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[8][9] Recalling his entrance into a drawing room that an "eerie iridescent light" had turned into "a fairy-tale palace", he wrote, I practiced for many years [the] exercise of recapturing that epiphanic moment, and I would always find again the same plenitude. In his Myths, Dreams, and Mysteries, Eliade claims that a "genuine encounter" between cultures "might well constitute the point of departure for a new humanism, upon a world scale". Noted for his vast erudition, Eliade had fluent command of five languages (Romanian, French, German, Italian, and English) and a reading knowledge of three others (Hebrew, Persian, and Sanskrit). [71] Eliade and Wach are generally admitted to be the founders of the "Chicago school" that basically defined the study of religions for the second half of the 20th century. M. L. Ricketts discovered and translated into English a previously unpublished play written by Mircea Eliade in Paris 1946 Aventura Spiritual ('A Spiritual Adventure'). [123] According to this view, more advanced cultures should be more monotheistic, and more primitive cultures should be more polytheistic. [5] Eliade's student Ioan Petru Culianu noted that journalists had come to refer to the Romanian scholar as "the great recluse". "[166] From the standpoint of secular thought, any purpose must be invented and imposed on the world by man. During my last years of lyce, when I struggled with profound attacks of melancholy, I still succeeded at times in returning to the golden green light of that afternoon. He claims that Platonism is the "most fully elaborated" version of this primitive ontology. Ellwood notes the obvious parallel between the conservatism of myth, which speaks of a primordial golden age, and the conservatism of far right politics. [44], Eliade was especially dissatisfied with the incidence of unemployment among intellectuals, whose careers in state-financed institutions had been rendered uncertain by the Great Depression. [64], In autumn 1943, he traveled to occupied France, where he rejoined Emil Cioran, also meeting with scholar Georges Dumzil and the collaborationist writer Paul Morand. [45], In 1936, Eliade was the focus of a campaign in the far right press, being targeted for having authored "pornography" in his Domnioara Christina and Isabel i apele diavolului; similar accusations were aimed at other cultural figures, including Tudor Arghezi and Geo Bogza. Wendy Doniger, Eliade's colleague from 1978 until his death, has observed that "Eliade argued boldly for universals where he might more safely have argued for widely prevalent patterns. Also, traditional man's dissatisfaction with the post-mythical age expresses itself as a feeling of being "torn and separate". According to Sebastian, Eliade had been friendly to him until the start of his political commitments, after which he severed all ties. [59], Ronald Inden, a historian of India and University of Chicago professor, criticized Mircea Eliade, alongside other intellectual figures (Carl Jung and Joseph Campbell among them), for encouraging a "romantic view" of Hinduism. After he has been dismembered by the initiatory spirits, they often replace his old organs with new, magical ones (the shaman dies to his profane self so that he can rise again as a new, sanctified, being). [258] Ellwood describes the young Eliade as someone "capable of being fired up by mythological archetypes and with no awareness of the evil that was to be unleashed". [231] The young man Egor becomes the object of Christina's desire, and is shown to have intercourse with her. [3][6][20][21] The book, which was translated into French three years later,[17] had significant impact in academia, both in Romania and abroad. [148], By profession, Eliade was a historian of religion. [49] He won the trial, and regained his position as Nae Ionescu's assistant. [74][80] He noted that Eliade initially felt apprehensive about the consequences of hippie activism, but that the interests they shared, as well as their advocacy of communalism and free love had made him argue that hippies were "a quasi-religious movement" that was "rediscovering the sacrality of Life". "[232] antier was also noted for its portrayal of drug addiction and intoxication with opium, both of which could have referred to Eliade's actual travel experience. Eliade admits that every religious phenomenon is shaped by the particular culture and history that produced it: When the Son of God incarnated and became the Christ, he had to speak Aramaic; he could only conduct himself as a Hebrew of his times [] His religious message, however universal it might be, was conditioned by the past and present history of the Hebrew people. In addition, they contain a number of philosophical arguments about religion. The Indian religions of the East generally retain a cyclic view of timefor instance, the Hindu doctrine of kalpas. He mentions his own field of History of Religions as one of the fields that was obsessed with origins during the 19th century: The new discipline of History of Religions developed rapidly in this cultural context. However, in Buddhism, Jainism, and some forms of Hinduism, the Sacred lies outside the flux of the material world (called maya, or "illusion"), and one can only reach it by escaping from the cycles of time. [7] Eliade also read with interest the prose of Romain Rolland, Henrik Ibsen, and the Enlightenment thinkers Voltaire and Denis Diderot. [22] During the same period, Eliade began a correspondence with the Ceylonese-born philosopher Ananda Coomaraswamy. [243], La ignci[ro] has been the basis for two theater adaptations: Cazul Gavrilescu ('The Gavrilescu Case'), directed by Gelu Colceag and hosted by the Nottara Theater;[284] and an eponymous play by director Alexandru Hausvater, first staged by the Odeon Theater in 2003, starring, among others, Adriana Trandafir, Florin Zamfirescu, and Carmen Tnase. [52] In 1977, he joined other exiled Romanian intellectuals in signing a telegram protesting the repressive measures newly enforced by the Ceauescu regime. [286], Domnioara Christina has been the subject of two operas: the first, carrying the same Romanian title, was authored by Romanian composer erban Nichifor and premiered in 1981 at the Romanian Radio;[283] the second, titled La seorita Cristina, was written by Spanish composer Luis de Pablo and premiered in 2000 at the Teatro Real in Madrid. A hierophany amounts to a "revelation of an absolute reality, opposed to the non-reality of the vast surrounding expanse. [66] He also wrote an essay on the works of James Joyce, connecting it with his own theories on the eternal return ("[Joyce's literature is] saturated with nostalgia for the myth of the eternal repetition"), and deeming Joyce himself an anti-historicist "archaic" figure among the modernists. [1] However, although Doniger agrees that Eliade made overgeneralizations, she notes that his willingness to "argue boldly for universals" allowed him to see patterns "that spanned the entire globe and the whole of human history". [2] Beginning in 1954, with the first edition of his volume on Eternal Return, Eliade also enjoyed commercial success: the book went through several editions under different titles, and sold over 100,000 copies. She contends that Eliade never did any field work or contacted any indigenous groups that practiced Shamanism, and that his work was synthesized from various sources without being supported by direct field research. "[6] In Vila-Sanjun's view, the texts reveal Mircea Eliade himself as "a Dostoyevskyian character", as well as "an accomplished person, a Goethian figure". Doina Ruti, analyzing the storyThe Old Man and The Bureaucrats (Pe strada Mntuleasa), says The memories [103] create the chaos, because "the myth makes irruption in a world in tormented birth, without memory, and transform all in a labyrinth". When Eliade began coughing blood in October 1938, he was taken to a clinic in Moroeni. [195], According to Ellwood, the mythologists believed in gnosticism's basic doctrines (even if in a secularized form). [202] In this concept, Ellwood sees an "element of nostalgia" for earlier times "when the sacred was strong and the terror of history had barely raised its head". [112] However, Eliade argues, Judaism elaborated its mythology of linear time by adding elements borrowed from Zoroastrianismincluding ethical dualism, a savior figure, the future resurrection of the body, and the idea of cosmic progress toward "the final triumph of Good."[111]. [236] Instead, Allan is fascinated to discover Maitreyi's Oriental version of Platonic love, marked by spiritual attachment more than by physical contact. [231] Romanian-born novelist Norman Manea called Anicet's experiment: "the paraded defiance of bourgeois conventions, in which venereal disease and lubricity dwell together. [6][68] His second wife, the descendant of boyars, was the sister-in-law of the conductor Ionel Perlea. [7] Eliade himself explained that Memoriile unui soldat de plumb was an ambitious project, designed as a fresco to include the birth of the Universe, abiogenesis, human evolution, and the entire world history. Traditional cultures see suffering and death as a rite of passage. [30], A special debate was sparked by Un om mare. [26] The last academic honors bestowed upon him were the French Academy's Bordin Prize (1977) and the title of Doctor Honoris Causa, granted by George Washington University (1985). "[164] Furthermore, traditional man's behavior gains purpose and meaning through the Sacred: "By imitating divine behavior, man puts and keeps himself close to the godsthat is, in the real and the significant. [5] Ctlin Avramescu defined this conclusion as "whitewashing", and, answering to Alexandrescu's claim that his uncle's support for the Guard was always superficial, argued that Jurnal portughez and other writings of the time showed Eliade's disenchantment with the Legionaries' Christian stance in tandem with his growing sympathy for Nazism and its pagan messages. [5][6][25] The latter, introduced to him by his new friend Mihail Sebastian, already had a daughter, Giza, from a man who had divorced her. 5 (2012): 258. [4] He commented that, like Gide, Eliade believed that the artist "does not take a stand, but experiences good and evil while setting himself free from both, maintaining an intact curiosity. Eliade lets the reader understand that they are in fact talking about the same woman. [30] In April 1940, with the help of Alexandru Rosetti, he became Cultural Attach to the United Kingdom, a posting cut short when Romanian-British foreign relations were broken. Sorin Alexandrescu expressed a belief that notes in the diary show Eliade's "break with his far right past". [2], After contributing various and generally polemical pieces in university magazines, Eliade came to the attention of journalist Pamfil eicaru, who invited him to collaborate on the nationalist paper Cuvntul, which was noted for its harsh tones. [224] He suspects that Eliade would have favored "a minimal rather than a maximalist state" that would allow personal spiritual transformation without enforcing it. 452453; ora, in Handoca, Oiteanu, "Mircea Eliade i micarea hippie". [23] In 19361937, he functioned as honorary assistant for Ionescu's course, lecturing in Metaphysics. [7] These early writings also include two sketches for novels: Minunata cltorie a celor cinci crbui in ara furnicilor roii ('The Wonderful Journey of the Five Beetles into the Land of the Red Ants') and Memoriile unui soldat de plumb ('The Memoirs of a Lead Soldier'). [212] French researcher Daniel Dubuisson places doubt on Eliade's scholarship and its scientific character, citing the Romanian academic's alleged refusal to accept the treatment of religions in their historical and cultural context, and proposing that Eliade's notion of hierophany refers to the actual existence of a supernatural level. [189] Ultimately, according to Jesi, Eliade sees Christianity as the only religion that can save man from the "Terror of history". "[233] Mircea Eliade's assessment of his own pre-1940 literary contributions oscillated between expressions of pride[25] and the bitter verdict that they were written for "an audience of little ladies and high school students". "[6], In his Felix Culpa, Manea directly accused Eliade of having embellished his memoirs in order to minimize an embarrassing past. He maintained a friendship with d'Ors, and met him again on several occasions after the war. [4] He also commented that, when set in Romania, Mircea Eliade's stories lacked the "perception of immediate reality", and, analyzing the non-traditional names the writer tended to ascribe to his Romanian characters, that they did not depict "specificity". [25] Also during the war, Eliade traveled to Berlin, where he met and conversed with controversial political theorist Carl Schmitt,[6][25] and frequently visited Francoist Spain, where he notably attended the 1944 Lusitano-Spanish scientific congress in Crdoba. [113] Because the Sacred lies outside cyclic time, which conditions humans, people can only reach the Sacred by escaping the human condition. [6] He occasionally traveled out of the United States, attending the Congress for the History of Religions in Marburg (1960), and visiting Sweden and Norway in 1970. [7] Despite Eliade's ultimate reception in Communist Romania, this writing could not be published during the period, after censors singled out fragments which they saw as especially problematic.[7]. [50] His articles of the time, published in Iron Guard papers such as Sfarm Piatr and Buna Vestire, contain ample praises of the movement's leaders (Corneliu Zelea Codreanu, Ion Moa, Vasile Marin, and Gheorghe Cantacuzino-Grnicerul). In 1930, while living with Dasgupta, Eliade fell in love with his host's daughter, Maitreyi Devi, later writing a barely disguised autobiographical novel Maitreyi (also known as "La Nuit Bengali" or "Bengal Nights"), in which he claimed that he carried on a physical relationship with her. [231] He also considered that, as a rule, Eliade depicts woman as "a basic means for a sexual experience and repudiated with harsh egotism. For instance, the New Year ceremonies among the Mesopotamians, the Egyptians, and other Near Eastern peoples re-enacted their cosmogonic myths. [3] By then, Cuvntul was also hosting articles by Nae Ionescu. His Myths, Dreams and Mysteries also addresses shamanism in some detail. Ornea, p. 206; Ornea is skeptical of these explanations, given the long period of time spent before Eliade gave them, and especially the fact that the article itself, despite the haste in which it must have been written, has remarkably detailed references to many articles written by Eliade in various papers over a period of time. [269], Because of Eliade's withdrawal from politics, and also because the later Eliade's religiosity was very personal and idiosyncratic,[225] Ellwood believes the later Eliade probably would have rejected the "corporate sacred" of the Iron Guard. "[239][240], Clinescu thought that the young male characters all owed inspiration to Fyodor Dostoevsky's Rodion Romanovich Raskolnikov (see Crime and Punishment). [56], After leaving London he was assigned the office of Counsel and Press Officer (later Cultural Attach) to the Romanian Embassy in Portugal,[25][57][58][59] where he was kept on as diplomat by the National Legionary State (the Iron Guard government) and, ultimately, by Ion Antonescu's regime. Thus, they feel comforted even in contemplating the end times. [232], The other characters, standing for Eliade's generation, all seek knowledge through violence or retreat from the worldnonetheless, unlike Anicet, they ultimately fail at imposing rigors upon themselves. A portion of it dealing with his stay in Romania is believed to have been lost. [207], Even Wendy Doniger, Eliade's successor at the University of Chicago, claims (in an introduction to Eliade's own Shamanism) that the eternal return does not apply to all myths and rituals, although it may apply to many of them. "[173] Eliade sees the widespread myth of the Golden Age, "which, according to a number of traditions, lies at the beginning and the end of History", as the "precedent" for Karl Marx's vision of a classless society. [5][6] His family moved between Tecuci and Bucharest, ultimately settling in the capital in 1914,[2] and purchasing a house on Melodiei Street, near Piaa Rosetti, where Mircea Eliade resided until late in his teens. All Western historiography was during that time obsessed with the quest of origins. Ellwood argues that the later Eliade's nostalgia for ancient traditions did not make him a political reactionary, even a quiet one. In Shamanism, Eliade argues for a restrictive use of the word shaman: it should not apply to just any magician or medicine man, as that would make the term redundant; at the same time, he argues against restricting the term to the practitioners of the sacred of Siberia and Central Asia (it is from one of the titles for this function, namely, amn, considered by Eliade to be of Tungusic origin, that the term itself was introduced into Western languages). [52] At the time, Eliade contemplated returning to Romania, but was eventually persuaded by fellow Romanian intellectuals in exile (including Radio Free Europe's Virgil Ierunca and Monica Lovinescu) to reject Communist proposals. His political involvement at the time, as well as his other far right connections, were frequently criticised after World War II. [136] This is an example of the Sacred's distance from "profane" life, life lived after the mythical age: by escaping from the profane condition through religious behavior, figures such as the shaman return to the conditions of the mythical age, which include nearness to the High God ("by his flight or ascension, the shaman [] meets the God of Heaven face to face and speaks directly to him, as man sometimes did in illo tempore"). [134] Eliade calls the distant High God a deus otiosus ("idle god").[135]. Eliade believes the rise of materialism in the 19th century forced the religious nostalgia for "origins" to express itself in science. "[271] According to Ellwood, the young Eliade took the former option, trying to reform the world through action, whereas the older Eliade tried to resist the terror of history intellectually. [281] In 2005, the Romanian literary critic and translator Antoaneta Ralian, who was an acquaintance of Bellow's, argued that much of the negative portrayal was owed to a personal choice Bellow made (after having divorced from Alexandra Bagdasar, his Romanian wife and Eliade disciple).

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