D. Iacobescu

D. Iacobescu's short career, overlapping with Symbolist mutations into the avant-garde, was still characterized by a focus on the mainstays of Symbolist aesthetics. In his obituary piece, Ion Vinea described the "dreamer's verse" contributed by Iacobescu as complementing "the fastidious and strange plangency" of Minulescu's work.[7] Writing in 1929, the modernist critic and poet Benjamin Fondane assessed that Minulescu himself was not a Symbolist, but rather one who adopted the label as "the pretext of revolt", and that Iacobescu, Ștefan Petică, and ("to a lesser degree") Vinea or Adrian Maniu were the actual voices of Romania's Symbolist school.[13] In Tudor Vianu's opinion, Iacobescu was primarily a pre-modernist and "minor poet of great talent", whose work evidenced a stage in Romanian poetry that preceded the wartime effort.[12] Himself a war veteran, Vianu noted: "This poet never once smiled. Wrapped up in his singularity, he was cultivating his nostalgia. This is how people wrote before the war. [...] Our souls demand basic touches and of the most generally human category. Had he been alive, Iacobescu, a less virile talent, could not have resisted."[14]

A particular trait of Iacobescu's poetry, which placed him in line with the stylistic choices of many Romanian Symbolists, was its use of color-related epithets, particularly "synesthesic" ones (and, according to researcher Carmen Niculescu, with a personal palette of black, gray and blood red).[15] Tudor Vianu argued that, in his more humorous works in particular, Iacobescu displays "the extraordinary precision of detail [Vianu's italics]", condensed into "dynamic evocations".[14]

As noted by critics, Iacobescu's poetry was indebted to models in French or Francophone literature. A special influence on Iacobescu's style was France's Symbolist forerunner Paul Verlaine—according to literary historian Paul Cernat, the Romanian writer was a "Verlainian poet".[7] The various echoes from "French poets active after 1885", as found in Iacobescu's style, were attributed by Vianu to three distinct sources: "through their unrealness and bizarreness some of them display, [Iacobescu's poems] border on Baudelaire's, and through their melodiousness and sweet sentimentality, place themselves beneath the autumnal skies of Verlaine and Samain."[5]

The overall impact of such borrowings was assessed by literary historians George Călinescu and Tudor Vianu alike. While noting that Iacobescu found in French Symbolism "images suited to his own nostalgia, ships, ports, arctic seas, gulls, parks, fountains", Călinescu suggests that the parallel imagery of fêtes galantes is excessive: "Pierrots, Columbinas, lords, misses, minuets, gavottes, pianos, mandolins, guitars, pinkish, purple, gray salons, all in a too specifically French atmosphere, pushed to the point where it evokes the Bourbons".[2] Expanding on his view about Iacobescu's poetry being essentially Decadent, Vianu exclaimed: "Bourbons! Lilies! Chinaware! Silk! Our soul—I'm being told by something that comes from deep within—demands different realities nowadays. Iacobescu took to his grave a something from his age."[16]

Călinescu believes the "personal note" of Iacobescu's literary contribution is to be found in lyric poems which deal with his sickness, with solitude and depression, detailing states such as "the strain of hearing to the vibrations of silence" or "the sensitivity in relation to rain".[17] One such sample reads:

Several such poems deal more or less explicitly with the symptoms of Iacobescu's disease. In one piece, titled Poem de amiază ("Noon Poem"), the author talks about his episodes of hemoptysis (or, according to Călinescu, "the obsession of hemorrhages").[17] It reads:

In the end, Călinescu notes, Iacobescu displayed the "fixation of death, which he sees as a descent into an aquatic environment".[17] This is in reference to stanzas where Iacobescu talks about a spiritual vision or an apparition:

According to Vianu, Iacobescu's Quasi poems are in large part determined by the "premonition of death", showing his struggle with the notion and his coming to terms with it.[18] In the end, the same critic argues, Iacobescu turned to "the illusion of historical fatality" in order to explain his condition.[18] He finds proof of this in Iacobescu's lines:

Iacobescu's sad and meditative poetry was contrasted by his other works, where he turns to depicting the irony of life, often highlighted by his use of grotesque imagery. Focusing on the Symbolist contribution to Romanian humor, literary historian Ștefan Cazimir argues that, among Iacobescu's writings, such samples echo either Verlaine (in cases where Iacobescu discusses his "hypothetical love affairs" in self-mocking tones) or Jules Laforgue (in those pieces where his texts veer into black comedy).[20] Cazimir suggests that the latter influence is to be found in the poem Prin ceață ("Through the Fog"), where Iacobescu likens streetlights to ghosts that have no choice but to play audience to tomcats in heat.[21]

In his 1918 note on Iacobescu, Vianu also assessed: "I do believe I have managed to capture an especially original tone in his poetry [...]. I mean a certain sentimental grotesque [Italics in the original] where laughter merges into a flinch of pain."[22] This trait, Vianu notes, is especially observable in settings such as Scenă de seară ("Evening Scene"), where patients in a mental institution marvel as one of them plays the ballerina, and where contentment suddenly becomes violence: