Călinescu observed that while Pârvan's natural aptitude was fairly common, his tendency to exercise all the powers of his mind in the ascetic pursuit of an intellectual ideal was transformed into an existential philosophy: Life is transitory, but man can defeat death and oblivion through creation, thus leaving a permanent record of a temporary existence.

Investigating the works ' main characteristics, George Călinescu stressed that Eliade owed much of his style to the direct influence of French author André Gide, concluding that, alongside Camil Petrescu and a few others, Eliade was among Gide's leading disciples in Romanian literature.

Matei Călinescu did not reject Culianu's version, but argued that, on its own, the piece was beyond political interpretations.

Uniquely among students of Caragiale's work, George Călinescu argued that the writer's main interest was not in criticizing the liberals, but actually in an overall rejection of the most embedded Junimist tenets, which, in Călinescu's view, had engendered " a lack of faith in the country's own powers ".

His own short-lived FRN cabinet, established after that date, was, after Gheorghe Argeşanu's the second in quick succession to the violent clash between the Guard and monarch ( after the murder of Armand Călinescu by the former ).

Thus, commentators such as Matei Călinescu and Carmen Muşat have also argued that a main characteristic of Eliade's fantasy prose is a substitution between the supernatural and the mundane: in this interpretation, Eliade turns the daily world into an incomprehensible place, while the intrusive supernatural aspect promises to offer the sense of life.

" A specific aspect of this focus on experience is sexual experimentation — Călinescu notes that Eliade's fiction works tend to depict a male figure " possessing all practicable women in given family ".

Noting that the plot and setting reminded one of horror fiction works by the German author Hanns Heinz Ewers, and defending Domnişoara Christina in front of harsher criticism, Călinescu nonetheless argued that the " international environment " in which it took place was " upsetting ".

According to George Călinescu, Nicolae Iorga was overdependent on his memory, which could result in " utterly fictitious " critical apparatuses for his scientific works.

The antiquated polished style, Călinescu notes, even surfaced in his works of research, which revived the picturesque tone of medieval chronicles.

The literary creations of Émile Zola were a noted source of inspiration, and the parallel led George Călinescu to propose him and Barbu Ştefănescu Delavrancea as the main representatives of Zola's style in local literature.

The trilogy is not without its critics ; George Călinescu argued that Teodoreanu's style was too laden with metaphors and rather baroque.

Călinescu produced heavily descriptive realist novels in the mode of Honoré de Balzac, often with obvious polemical undertones lurking beneath their apparently objective style.

It is generally agreed that there was no such escape attempt, and that Codreanu and the others were killed on the King's orders, probably in reaction to the November 24, 1938, murder by legionnaires of a relative ( some sources say a " friend ") of Armand Călinescu, then Minister of the Interior in the King's cabinet.

Vianu, together with his friend Matei Călinescu published an autobiographical volume, Amintiri in dialog (" Remembrances in Dialogue ").

In parallel, literary critic George Călinescu argued that " he typological structure is present in Caragiale's work as a supporting structure, without being essential.

Eliade himself referenced the story and Aldous Huxley's experiments in the same section of his private notes, a matter which allowed Matei Călinescu to propose that Un om mare was a direct product of its author's experience with drugs.

Having been secretly blacklisted at the same time as Nicolae Titulescu, Dinu Brătianu, and General Gavrilă Marinescu, Călinescu was assassinated in Bucharest by Iron Guard members under the direct leadership of Sima ( exiled in Steglitz at the time ), the last of several attempts ( which included an attack on the Romanian Athenaeum and bombing a bridge over the Dâmboviţa River — both of which were uncovered by police ).

In the summer of the same year, he was sent back in order to prepare and conduct the assassination of the Romanian Prime-Minister, Armand Călinescu, on September 21, 1939.

Călinescu later said, " even if not everyone is in a position to become a Pârvan, everyone can see in him a model, that is to say a way in which he too can accomplish the same renunciations.

Călinescu criticizes Întoarcerea din rai, describing its dialog sequences as " awkward ", its narrative as " void ", and its artistic interest as " non-existent ", proposing that the reader could however find it relevant as the " document of a mentality ".

George Călinescu who saw in it " an echo of Nae Ionescu's lectures ", traced a parallel with the essays of another of Ionescu's disciples, Emil Cioran, while noting that Cioran's were " of a more exulted tone and written in the aphoristic form of Kierkegaard ".

George Călinescu objected to the narrative, arguing that both the physical affair and the father's rage seemed artificial, while commenting that Eliade placing doubt on his Indian characters ' honesty had turned the plot into a piece of " ethnological humor ".

Călinescu saw the piece as an allusion to Gnosticism, to the Kabbalah, and to Babylonian mythology, while linking the snake to the Greek mythological figure and major serpent symbol Ophion.

The king instead sought an agreement with other members of the political class, including the National Liberal Ion Duca and the former PNŢ politician Armand Călinescu, while clamping down on the Iron Guard — leading to a wave of similar actions in reprisal.

One year later, under the National Legionary State ( the Iron Guard's government ), Marinescu and Argeşanu, alongside other politicians, were executed in Jilava ( September 1940 ); it was also at that time that the Călinescu family crypt in Curtea de Argeş was dynamited, while a bronze bust of him which awaited unveiling was chained and dragged through the streets of Piteşti.

A similar view was expressed by Vianu's predecessor, Silvian Iosifescu, who also stressed that Caragiale always avoided applying the Naturalist technique to its fullest, while George Călinescu himself believed that the characters ' motivations in O făclie de Paşte are actually physiological and ethnological.

Another change in Cristea's government was on February 1, 1939, which gave extensive powers to Călinescu, who became virtually the head of the cabinet, while Cristea remained nominally the Prime Minister at the King's insistence.

Călinescu also wrote poems ( Lauda lucrurilor ) and plays ( Şun, mit mongol ) while continuing to practice journalism, although Cronicile mizantropului abruptly became Cronicile optimistului after the Communists seized power in 1947.

George Călinescu objected to its " monotony ", and, noting that it featured a set of " intelligent observations ", criticized the " banality of its ideological conversations.

An intellectual with liberal-left ideas who nonetheless proved flexible enough to write praises of the King under Carol's dictatorship, Călinescu outwardly adhered to the new Communist ideology after 1947, likely noting the practical advantages of such a shift in loyalties.

This differentiation, George Călinescu believed, echoed Ionescu's metaphor of man, seen as " the only animal who can fail at living ", and the duck, who " shall remain a duck no matter what it does ".

For Călinescu, such a perspective on life culminated in " banality ", leaving authors gripped by the " cult of the self " and " a contempt for literature ".

This technique Călinescu describes as " boring ", and its result " cynical ".

George Călinescu criticized the book for inconsistencies and " excesses in Dostoyevskianism ", but noted that the Lecca family portrayal was " suggestive ", and that the dramatic scenes were written with " a remarkable poetic calm.

According to literary historian George Călinescu, Iorga's " huge " and " monstrously " comprehensive research, leaving no other historian " the joy of adding something ", was matched by the everyday persona, a " hero of the ages ".

Călinescu suggests that Iorga was an " anachronistic " type in his context: " approved only by failures ", aged before his time, modeling himself on ancient chroniclers and out of place in modern historiography.

According to Călinescu, Iorga was visibly embarrassed by even 19th century Romanticism, out of his territory with virtually everything after " Villani and Commynes ", and endorsing the " obscure manqués " in modern Romanian letters.

A decade later, George Călinescu described in detail the historian's public speaking routine: the " zmeu "- like introductory outbursts, the episodes of " idle grace ", the apparent worries, the occasional anger and the intimate, calm, addresses to his bewildered audience.

George Călinescu referred to this series as Iorga's " interesting " and " eminently subjective " literature ; " dignified " and dominated by " explosions of sentiment ", it echoes, according to Călinescu, the Renaissance model of Ion Neculce.

A generation younger than Ibrăileanu, George Călinescu also noted the contrast between Mihail Kogălniceanu and his predecessors, as two sets of " Messianist " intellectuals — in this contrast, Heliade Rădulescu was " hazy and egotistic ", whereas Kogălniceanu and others had " a mission which they knew how to translate into positive terms ".

According to Călinescu, the inebriated citizen worships authority as a " supreme god ", despite all its absurdities.