center of the action is “Ion al Glanetasului” (“Ion” is the Romanian equivalent of the English name “John”), a poor single male, humiliated and mocked by the rich people of the village. His main concern is to earn the respect of the others and climb the social hierarchy, and the only way to do that is by quickly acquiring wealth. However, he realizes that he can’t escape poverty neither through work nor heritage. So, the main goal of Ion’s existence is to gain land, and he is determined to fulfill his goal by any means necessary.
The novel is split in two parts, Glasul pamantului (“The Call of the Land”) and Glasul iubirii (“The Call of Love”). These two parts are metaphors for two categories of needs of the human being. In the famous Abraham Maslow’s pyramid, the first two bottom layers of the pyramid are filled with the basic needs – food, water, property – safety needs and security of resources. On the third layer there is the need for love, sexual intimacy and friendship. So, Ion’s psyche is tormented by the struggle between these two categories of needs and he has to choose between them. On the one hand there is Florica, a poor beautiful girl who also likes him. If he takes Florica, he will remain poor for the rest of his life. On the other hand there is Ana, a wealthy ugly girl he does not love, but she is the only way through which he can quickly become rich.
Given the fact that the first part of the novel is called Glasul pamantului, Ion’s first choice is not hard to guess. After long inner struggles, he chooses to satisfy his basic needs no matter what. His choice is also favored by Ana’s father, Vasile Baciu, who humiliates Ion in public. So, in order to revenge on Vasile Baciu, he seduces Ana and she is forced to marry him after she remains pregnant, despite the anger of her father. However, marrying Ana does not fulfill his dream to become rich; Vasile Baciu does not want to give him the land as dower, but only as heritage. So, Ion spills his anger over Ana, whose life turns into a hell after marrying Ion. Ion’s decision to take Ana also marked the start of a conflict between him and George Bulbuc, another young man in the village who truly likes Ana.
The second part is Glasul iubirii - a metaphor for the superior needs – of love, sex and affection – that pressure Ion’s psyche once the basic needs have been satisfied. After he satisfied his basic needs, Ion immediately to satisfy his secondary needs. Even at his wedding with Ana, Ion realizes once again that he loves Florica. Beaten by Ion and rejected by her father, Ana finds comfort only in her child. However, the relationship with Ion and her father continues to deteriorate, and the only solution left is suicide. She hangs herself. His wife’s death has no impact on Ion, who rather sees the event as a relief. After he managed to obtain the land, for Ion Ana turned into an obstacle between him and Florica, or better said. But things get complicated after Ion’s child dies and Florica gets married with George Bulbuc. The outcome is foreseeable: because Ion seduces Florica, George kills Ion. George is arrested, Florica remains alone and Ion’s wealth is given to the church.
In the other plan of the novel, of the rural intellectuality, the rivalry between the priest and the teacher has baleful effects upon the latter. He has a family: wife, a boy who dreams to become a poet, and two girls at the age of marriage but without dowry. In addition, he built his house on the church’s land, with the approval of the priest. After the relations between them deteriorate – Ion’s actions are the reason of discord – the teacher feels threatened. On the other hand, the priest has a strong character. Widower, he dedicates his entire life to his community. His tenaciously follows his dream to build a new church in the village, and the novel ends with the consecration of the new church.
Quote: Poor John! Said Ms. Herdelea. He died so fast… Perhaps this is how it was written [in the heavens]!… [my translation].
Strong points: This is not my favorite novels of the Romanian literature; some people do like Ion or Morometii, I prefer Ultima noapte de dragoste, intaia noapte de razboi. Nevertheless, Ion is a very good novel. Easy to read, interesting plot, and a course of events that does not, let’s say, allow you to get bored. I especially like how the author manages to depict the inner, psychological, struggles, - as in other of his novels – or how he describes the thoughts and the feelings of the characters.
Weak points: Again, as in the case of other Romanian novels, I believe that the one weak point is that it was written in Romanian. And I am not a fan of novels that end tragically.
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About the author: According to Wikipedia, Liviu Rebreanu was a Romanian novelist, playwright, short story writer, and journalist. He worked as an officer in Gyula but resigned in 1908, and in 1909 illegally crossed the Southern Carpathians into Romania, and lived in Bucharest. At the request of the Austro-Hungarian government, he was arrested and extradited in 1910. Rebreanu was incarcerated in Gyula, being freed in August; he returned to Bucharest. In 1911–1912 he was secretary for the National Theater in Craiova. During World War I Rebreanu was a reporter for Adevărul, and he continued publishing short stories. After the war, he became an important collaborator at the literary society Sburătorul led by the literary critic Eugen Lovinescu.
Structure of the book: The novel has 416 pages, divided in two parts.
Overview: The action of the novel takes place in the Romanian village of “Pripas” in Transylvania, sometime before the First World War. At that time the region was still under the rule of the Austria-Hungarian Empire. The action takes place on two plans, of the peasants and of the rural intellectuality. Characters belonging to both plans are presented at the beginning of the novel in a symbolical scene of a social event involving traditional Romanian dance.
At the center of the action is “Ion al Glanetasului” (“Ion” is the Romanian equivalent of the English name “John”), a poor single male, humiliated and mocked by the rich people of the village. His main concern is to earn the respect of the others and climb the social hierarchy, and the only way to do that is by quickly acquiring wealth. However, he realizes that he can’t escape poverty neither through work nor heritage. So, the main goal of Ion’s existence is to gain land, and he is determined to fulfill his goal by any means necessary.
The novel is split in two parts, Glasul pamantului (“The Call of the Land”) and Glasul iubirii (“The Call of Love”). These two parts are metaphors for two categories of needs of the human being. In the famous Abraham Maslow’s pyramid, the first two bottom layers of the pyramid are filled with the basic needs – food, water, property – safety needs and security of resources. On the third layer there is the need for love, sexual intimacy and friendship. So, Ion’s psyche is tormented by the struggle between these two categories of needs and he has to choose between them. On the one hand there is Florica, a poor beautiful girl who also likes him. If he takes Florica, he will remain poor for the rest of his life. On the other hand there is Ana, a wealthy ugly girl he does not love, but she is the only way through which he can quickly become rich.
Given the fact that the first part of the novel is called Glasul pamantului, Ion’s first choice is not hard to guess. After long inner struggles, he chooses to satisfy his basic needs no matter what. His choice is also favored by Ana’s father, Vasile Baciu, who humiliates Ion in public. So, in order to revenge on Vasile Baciu, he seduces Ana and she is forced to marry him after she remains pregnant, despite the anger of her father. However, marrying Ana does not fulfill his dream to become rich; Vasile Baciu does not want to give him the land as dower, but only as heritage. So, Ion spills his anger over Ana, whose life turns into a hell after marrying Ion. Ion’s decision to take Ana also marked the start of a conflict between him and George Bulbuc, another young man in the village who truly likes Ana.
The second part is Glasul iubirii - a metaphor for the superior needs – of love, sex and affection – that pressure Ion’s psyche once the basic needs have been satisfied. After he satisfied his basic needs, Ion immediately to satisfy his secondary needs. Even at his wedding with Ana, Ion realizes once again that he loves Florica. Beaten by Ion and rejected by her father, Ana finds comfort only in her child. However, the relationship with Ion and her father continues to deteriorate, and the only solution left is suicide. She hangs herself. His wife’s death has no impact on Ion, who rather sees the event as a relief. After he managed to obtain the land, for Ion Ana turned into an obstacle between him and Florica, or better said. But things get complicated after Ion’s child dies and Florica gets married with George Bulbuc. The outcome is foreseeable: because Ion seduces Florica, George kills Ion. George is arrested, Florica remains alone and Ion’s wealth is given to the church.
In the other plan of the novel, of the rural intellectuality, the rivalry between the priest and the teacher has baleful effects upon the latter. He has a family: wife, a boy who dreams to become a poet, and two girls at the age of marriage but without dowry. In addition, he built his house on the church’s land, with the approval of the priest. After the relations between them deteriorate – Ion’s actions are the reason of discord – the teacher feels threatened. On the other hand, the priest has a strong character. Widower, he dedicates his entire life to his community. His tenaciously follows his dream to build a new church in the village, and the novel ends with the consecration of the new church.
Quote: Poor John! Said Ms. Herdelea. He died so fast… Perhaps this is how it was written [in the heavens]!… [my translation].
Strong points: This is not my favorite novels of the Romanian literature; some people do like Ion or Morometii, I prefer Ultima noapte de dragoste, intaia noapte de razboi. Nevertheless, Ion is a very good novel. Easy to read, interesting plot, and a course of events that does not, let’s say, allow you to get bored. I especially like how the author manages to depict the inner, psychological, struggles, - as in other of his novels – or how he describes the thoughts and the feelings of the characters.
Weak points: Again, as in the case of other Romanian novels, I believe that the one weak point is that it was written in Romanian. And I am not a fan of novels that end tragically.
_______________
★★★ Follow us on Goodreads
★★★ Visit our website www.reasonandreligion.org
August 23, 2014
tipic, hahaha
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