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By analyzing the Lucian Blaga’s poetry, this paper aims to argue how the form of poems contributes significantly to the creation of meaning through the stylistic figure of repetition. From the first volume, „Poems of light”, the repetition gains, beyond an aesthetic function, an ontic one specific to the Lucian Blaga’s consubstantiality between the poetic subject and the universe. During this approach, the repetition multiplies its phenomenalizations, in order to a significant part of the global meaning of the text is due to it. The major conclusion of this paper consists in highlighting a pattern of a continuous and ethereal aspiration to the self-world osmosis depending on Blaga’s creative stages.

The complexity of Lucian Blaga’s poetry is a matter of common knowledge. Part of this complexity is related to the elements of prosody that Blaga skilfully employs, to say nothing of the philosophical vein which infuses his writings, and which derives, understandably, from his philosophical work. Mention should also be made of the lyrical character of Blaga’s dramatic works, which adds significantly to the effort of translating his writings into English, or any other language for that matter. In what follows, we intend to offer a bird’s eye view of the volumes that have been translated into English and to analyse a selection of poems comparatively, in order to signal challenges and discrepancies, born in the process of transferring literary material from Romanian to English, and to point out what has been lost, and, if that be the case, what has been gained in the translation process.

The aim of this paper is to identify, in Lucian Blaga’s poetry, historical images of several foreign cultures, such as African, Indian and Ancient Greek. Starting from his outline from the Trilogy of Values, we will select poems where few dimensions of these three cultures are depicted. Even though they appear to be far from the Romanian stylistic matrix, key aspects of the historical cultural images compose a unique vision that imprint the structure of Blaga’s imaginary.

This paper work approaches the issue of mythical, as it is reflected in the poetic creation of Lucian Blaga. The poet does not conceive poetry outside mythical thinking because only a mythical thinking penetrates the essence of things, beyond their logical appearances. Blaga’s poetry is consistent with the Romanian folkloric tradition and draws its sap from myth. His lyric illustrates very well what the poet himself called monumentalization of folk culture (minor culture) in a major culture. In search for a creative formula, Blaga will discover expressionism. Mythical motives invented by the poet or not, can be found throughout his entire lyrical creation. Many of the mythical or folkloric motives used by Eminescu: the lake, the linden tree, the spring, the forest, the sea, Blaga has borrowed them directly from the folklore or from Eminsecu’s lyrical universe. We can also see that Blaga’s work contains a great deal of elements with a rather stable symbolic value; elements that have become literary motives known in the universal imaginary and have been rebuilt by Blaga using his own vision of the world. Thus, from the telluric register of the imaginary, we discover elements like: the mountain, the cave, the wood; from the aquatic register: the mountain lake, the spring, the fountain, the lake, the tear; then others linked to the air register: the wind, the bird.

A discussion of the influence of Friedrich Nietzsche's work on the Romanian poet and philosopher Lucian Blaga at the beginning of his career. The effects of Nietzsche's thought and of German Expressionism were strong on Blaga's early poetry and, especially, on his first play, about the Dacian prophet Zalmoxe. Although the affinities between Zalmoxe and Nietzsche's Zarathustra are abundant, Blaga's play is not an affirmation of Nietzsche's philosophy. Rather, Blaga is engaged in creating his own myth of Zalmoxe in order both to explore the hidden life force of the Dacians and to reveal his own philosophy of life.

It is widely considered that during a translation, the text undergoes a process of metamorphosis. When it comes to translating literature, especially poetry, and specifically such poems as Lucian Blagas Ars poetica, the implications and the necessity of the translation receive even deeper connotations.

Understanding through denial proves to be a challenge for the poet but also for the one who develops through knowledge. Thus, cognition in Blaga's poetry is alive, measurable through gesture and commensurable through ideas, urging us to venture into the psycho-philosophical prospecting of the word. If we reveal to the world the secret of interpretation, negation remains to be positive, that license that leads to cognition. And interpretation is only the first step of knowledge; the rest in Blaga's universe is chained in anxieties and impenetrable. The poem \"Talcuri\" builds thus, through negation and knowledge and challenge being perceptible by deciphering the attitude towards the line of knowledge. [PUBLICATION ABSTRACT]

Lucian Blaga's poetry, which places him in the main current of post-Symbolism, is no less significant a body of work than that of Rainer Maria Rilke or Boris Pasternak, yet Blaga remains virtually unknown to Anglophone readers. There are two interlinked reasons behind this prolonged invisibility. First, unlike his better-known countryman, who made their careers in emigration as members of international literary movements, Blaga - despite his wide-ranging philosophical concerns and profound interest in the broader Western poetic tradition - remained steeped in Romanian culture. This, in turn, made his work more challenging for English-speaking translators, as well as less marketable to an audience who had come to associate Romanian authors with the avant-garde. Two volumes of translations published in Bucharest in 1975 did not make a big impact abroad, and are now very scarce. However, since 1989, awareness of Blaga's work has begun to spread, thanks to two volumes of skillful translations that offer Anglophone readers a chance to assess the poet's achievement over the course of his career. Andrei Codrescu's At the Court of Yearning (1989) and Brenda Walker's Complete Poetical Works of Lucian Blaga, 1895-1961 (2001) were both important in bringing Blaga out of the shadows, but Walker's collection is ultimately more representative of the full range of the poet's work - of his evolving themes and formal techniques. [PUBLICATION ABSTRACT]

A defining aspect of the creations of Lucian Blaga is the blurring of the boundaries between three major genres: poetry, drama, and philosophy. What separates them cannot disguise what unites them. They easily grasp kinship, feel that they were born of the same impetus of spirit. In his poetry and theater Blaga hears the soft echoes of his metaphysics; in his philosophical system, there is a striking lyricism in the expression and metaphorical construction of the conceptual level. Poems, dramas, and philosophical reflections meander within a unique spiritual space, intersecting repeatedly, and giving the work an unusual uniformity. At the center of Blaga's philosophy are the creative destiny of the human being and the abyssal patterns that shape it, the source of various cultural configurations.