This time (the third!) [*], all apologies made to a poor domestic animal (the pig), to an ignored and despised profession (the scoundrel), even to a specific local culture (the scoundrel + scum) reach their own climax, peak, finish. (That language: it will be a square square, so a niche with a cube, we are not mocking ourselves.) But with regard to the cube, 3D or 3G, the real petition is being put forward… you’ll see, all of you “colleagues from the academy” judge me. (Ah, what a deep and already eternal phrase of Mrs. Comrade Elena Ch. named Leana lu Niku, which will have to be seriously discussed someday. Because on closer examination it may turn out to be true that, however we are justified, that we hate her for the number 2 role in the state, however, it is possible that they were a little exaggerated, they are pigs or donkeys, about her. If we left her to live like Madame Paukăr, at this hour looking at us from the window of some one-room apartment / social help and saw dimly or dimly how healthy and well we are, and what blessed capitalists we are, didn’t we sit still, hygea-hygea, isn’t that how the country smells of another fried fish dish? – I ask, promising to return to this topic another time, with patience and input from some of you. Because that article is long overdue, waiting/progressing in the queue of reading/censorship/reviews/approved corrections.)

So: “culmination, peak, finish.” What happens here/now in a classic style, namely with a reminder of the classics. Accurately citing and summarizing Mr. teacher, pop pop and brilliant folklorist Ion Creange. And yet, with a certain precision, I will continue didactically and philologically, retelling/translating one of the stories with which the corresponding novelist and pre-modern bard delighted hearts and was ridiculed among the Moldavian emancipated Junimists, in her name (oral and written) A story about a pig.

Now that’s right (part I: introduction to the context) that these youths were somewhat parallel to their brothers and their official head, the boyar Vasyl. in vain (German, Viennese will bein french within Italian SoGreek-Turkish sinin the Romanian language aluminum‘ or better without anything) to Alexander. Someone who believed in the Romanian genius from an early and very young age (“a small child” would be an exaggeration), so much so that he perceived him as a rough, unhewn boulder, sticking his own chainsaw. , chainsaw, flex or chisel, at that time it was called a sledgehammer. To be specific: re-editing, reworking, inventing and calligraphy from one’s own head various empty-like poems or calophiles, beyond what would be a sincere and frugal expression of the naturalistically authentic oral language of the peasants. In other words, Oleksandri and a few other sleazy boys thought that Musai’s village ax genius needed interventionist support in the form of collars and ties. In contrast to this, as I have already suggested, slightly younger Junimists saw genius and exactly how and where it was embroidered; the right for which they encouraged old Ion Creange to write as he speaks, to be unashamed of vulgar-peasant immediacy, to put his crap on paper too. It so happens that Crianga is famous (albeit a little, but still well etched in memory), there is not a single Romanian/Romanian who does not know about that rough story that you absolutely all think about in your head, but the nation also remembers ‘iats the first stories told and/or read in elementary school, and then even confuses the most popular children’s stories, thinking that they were all written or published, somewhat of his own, by Kreange. To be fair and on the other hand, Kreange was really real Golden branch (speech of Lovinescu #2 or 3, an esotericist who takes and worships a fixed book with that name). On the other hand, passing a branch through Romanian speech and pronunciation also characterized the great Eminescu, until that moment he also noted and noted pornographic rhymes, receiving posthumous abuse from all his nephews. But let’s get back.

Context means in what circumstances, mental atmosphere and social environment Creange’s narrator was launched and written after half a Romanian century under no. 19, according to the context and why it came to this (or I simply suggest) to think about the old and ancient children’s story, vol. A story about a pig. Especially since, in fact, its title is only sought-after, surprising and commercial, and the story makes a perspective or a time jump, exposing the subject or secondary motive of the narrative as if it has a leading role, thus starting rather rhetorically and stratagemically, shockingly, to evolve over time to the truth, where the narrative blurs and “decades” into a logical, coherent, and shared one. In particular, it begins with an illustration of a couple, despairing of old age, lack of care and offspring, who adopt an embittered piglet and regard it as their own biogenetic product. Only later learning that the pig was actually a cursed Beautiful Fruit that temporarily changed to become a handsome and rich prince again while the people agree to live in a magical dream rather than a prosaic everyday life. So, in the unfolding of a fantastic story, everything becomes, slowly, completely logical and coherent… but at the same time, the narrative also follows the footsteps of all stories or fairy tales in the world, gradually moving from the illusory and fantastic to the reality known to all, to the debunked everyday life

As you can see, I am not copying or recreating history (everything can be found on the internet these days, beware, so look for any source, credible or not, any version of the text that claims to represent the original branch). However, it teaches us that the pig (as in many other legends about the beggar, the beggar, the vagabond, the Beast, who as mercifully and erotically shakes the beautiful woman of Cosanza as a broken piece of heaven) brings with it a modest fortune, it is a hidden treasure , he will be a hero of heroes and will reward those who care for him. So: an absolute dream of all the incredible overcompensations in exchange for the drama of momentary or seasonal tenderness or compassion. In that sense, in which the genius of men of the branch could never call a frog, as the rest of the world does, a momentary metamorphosis into a Prince, a Handsome Boy, a King’s Son, or an Emperor; or even the Beast (also an international motif), which represents or brings back to reality a young prince, very handsome and terribly rich, through the intimacy and love of the cosansena. But no, the Romanian preferred his pig with tender sympathy, his equal in being and every day, and Krianga was the first to put him in the foreground, charming, wonderful, wonderful. Neither a frog, nor a hideous beast (like all the others), enough of the cruel Manichean and Bohomil ambiguity, which was always given to the pig (calm + capricious, sweet + smelly, useful + infirm, good-natured + muddy), to be introduced to the miracle of being and non-being, to have aspect and fate in parallel with a completely different, virtual one of maximum perfection, positivity, desirability and honors. – Read the entire article and comment on Contributors.ro