Nicolae Constantin Batzaria

Nicolae Constantin Batzaria
Born	November 20, 1874(1874-11-20) Kruševo
Died	January 28, 1952(1952-01-28) (aged 77) Bucharest
Pen name	Ali Baba, Moş Ene, Moş Nae
Occupation	short story writer, novelist, schoolteacher, folklorist, poet, journalist, politician
Nationality	Ottoman, Romanian
Ethnicity	Aromanian
Period	1901-1944
Genres	anecdote, children's literature, children's rhyme, comic strip, essay, fairy tale, fantasy, genre fiction, memoir, novella, satire, travel literature
Influences Ion Creangă
Influenced Mircea Dinescu

Nicolae Constantin Batzaria, Besaria, Basarya or Bazaria (also known under the pen names Moş Nae, Moş Ene and Ali Baba; November 20, 1874 – January 28, 1952), was a Macedonian-born Aromanian cultural activist, Ottoman statesman and Romanian writer. A schoolteacher and inspector of Aromanian education within Ottoman lands, he established his reputation as a journalist before 1908. During his thirties, he joined the clandestine revolutionary movement known as the Young Turks, serving as its liaison with Aromanian factions. The victorious Young Turk Revolution brought Batzaria to the forefront of Ottoman politics, ensuring him a seat in the Ottoman Senate, and he briefly served as Minister of Public Works under the Three Pashas. He was tasked with several diplomatic missions, including attending the London Conference of 1913, but, alerted by the Three Pashas' World War I alliances and the Young Turks' nationalism, he soon after quit the Ottoman political scene and left into voluntary exile.

Batzaria eventually settled in Romania and became a prolific contributor to Romanian letters, producing works of genre fiction and children's literature. Together with comic strip artist Marin Iorda, he created Haplea, one of the most popular characters in early Romanian comics. Batzaria also collected and retold fairy tales from various folkloric traditions, while publishing original novels for adolescents and memoirs of his life in Macedonia. A member of the Romanian Senate for one term, he was active on the staff of Romania's leading left-wing journals, Adevărul and Dimineaţa, as well as founder of the latter's supplement for children, before switching his allegiance to the right-wing Universul. Batzaria was persecuted and probably imprisoned by the communist regime, spending the last years of his life in obscurity.

Biography

Early life and activities

Batzaria was a native of Kruševo (Crushuva), a village in Ottoman-ruled Monastir region, presently in the Republic of Macedonia. An Aromanian, he attended a high school sponsored by the Kingdom of Romania in Bitola, and later attended the Faculty of Letters and Law at the University of Bucharest.^[1][2][3] A polyglot, he could speak Turkish, Greek, Bulgarian, Serbian and French, in addition to his native Aromanian and the related Romanian language.^[1] While in Romania, Batzaria also began his collaboration with Romanian journals: Adevărul, Dimineaţa, Flacăra, Sămănătorul, Arhiva, Ovidiu and Gândul Nostru.^[2] He made his editorial debut with a volume of anecdotes, Părăvulii (printed in Bucharest in 1901).^[2]

Upon graduation, Batzaria returned to Macedonia as a schoolteacher, educating children at the Ioannina school, and subsequently at his alma mater in Bitola.^[1] He afterward became chief inspector of the Romanian educational institutions in the Ottoman provinces of Kosovo and Salonika.^[3][4] Historian Gheorghe Zbuchea, who researched the self-identification of Aromanians as an ethnic Romanian subgroup, sees Batzaria as "the most important representative of the national Romanian movement" among early 20th century Ottoman residents.^[5] For a while in 1903, following a ban on political activities by Sultan Abdul Hamid II, Batzaria was arrested by local Ottoman officials, and experience which later served him in writing the memoir În închisorile turceşti ("In Turkish Prisons").^[6] Five years later, he founded the first ever Aromanian-language journal, Deşteptarea ("The Awakening"), published in Thessaloniki.^[1][2][7] It only published four issues before going out of business.^[7]

Young Turks affiliation and World War I

Beginning 1907, Batzaria took a direct interest in the development of revolutionary conspiracies which aimed to reshape the Ottoman Empire from within. Having first came in contact with İsmail Enver, he thereafter affiliated with the multi-ethnic Committee of Union and Progress, a clandestine core of the Young Turks movement.^[1][3] According to his own statements, he was acquainted with figures at the forefront of the Young Turks organizations: Mehmed Talat, Ahmed Djemal (the future "Three Pashas", alongside Enver), Mehmet Cavit Bey, Hafiz Hakki and others.^[8] This was partly backed by Enver's notes in his diary, which includes the mention: "I was instrumental in bringing into the Society the first Christian members. For instance Basarya effendi."^[9] Batzaria himself claimed to have been initiated into the society by Djemal and following a ritual similar to that of "nihilists" in the Russian Empire: an oath on a revolver placed inside a poorly lit room, while guarded by men dressed in black and red cloth.^[3] Supposedly, Batzaria also joined the Freemasonry at some point in his life.^[3]

Modern Turkish historian Kemal H. Karpat connects these events with a larger Young Turks agenda of attracting Aromanians into a political alliance, in contrast to the official policies of the rival Balkan states, all of which refused to recognize the Aromanian ethnicity as distinct.^[10] Zbuchea passed a similar judgment, concluding: "Balkan Romanians actively supported the actions of the Young Turks, believing that they provided good opportunities for modernization and perhaps guarantees regarding their future."^[5] Another Turkish researcher, M. Şükrü Hanioğlu, looks at the alliance from the point of view of a larger dispute between Greece (and the Greeks in Ottoman lands) on one hand, and, on the other, Ottoman leaders and their Aromanian subjects. Proposing that Aromanian activists, like their Albanian counterparts, "supported the preservation of Ottoman rule in Macedonia" primarily for fear of the Greeks, Hanioğlu highlights the part played by British mediators in fostering the Ottoman-Aromanian entente.^[11] He notes that, "with the exception of the Jews", Aromanians were the only non-Islamic community to be drawn into the Ottomanist projects.^[12]

In 1908, the Aromanian intellectual was propelled to high office by the Young Turk Revolution and the Second Constitutional Era: the party rewarded his contribution, legally interpreted as "high services to the State", by assigning him a special non-elective seat in the Ottoman Senate (a status similar to that of another Young Turk Aromanian, Filip Mişea, who became a deputy).^[13] A regular contributor to Le Jeune Turc and other newspapers based in Istanbul, he was also appointed vice-president of the Turkish Red Crescent, a humanitarian society, which provided him with close insight into the social contribution of Muslim women volunteers, and, through extension, an understanding of Islamic feminism.^[14] In 1913, during the First Balkan War, Batzaria's political career was advanced further by Enver's coup: he became Minister of Public Works in Enver's cabinet, but without interrupting his journalistic activities.^[3][15] It was also he who represented the executive at the London Conference, where he acknowledged the Ottoman defeat.^[3][16][17] In the short peaceful hiatus which followed his return, Batzaria represented the empire in secret talks with Romania's Titu Maiorescu government, negotiating a new alliance against the victorious Kingdom of Bulgaria.^[18] As he himself recalled, the request was refused by Romanian politicians, who stated that they wished to avoid attacking other Christian nations.^[19] The Ottoman approach however resonated with Romania's intentions, and both states successfully fought Bulgaria in the Second Balkan War.^[20] However, the following years brought a clash of interests between the Three Pashas and Batzaria. Already alarmed by the official Turkification process,^[3][5][21] the Aromanian intellectual proved himself an opponent of the new policies which linked the Ottoman realm to the German Empire, Bulgaria and the other Central Powers.^[22] In 1916, two years into World War I, he left Istanbul for neutral Switzerland.^[3][22]

Literary career in Romania

He settled in Bucharest, where he served a term in the Senate of Greater Romania (coinciding with Alexandru Averescu's term as Premier).^[3][22] During the interwar period, he became a regular contributor to the country's main left-wing dailies: Adevărul and Dimineaţa.^[22] The journals' owners assigned Batzaria with the task of managing and editing a junior version of Dimineaţa, Dimineaţa Copiilor ("The Children's Morning").^[3][17][22] Batzaria embarked on a career in writing, publishing a succession of fiction and nonfiction volumes in Romanian. Among these was a series of books detailing the lives of women in the Ottoman Empire and the modern Turkish state: Spovedanii de cadâne. Nuvele din viaţa turcească ("Confessions of Turkish Odalisques. Novellas from Turkish Life", 1921), Turcoaicele ("The Turkish Women", 1921), Sărmana Lila. Roman din viaţa cadânelor ("Poor Leila. A Novel from the Life of Odalisques", 1922), Prima turcoaică ("The First of Turkish Women", n.d.), as well as several translations of foreign books on this subject.^[23] In 1928, he was a judge for a national Miss Romania beauty contest, organized by Realitatea Ilustrată magazine and journalist Alexandru Tzigara-Samurcaş (the other members of this panel being female activist Alexandrina Cantacuzino, actress Maria Giurgea, politician Alexandru Mavrodi, novelist Liviu Rebreanu and visual artists Jean Alexandru Steriadi and Friedrich Storck).^[24] As an Adevărul journalist, Batzaria nevertheless warned against politically militant feminism and women's suffrage, urging women to find their comfort in marriage.^[25]

His work in children's literature, taking diverse forms, was often published under the pen names Moş Nae ("Old Man Nae", a term of respect applied to the hypocorism of Nicolae)^{[3][17][22][26][27]} and Ali Baba (after the eponymous character in One Thousand and One Nights).^[28] Another variant he favored was Moş Ene.^[29] By 1925, Batzaria had created the satirical character Haplea (or "Gobbles"), whom he made into a protagonist for some of Romania's first comic strips.^[17][30][31] The graphics to Batzaria's rhymed captions were provided by Marin Iorda, who also worked on a 1928 animated version of Haplea (the first such film in the history of Romanian cinema).^[17] Other characters created by Batzaria in various literary genres include Haplina (the female version and regular companion of Haplea), Hăplişor (their child), Lir and Tibişir (known together as doi isteţi nătăfleţi, "two clever gawks"), and Uitucilă (from a uita, "to forget").^[32]

By 1930, Nicolae Constantin Batzaria also became known for his genre fiction novels, addressed to a general public and registering much success. Among these were Jertfa Lilianei ("Liliana's Sacrifice"), Răpirea celor două fetiţe ("The Kidnapping of the Two Little Girls"),^[32] Micul lustragiu ("The Little Shoeshiner") and Ina, fetiţa prigonită ("Ina, the Persecuted Little Girl").^[26] His main fairy tale collection was published as Poveşti de aur ("Golden Stories").^[33]

Final years, persecution and death

In 1936, Batzaria parted with Dimineaţa and joined its right-wing and nationalist competitor Universul, becoming its publisher.^[22] He became involved in political disputes facing the leftists and rightists, expressing some sympathy for the fascist and antisemitic movement known as the Iron Guard. This touched his editorial pieces concerning the Spanish Civil War, marking the death of Iron Guardist politico Ion Moţa while a volunteer for the Francoist side, and depicting him as a hero comparable to Giuseppe Garibaldi and the Marquis de Lafayette (see Funerals of Ion Moţa and Vasile Marin).^[34] He also became directly involved in the conflict opposing Universul and Adevărul, during which the latter was accused of being a tool for "communism", and urged the authorities to repress what he argued was a communist conspiracy.^[35]

Batzaria was nevertheless marginalized for the larger part of World War II, when Romania came under the rule of far right and fascist regimes (the Iron Guard's National Legionary State and the authoritarian system of Conducător Ion Antonescu).^[22] During that time, he focused on translations from the stories of Danish author Hans Christian Andersen, which saw print under the Moş Ene signature in stages between 1942 and 1944.^[29] The war's end and the rise of the Communist Party made him a direct target for political persecution.^[22] The consolidation of a communist regime in 1947-1948 led to his complete ostracizing, beginning when he was forced out of his house by the authorities (an action which reportedly caused the destruction of all his manuscripts through neglect).^[22]

Sources diverge on events occurring during Batzaria's final years. Several authors mention that he became a political prisoner of the communists.^[2][36] According to Karpat, Batzaria died in poverty at his Bucharest house during the early 1950s.^[22] Later research however suggests that this occurred in 1952, at a concentration camp^[2][17] (or more specifically a penal facility located in Ghencea district).^[2]

Work

Fiction

Anthumous editions of Nicolae Constantin Batzaria's work include some 30 volumes, including children's, fantasy and travel literature, memoirs, novels, textbooks, translations and various reports.^[37] According to his profile at the University of Florence Department of Neo-Latin Languages and Literatures, Batzaria was "lacking in originality but a talented vulgarizer".^[2] Writing in 1987, children's author Gica Iuteş claimed that the "most beautiful pages" in Batzaria's work were those dedicated to the youth, defining the author himself as "a great and modest friend of the children".^[32]

His short stories for children generally build on ancient fairy tales and traditional storytelling techniques. A group among these accounts retell classics of Turkish, Arabic and Persian literatures (such as One Thousand and One Nights), intertwined with literary styles present throughout the Balkans.^[37] The interest in Oriental themes also touched his reviews of works by other writers, such as his 1932 essay on the Arabic and Persian motifs present in Kir Ianulea, a short story by the 19th century Romanian classic Ion Luca Caragiale.^[38] This approach to Middle Eastern themes was complemented by borrowings from Western and generally European sources, as well as from the Far East. The Poveşti de aur series thus includes fairy tales from European folklore and Asian folktales: Indian (Savitri and Satyavan), Spanish (The Bird of Truth), German, Italian, Japanese, Polish, Scandinavian and Serbian.^[33] His wartime renditions from Andersen's stories covered The Emperor's New Clothes, The Ugly Duckling and The Little Mermaid.^[29]

Among the writer's original contributions was a series of novels for the youth. According to literary critic Matei Călinescu, who recalled having enjoyed these works as a child, they have a "tearjerker" and "melodramatic" appeal.^[26] Essayist and literary historian Paul Cernat calls them "commercial literature" able to speculate public demand, and likens them to the texts of Mihail Drumeş, another successful Aromanian author (or, beyond literature, to the popular Aromanian singer Jean Moscopol).^[39] Batzaria is also credited with having coined popular children's rhymes, such as:

Sunt soldat şi călăreţ, Uite, am un cal isteţ![40]

I'm a soldier and a cavalryman, Look, I have one clever horse!

Batzaria's Haplea was a major contribution to Romanian comics culture and interwar Romanian humor, and is ranked by comics historiographer Dodo Niţă as the top Romanian series of all times.^[31] The scripts were not entirely original creations: according to translator and critic Adrian Solomon, one Haplea episode retold a grotesque theme with some tradition in the Romanian folklore (the story of Păcală), that in which the protagonist murders people for no apparent reason.^[41]

Memoirs and essays

A large segment of Batzaria's literary productions was constituted by subjective recollections. Kemal H. Karpat, according to whom such writings displayed the attributes of "a great storyteller" influenced by both Romanian classic Ion Creangă and the Ottoman meddahs, also assessed that they often failed attested timelines or accuracy checks.^[42] The main book in this series is Din lumea Islamului. Turcia Junilor Turci ("From the World of Islam. The Turkey of the Young Turks"), which traces his own biography in Macedonia and Istanbul. It its original edition, it carried a preface by prominent Romanian historian Nicolae Iorga, who saw the text as an accurate rendition "of that interesting act in the drama of Ottoman decline that was the first phase of Ottoman nationalism".^[3] In Karpat's opinion, the texts mix advocacy of liberalism, modernization and Westernization with "a special understanding of the Balkan and Turkish societies".^[37] This argument was coupled with Batzaria's theory about the superiority of Christianity over Islam, seen as a victory of modernization and education over fatalism and superstition.^[3][43] His extended coverage of women's existence and Islamic feminism, Karpat argues, showed the Young Turk modernizing tendency as a forerunner for the Kemalist ideology developed in the 1920s.^[23] Batzaria voiced an anticlerical message primarily targeting the more conservative ulema (but also aimed at those Christian priests whom he depicted as ignorant), and commented on the process of modernization as a cultural and religious phenomenon, noting that the Young Turks had themselves eventually come to reject the Caliphate for a secular identity.^[44]

În închisorile turceşti and other such writings offer insight into the complications of nationalist struggles within Ottoman lands, notably by discussing the group loyalty manifested by Albanian landowners toward the Ottoman Dynasty and the widespread adoption of the vague term "Turk" as self-designation by diverse Muslim groups in the Balkans.^[45] In contrast, Batzaria's books also record the revolutionary mindset brought into existence by ethnic nationalism within the Christian millet, writing: "it was not rare to see in Macedonia a father who would call himself a Greek without actually being one [...], while one of his sons would become a fanatical Bulgarian, and the other son would turn into a killer of Bulgarians."^[46] While stating an Aromanian exception among the "Christian peoples" of the Ottoman-ruled Balkans, in that the ethnic community as a whole worked to avert the empire's decline for fear of their neighbors' intolerance, Batzaria also argued that other groups were innately hostile to the Young Turks' liberal-minded overtures.^[46] However, Karpat writes, "Batzaria believed, paradoxically, that if the Young Turks had remained genuinely faithful to their original liberal ideals they might have succeeded in holding the state together."^[46] The eruption of ethic conflict and the failure of liberal programs after the Young Turk Revolution, Batzaria recounts, made the Young Turk executive fall back on its own ethnic nationalism, manifested as process of institutional Turkification.^[3][21] This policy, the author argued, was primarily rendered ineffective by the poor social and economical status of regular Turks, and attracted the hostility of European states for encouraging the anti-colonialism of Muslims worldwide.^[47] In Din lumea Islamului, he analyzed the individual contributions to these dogmas by tracing psychological sketches of İsmail Enver (who displayed "an insane courage and an ambition that kept growing and solidifying with every step he climbed on the ladder of power and greatness", but produced a Pan-Turkic program amounting to "bankruptcy"), Ahmed Djemal (portrayed as an uncultured chauvinist), Mehmed Talat ("the most sympathetic and influential" of the Young Turk leaders, who "was never bitten by the snake of vanity").^[3]

Batzaria also depicted the changes in discourse as having alienated the Aromanians, divided and forced to cooperate with larger ethnic groups within their millet just before the First Balkan War, while noting that Bulgaria had marginalized herself among the regional states even before the Second War.^[19] His anecdotal account presents himself and the Ottoman Armenian politician Gabriel Noradungian as rescuers of Istanbul from a Bulgarian invasion, for having spread false rumors about a cholera epidemic and thus making the enemy hesitant about a siege.^[3] His explanation of World War I depicts the Central Powers alliance as a gamble by the most daring of the Young Turks.^[48] Deploring the repeated acts of violence perpetrated by the Ottomans against members of the Armenian community (Noradungian included),^[3] Batzaria also maintains that the Armenian Genocide was primarily perpetrated by rogue Ottoman Army units, Hamidieh regiments and other Kurds.^[3][49] His writings include a claim that he had unsuccessfully asked the Ottoman Senate to provide weapons for the Armenians to defend themselves against incursions by "bandits carrying a firman".^[3]

Legacy

The work of Nicolae Constantin Batzaria was the subject of critical reevaluation during the last decades of the communist regime, when Romania was ruled by Nicolae Ceauşescu. Writing at the time, Kemal H. Karpat argued: "Lately there seems to be a revived interest in [Batzaria's] children's stories."^[22] His various works in this field were published in several editions beginning in the late 1960s,^[22] and included reprints of Poveşti de aur with illustrations by Lívia Rusz.^[50] Writing the preface to one such reprint, Gica Iuteş defined Batzaria as "one of the eminent Aromanian scholars" and "a master of the clever word", while simply noting that he had "died in Bucharest in the year 1952."^[51] In tandem with this official recovery, Batzaria's work became an inspiration for the dissident poet Mircea Dinescu, the author of a clandestinely circulated satire which compared Ceauşescu to Haplea and referred to both as figures of destruction.^[52][53]

Renewed interest in Batzaria's work followed the 1989 Revolution, which signified the communist regime's end. His work was integrated into new reviews produced by literary historians, and awarded a sizable entry in the 2004 Dicţionar General al Literaturii Române ("The General Dictionary of Romanian Literature"). The character of this inclusion produced some controversy: taking Batzaria's entry as a study case, critics argued that the book gave too much exposure to marginal authors, at the detriment of writers from the Optzecişti generation (whose respective articles were comparatively shorter).^[54][55] The period saw a number of reprints from his work (among them those of the Haplea comics).^[30] Fragments of his writings, alongside those of George Murnu, Hristu Candroveanu and Teohar Mihadaş, were included in the Romanian Academy's standard textbook for learning Aromanian (Manual de aromână-Carti trâ înviţari armâneaşti, edited by Matilda Caragiu-Marioţeanu and printed in 2006).^[56]

Batzaria was survived by a daughter, Rodica, who died ca. 1968.^[22] His great-granddaughter, Dana Schöbel-Roman, is a graphic artist and illustrator, who worked with children's author Grete Tartler on the magazine Ali Baba (printed in 1990).^[27]

Notes

1. ^ ^{a b c d e} Karpat, p.563
2. ^ ^{a b c d e f g h} (Romanian) "Batzaria Nicolae", biographical note in Cronologia della letteratura rumena moderna (1780-1914) database, at the University of Florence's Department of Neo-Latin Languages and Literatures; retrieved August 19, 2009
3. ^ ^{a b c d e f g h i j k l m n o p q r s t} (Romanian) Eduard Antonian, "Turcia, Junii Turci şi armenii în memoriile lui Nicolae Batzaria", in the Armenian-Romanian community's Ararat, Nr. 8/2003, p.6
4. ^ Hanioğlu, p.259; Karpat, p.563
5. ^ ^{a b c} Gheorghe Zbuchea, "Varieties of Nationalism and National Ideas in Nineteenth- and Twentieth-Century Southeastern Europe", in Răzvan Theodorescu, Leland Conley Barrows (eds.), Studies on Science and Culture. Politics and Culture in Southeastern Europe, UNESCO-CEPES, Bucharest, 2001, p.247. ISBN 92-9069-161-6
6. ^ Karpat, p.567-568
7. ^ ^{a b} (Aromanian) Agenda Armâneascâ, at Radio Romania International, April 14, 2009; retrieved August 20, 2009
8. ^ Karpat, p.563, 569
9. ^ Karpat, p.569
10. ^ Karpat, p.571-572
11. ^ Hanioğlu, p.259-260
12. ^ Hanioğlu, p.260
13. ^ Hanioğlu, p.259; Karpat, p.563, 569, 571, 576-577
14. ^ Karpat, p.563-564
15. ^ Hanioğlu, p.468; Karpat, p.564
16. ^ Karpat, p.564, 569-570
17. ^ ^{a b c d e f} "Gobbles" (with biographical notes), in the Romanian Cultural Institute's Plural Magazine, Nr. 30/2007
18. ^ Karpat, p.564, 580. See also Hanioğlu, p.468
19. ^ ^{a b} Karpat, p.580
20. ^ Karpat, p.564, 580
21. ^ ^{a b} Karpat, p.577-584
22. ^ ^{a b c d e f g h i j k l m n} Karpat, p.564
23. ^ ^{a b} Karpat, p.567
24. ^ (Romanian) Dumitru Hîncu, "Al. Tzigara-Samurcaş - Din amintirile primului vorbitor la Radio românesc", in România Literară, Nr. 42/2007
25. ^ Maria Bucur, "Romania", in Kevin Passmore (ed.), Women, Gender, and Fascism in Europe, 1919-45, Manchester University Press, Manchester, 2003, p.72. ISBN 0-7190-6617-4
26. ^ ^{a b c} Matei Călinescu, Ion Vianu, Amintiri în dialog. Memorii, Polirom, Iaşi, 2005, p.76. ISBN 973-681-832-2
27. ^ ^{a b} (Romanian) Grete Tartler, "Diurna şi nocturna", in România Literară, Nr. 32/2007
28. ^ Batzaria (1987), passim; Karpat, p.564
29. ^ ^{a b c} Mihaela Cernăuţi-Gorodeţchi, notes to Hans Christian Andersen, 14 poveşti nemuritoare, Institutul European, Iaşi, 2005, p.20, 54, 78, 103. ISBN 973-611-378-7
30. ^ ^{a b} (Romanian) Maria Bercea, "Incursiune în universul BD", in Adevărul, June 29, 2008
31. ^ ^{a b} (Romanian) Ioana Calen, "Cărtărescu e tras în bandă - Provocarea desenată", in Cotidianul, June 13, 2006
32. ^ ^{a b c} Iuteş, in Batzaria (1987), p.3
33. ^ ^{a b} Batzaria (1987), passim
34. ^ Valentin Săndulescu, "La puesta en escena del martirio: La vida política de dos cadáveres. El entierro de los líderes rumanos legionarios Ion Moţa y Vasile Marin en febrero de 1937", in Jesús Casquete, Rafael Cruz (eds.), Políticas de la muerte. Usos y abusos del ritual fúnebre en la Europa del siglo XX, Catarata, Madrid, 2009, p.260, 264. ISBN 978-84-8319-418-8
35. ^ Hans-Christian Maner, Parlamentarismus in Rumänien (1930-1940): Demokratie im autoritären Umfeld, R. Oldenbourg Verlag, Munich, 1997, p.323-324. ISBN 3-486-56329-7
36. ^ Eugenio Coşeriu, Johannes Kabatek, Adolfo Murguía, »Die Sachen sagen, wie sie sind...«. Eugenio Coşeriu im Gespräch, Gunter Narr Verlag, Tübingen, 1997, p.11. ISBN 3-8233-5178-8
37. ^ ^{a b c} Karpat, p.565
38. ^ (Romanian) Florentina Tone, "Scriitorii de la Adevĕrul", in Adevărul, December 30, 2008
39. ^ (Romanian) Roxana Vintilă, "Un Jean Moscopol al literaturii", in Jurnalul Naţional, June 17, 2009
40. ^ Horia Gârbea, Trecute vieţi de fanţi şi de birlici, Cartea Românească, Bucharest, 2008, p.58. ISBN 978-973-23-1977-2
41. ^ Adrian Solomon, "The Truth About Romania's Children", in the Romanian Cultural Institute's Plural Magazine, Nr. 30/2007
42. ^ Karpat, p.565, 569
43. ^ Karpat, p.584
44. ^ Karpat, p.578, 584
45. ^ Karpat, p.568, 573-576
46. ^ ^{a b c} Karpat, p.572
47. ^ Karpat, p.578-580
48. ^ Karpat, p.581-584
49. ^ Karpat, p.583-584
50. ^ (Romanian) György Györfi-Deák, "Cu ochii copiilor, pentru bucuria lor", in Caiete Silvane, June 2009
51. ^ Iuteş, in Batzaria (1987), p.3-4
52. ^ (Romanian) Daniel Cristea-Enache, "Elegii de când era mai tânăr (II)", in România Literară, Nr. 19/2006
53. ^ (Romanian) Ioan Holban, "Poezia Anei Blandiana", in Convorbiri Literare, July 2005
54. ^ (Romanian) Gabriela Adameşteanu, "Un monument friabil (II)", in Revista 22, Nr. 789, April 2005
55. ^ (Romanian) Marius Chivu, "DGLR faţă cu receptarea critică", in România Literară, Nr. 41/2005
56. ^ (Romanian) Andrei Milca, "Studii de morfologie şi un... manual de aromână", in Cronica Română, March 10, 2006

References

• Nicolae Batzaria (Ali Baba şi Moş Ene), Poveşti de aur (with a foreword by Gica Iuteş), Editura Ion Creangă, Bucharest, 1987. OCLC 64564234
• M. Şükrü Hanioğlu, Preparation for a Revolution: the Young Turks, 1902-1908, Oxford University Press US, New York City, 2000. ISBN 0-19-513463-X
• Kemal H. Karpat, "The Memoirs of N. Batzaria: The Young Turks and Nationalism", in Studies on Ottoman Social and Political History, Brill Publishers, Leiden, Boston & Cologne, 2002, p. 556-585. ISBN 90-04-12101-3

External links

• Film samples (Haplea included) at the National Film Archive of Romania

Persondata
Name	Batzaria, Nicolae Constantin
Alternative names
Short description
Date of birth	November 20, 1874
Place of birth	Kruševo
Date of death	January 28, 1952
Place of death	Bucharest