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 After Serbia failed to qualify for the tournament, both Stanković and Nemanja Vidić retired from international football, and Žigić was appointed captain of the national team.He captained the team in friendly defeats to Mexico and Honduras in 2011, his 56th and 57th appearances for his country, which proved to be his last. Style of play

<mask>'s extreme height predisposes him to an aerial game. He is dangerous from set pieces, scoring many headed goals and knocking the ball down for others: when he joined Red Star, the coach set out the team in a 4–3–3 formation, with <mask> at centre-forward and two wingers to feed those strengths. He tried to use his physical presence to disrupt opposing defences, both for his own benefit and to draw their attentions away from others. Pep Guardiola said in 2009 that Žigić was not easy to defend against, "almost unstoppable" in the air, but the best way would be to keep him as far as possible away from the penalty area. Speaking in 2010, Radovan Ćurčić, then assistant manager of the Serbia national team, described him as "the king of air play, he is the finest there is in Europe. He possesses the sense of space and movement without the ball and can assist his teammates with headers and set up goal-scoring opportunities."As exemplified on his debut for Racing, a performance in which he demonstrated his aerial power, he is capable of playing with his back to goal, and his height was not incompatible with agility. He prefers to play not as a lone striker but in partnership with a shorter, speedier, teammate. Racing's fitness coach, Javier Miñano, was surprised that Žigić was "well coordinated, to the extent that he doesn't seem so tall when I see him

masks: Žigić Žigić


type: original

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 in training." He prefers to receive the ball in the air, because he can always beat smaller players in the air but they can take advantage of better acceleration and quicker reactions on the ground. According to David Pleat, a major factor in Birmingham's 2011 League Cup win was "telling him to do what he does best and flick the ball on with his head from direct diagonal balls played from both wings". Nevertheless, he is technically competent, scoring goals with his feet and providing assists for others. A 2009 feature in Mundo Deportivo assessed Žigić as one of those few tall players with a good touch on the ball, and in 2010, German international defender Per Mertesacker described him as "technically a good player and very smart tactically".Career statistics

Club

International
Score and result columns list Serbia and Montenegro/Serbia's score first. HonoursRed StarFirst League of Serbia and Montenegro: 2003–04, 2005–06
Serbia and Montenegro Cup: 2003–04, 2005–06ValenciaCopa del Rey: 2007–08Birmingham CityFootball League Cup: 2010–11Individual'''
Serbia and Montenegro League: top scorer 2003–04
Serbian Footballer of the Year: 2003, 2007Večernje novosti'' captains' poll
 Domestic player of the year: 2003, 2005
 Prva zvezda (Player of the year based abroad): 2006
Red Star Sport Association Best Male Athlete: 2005

Notes

References

External links

Player profile on Serbian National Team page

1980 births
Living people
People from Bačka Topola
Serbian footballers
Association football forwards
Serbia and Montenegro international footballers
Serbia international footballers
FK TSC Bačka Topola players
FK Mornar players
FK Kolubara players
Red Star Belgrade footballers
FK Spartak


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 Subotica players
Racing de Santander players
Valencia CF players
Birmingham City F.C. players
Serbian SuperLiga players
La Liga players
Premier League players
English Football League players
2006 FIFA World Cup players
2010 FIFA World Cup players
Serbian expatriate footballers
Expatriate footballers in Spain
Expatriate footballers in England
Serbian expatriate sportspeople in England
Serbian expatriate sportspeople in Spain
Serbia and Montenegro


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<mask> (November 15, 1841December 23, 1923) was an American businessman, banker, and progressive Republican politician. He served four years in the Wisconsin State Senate, representing Grant County and neighboring municipalities, and was mayor of Lancaster, Wisconsin. He also served as a Union Army officer in the American Civil War. Biography
Born in Stillwater, New York, <mask> moved to Grant County, Wisconsin, with his parents in 1857, where his father became a prominent physician. He was educated in public schools in New York and Wisconsin, and, in 1861, went to work as a clerk in the store of <mask>, in Lancaster, Wisconsin. Within a year, however, he decided to volunteer for service in the American Civil War. Civil War service
<mask> originally enrolled in Lancaster with Company C of the 25th Wisconsin Infantry Regiment, composed mostly of volunteers from the counties of southwest Wisconsin.The regiment was organized at La Crosse, Wisconsin, and mustered into service on September 14, 1862. Before they could join the Civil War, they were ordered to proceed west to Minnesota to provide security for Minnesota settlers in the midst of an ongoing Sioux uprising. In December 1862, the regiment concluded its business in Minnesota and returned to Wisconsin, with new orders to proceed south to attach to XVI Corps for service in the Western Theater of the American Civil War. They joined the Siege of Vicksburg from June through July of 1863, and were then assigned to guard duty in eastern Kansas. The regiment suffered from a severe wave of malaria during this summer, and ultimately lost over 400 men to illness. <mask> was one of the men effected by disease, and, in August of 1863, was discharged back to Wisconsin. He spent the remainder of the year home in Lancaster recovering from his illness, but in the spring of 1864, he re-enlisted with Company A of the 41st Wisconsin Infantry Regiment.The regiment mustered into service in June 1864, and was assigned to

masks:
Charles Henry Baxter
Baxter
George Howe
Baxter
Baxter


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 Memphis, Tennessee, where they engaged in picket duty, defending railroads and supply lines. While serving at Memphis, <mask> was detached from the regiment and served as an adjutant to General Cadwallader C. Washburn. The only fighting they saw at Memphis was on August 21, 1864, when a detachment of cavalry under General Nathan Bedford Forrest raided the city in an unsuccessful attempt to capture General Washburn and the two other generals stationed there. The regiments were 100-day enlistments, and as such mustered out in September 1864. <mask> chose to return for another tour with the 47th Wisconsin Infantry Regiment. This time he was commissioned as captain of Company K in that regiment. They proceeded to Louisville, Kentucky, in February 1865, and then to Nashville, Tennessee, and Tullahoma.The regiment was assigned to guard duty, and was often dispersed in small units around middle Tennessee, leaving Captain <mask> in command at the regimental headquarters. Later he was detached from the regiment and made chief of ordinance for the Middle District of Tennessee on the staff of General Robert H. Milroy, and then his successor General <mask> P. Van Cleve. The war came to an end while <mask> was serving in this role, and he mustered out September 8, 1865. Postbellum career
On returning to Lancaster, <mask> again went to work with his earlier employer, <mask>, in a firm known as "Howe & Baxter". <mask> married <mask>'s daughter and took over the business after <mask> retired, renaming it "Charles H. Baxter & Co."  They ran a broad merchandising business, and dealt in lumber, coal, and livestock until <mask>'s retirement in 1895. After his retirement, he was elected vice president of the State Bank of Grant County and later became president of the bank. <mask> was an active and prominent member of the Republican Party of Wisconsin, serving for 20 years as chairman of the Grant County Republican Central Committee, and serving eight years on the State

masks:
Baxter
Baxter
Baxter
Hoio
Baxter
Baxter
George Howe
Baxter
Howe
Howe
Baxter
Baxter


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 Party Central Committee.He served on the Grant County Board of Supervisors and the Lancaster village board. After Lancaster was incorporated as a city, <mask> was the 7th elected Mayor of the city, serving in 1888. He was the Republican candidate for Wisconsin State Assembly in Grant County's 2nd Assembly district in 1884, but fell 98 votes short of incumbent State Representative William John McCoy. Eight years later, he was elected to the Wisconsin State Senate, and was re-elected in 1896, serving from 1893 through 1900. In the Senate, he was chairman of the Joint Committee on Claims from 1895 through 1900. He also served on the committees for state affairs, banking, insurance, and military affairs. He continued to work at the State Bank of Grant County until its merger with Meyer-Showalter State Bank in 1903, at which point he became vice president of the new merged company—Union State Bank.In 1912, he became president of the bank, and continued in that role until his death in 1923. Personal life and family
<mask><mask> married <mask>, the daughter of his business partner, on February 20, 1865. They had three children together. At the time of his death, his wife and children were all still living, as well as three grandchildren. Electoral history

Wisconsin Assembly (1884)

| colspan="6" style="text-align:center;background-color: #e9e9e9;"| General Election, November 4, 1884

Wisconsin Senate (1892, 1896)

| colspan="6" style="text-align:center;background-color: #e9e9e9;"| General Election, November 8, 1892

| colspan="6" style="text-align:center;background-color: #e9e9e9;"| General Election, November 3, 1896

References

External links
The Political Graveyard

People from Stillwater, New York
People from Lancaster, Wisconsin
Wisconsin state senators
Mayors of places in Wisconsin
County supervisors in Wisconsin
Wisconsin city council members
Wisconsin Republicans
People of Wisconsin in the American Civil War
Union Army officers
1841 births
Year of

masks:
Baxter
Charles H
. Baxter
Maria Howe


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<mask>. (January 18, 1815 – February 1, 1885) was an American lawyer and politician, and a Confederate functionary. <mask>, a lawyer prominent in South Carolina state politics, served as a Democratic senator in 1858-60, where he proved moderate on the slavery question. But on Lincoln's election in 1860, <mask> resigned from the U.S. Senate and took part in the South Carolina secession convention, later helping to draft the Confederate States Constitution. He was Deputy from South Carolina to the Provisional Congress of the Confederate States from 1861 to 1862. He also served as a senior officer of the Confederate States Army in the Eastern Theater of the American Civil War. As aide to General P.G.T. Beauregard, he ordered the firing on Fort Sumter and served at First Manassas.Later he was aide to Jefferson Davis and promoted to Brigadier-General. <mask> returned to law practice after the war. His wife was Mary Boykin <mask>, whose published diaries reflect the <mask>s' busy social life and prominent friends such as John Bell Hood, Louis T. Wigfall, Wade Hampton III, and Jefferson Davis. Early life and education
<mask> Jr., was born the youngest of fourteen children and the only (surviving) son of <mask> Sr. (1775–1866) and his wife, Mary Cox (1777–1864) on Mulberry Plantation near Camden, South Carolina. <mask> Sr. was one of the wealthiest planters in the South, who owned 448 slaves and many large plantations totaling nearly five square miles before the outbreak of the Civil War. <mask> Jr. graduated from the law department of the College of New Jersey (now Princeton University) in 1835, and initially rose to prominence in South Carolina state politics. Political career
Admitted to the bar in 1837, <mask> Jr. commenced practice that year in Camden.He was later elected

masks:
James Chesnut Jr
Chesnut
Chesnut
Chesnut
Chesnut
Chesnut
James Chesnut
James Chesnut
Chesnut
Chesnut
Chesnut


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 as a member of the South Carolina House of Representatives (1840–52) and the South Carolina Senate (1852–58, serving as its president 1856–58). He was a delegate to the southern convention at Nashville, Tennessee, in 1850. In 1858 <mask> was elected by the South Carolina Legislature to the U.S. Senate as a Democrat to replace Josiah J. Evans. He served there for two years alongside Senator <mask> Hammond of South Carolina. Although a defender of slavery and states' rights, <mask> opposed the re-opening of the African slave trade and was not as staunch a secessionist as most of the South Carolinian politicians. Moderate in his political views, he believed in extending protections for slavery's westward expansion while remaining within the Union. But the political atmosphere tightened towards the Presidential Election of 1860, since the Republican Party and its presidential candidate, Abraham Lincoln, opposed slavery.After the results of the election were known, <mask> decided that he could no longer stay in his office in the Senate. Shortly after Lincoln's election, he was the first Southern senator to withdraw from the Senate, on November 10, 1860. (He was expelled in absentia from the Senate the next year.) <mask> participated in the South Carolina secession convention in December 1860 and was subsequently elected to the Provisional Congress of the Confederate States. He was a member of the committee which drafted the Confederate States Constitution. Believing that the United States would not resist southern secession, <mask> famously boasted that he would drink all of the blood which would be spilled in the subsequent Civil War. American Civil War

In the spring of 1861, he served as an aide-de-camp to General P.G.T.Beauregard and was sent by the general to demand

masks:
Chesnut
James Henry
Chesnut
Chesnut
Chesnut
Chesnut


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 the surrender of Fort Sumter in Charleston. After the commander of the fort, Major Robert Anderson of the U.S. Army declined to surrender, <mask> gave orders to the nearby Fort Johnson to open fire on Fort Sumter. In consequence the first shots of the Civil War were fired, on April 12, 1861. In the summer of 1861 <mask> also took part in the First Battle of Manassas as an aide-de-camp to Beauregard. In 1862 <mask> served as a member of the South Carolina's Executive Council and the Chief of the Department of the Military of South Carolina. Later in the war he served the Confederate Army as a colonel and an aide to Confederate President Jefferson Davis. In 1864 he was promoted to brigadier general and given command of South Carolina reserve forces until the end of the war.He was third in command of the confederate forces at the Battle of Tulifinny. He was in overall command before the arrival of Maj. Gen. Samuel Jones and later Brig. Gen. Lucius Gartrell. After the war, he returned to the practice of law in Camden and formed the Conservative Party. Personal life
Although <mask> Jr. was the only son, his father had given him little of his extensive property. Because his father lived to the age of 90 and gave his son but a small allowance, the son <mask> had to live mainly on his law practice. The <mask> fortune declined in the course of the war and thus, after his father died in 1866, <mask> inherited little more than the extensive debts that encumbered the Mulberry and Sandy Hill plantations.Chesnut married seventeen-year-old Mary Boykin Miller (1823–86), on April 23, 1840. She later became well known for her book on life during the Civil War, published as a diary but revised extensively from 1881 to 1886. The daughter of U.S. Senator Stephen Decatur Miller (1788–1838)

masks:
Chesnut
Chesnut
Chesnut
James Chesnut
James
Chesnut
Chesnut


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 and Mary Boykin (1804–85), she was well-educated and intelligent and took part in her husband's career. The Chesnuts' marriage was at times stormy due to difference in temperament (she was hot-tempered and passionate and came occasionally to regard her husband as cool and reserved). Their companionship was mostly warm and affectionate but they had no children. The couple resided at Chesnut Cottage in Columbia during the Civil War period.As <mask> described in depth in her diary, the Chesnuts had a wide circle of friends and acquaintances in the society of the South and the Confederacy. Among their friends were, for example, Confederate general John Bell Hood, ex-Governor John L. Manning, Confederate general and politician John S. Preston and his wife Caroline, Confederate general and politician Wade Hampton III, Confederate politician Clement C. Clay and his wife Virginia, and Confederate general and politician Louis T. Wigfall and his wife Charlotte. The <mask>s were intimate family friends of President Jefferson Davis and his wife Varina Howell. <mask> was also a first cousin of fellow Confederate general Zachariah C. Deas. Death
<mask> was "regarded as an amiable, modest gentleman of decent parts [gifts]", who performed his duties with ability and dignity both in political and military life. He died at home in Camden in 1885; interment was in Chesnut Family Cemetery, Kershaw County, South Carolina. See also
 List of American Civil War generals (Confederate)
 List of United States senators expelled or censured

Notes

References

 Cauthen, Charles E.: South Carolina Goes to War: 1860–1865.Chapel Hill: The University of North Carolina Press 1950. <mask>, Mary Boykin: <mask>'s Civil War. New Haven: Yale University Press 1981), ed. C. Vann Woodward. Eicher, John H. &

masks:
Mary Chesnut
Chesnut
James Chesnut
James Chesnut
Chesnut
Mary Chesnut


texts:
 Eicher, David J.: Civil War High Commands. Stanford: Stanford University Press, 2001. .
 Hammond, <mask>: Secret And Sacred: The Diaries of <mask> Hammond, a Southern Slaveholder. Edited by Carol Bleser.New York: Oxford University Press 1988. Muhlenfeld, Elisabeth: Mary Boykin <mask>: A Biography. Baton Rouge: Louisiana State University Press, 1992. Scarborough, William Kaufman: The Masters of the Big House: Elite Slaveholders of the Mid-Nineteenth-Century South. Baton Rouge: Louisiana State University Press, 2003. Sifakis, Stewart: Who Was Who in the Civil War. New York: Facts On File, 1988. .
 Sinha, Manisha, The Counterrevolution of Slavery: Politics and Ideology in Antebellum South Carolina.Chapel Hill: The University of North Carolina Press, 2000. Warner, Ezra J.: Generals in Gray: Lives of the Confederate Commanders. Baton Rouge: Louisiana State University Press, 1959. .
 Williams, T. Harry: Beauregard: Napoleon in Gray. Baton Rouge: Louisiana State University Press 1955. Further reading

External links

 <mask> Jr. at The Political Graveyard

James Chesnut Letter Book at Stuart A. Rose Manuscript, Archives, and Rare Book Library

1815 births
1885 deaths
19th-century American politicians
Burials in South Carolina
Confederate States Army brigadier generals
Conservative Party (South Carolina) politicians
Democratic Party United States senators
Deputies and delegates to the Provisional Congress of the Confederate States
Expelled United States senators
Members of the South Carolina House of Representatives
People of South Carolina in the American Civil War
Signers of the Confederate States Constitution
Signers of the Provisional Constitution of the Confederate States
South Carolina Democrats
South Carolina state senators
United States senators from South

masks:
James Henry
James Henry
Chesnut
James Chesnut


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<mask> (1885–1968) was an American painter who lived in New York City, Philadelphia, and Paris, France. She had a successful career as a painter at the turn of the century, exhibiting her works internationally and winning awards. She had a mental breakdown that caused a break in her career, and she returned to have a successful second career, creating modern watercolor paintings. She was a resident at three artist colonies, with notable artists, writers, and musicians. Sparhawk-Jones' works are in American art museums, including the Art Institute of Chicago, Metropolitan Museum of Art, and Museum of Modern Art. Personal life

Family
<mask> was the daughter of Rev. John Sparhawk Jones, D.D.and Harriet Sterett Winchester, who grew up in Northern Baltimore County on the Clynmalira estate. John Sparhawk Jones was a clergyman at the Brown Memorial Presbyterian Church in Baltimore's Bolton Hill until 1890. The Sparhawk-Joneses moved to Philadelphia after John suffered a deep depression and he became the pastor of the Calvary Church in 1894. Her mother was a domineering woman who nonetheless believed in allowing children to follow their talents and interests. She introduced <mask> and her sister Margaret to classic literature. Both of her parents encouraged <mask> to pursue her interest in art, which began at about seven years of age. She won first place in a nationwide art contest as a child and left school at about 15 years of age to attend the Pennsylvania Academy of the Fine Arts (PAFA).Sparhawk-Jones chose to hyphenate her last name, unlike her father or other members of her family. Sparhawk-Jones' first love was Morton Livingston Schamberg, who was a fellow artist and student at the Pennsylvania Academy of the Fine Arts. Her parents, though, did not approve of her relationship with Schamberg, likely because he was Jewish. In 1906, she was persuaded by her parents to turn down the coveted two-year traveling scholarship from PAFA, which would have had

masks:
Elizabeth Sparhawk Jones
Elizabeth
Elizabeth
Elizabeth


texts:
 her in Paris at the same time as Schamberg. Their relationship then ended. While the family of four was on vacation, <mask>'s father died on August 20, 1910, in Vermont at Bread Loaf. That year, Margaret graduated from University of Pennsylvania with a Master's Degree.Margaret married Bayard Turnbull in Paris in October 1913 against her mother's wishes. Harriet pressed <mask> to side with her, which resulted in a strained relationship between the sisters for many years. <mask> became exhausted from her career efforts, the strain in the relationship with her sister Margaret, and family financial losses. Mental breakdown
Sparhawk-Jones struggled with depression, like her father, and when she was not well she burned her paintings, which reduced the number of works available for sale. In 1913, Sparhawk-Jones had a mental breakdown and lived in the Pennsylvania Hospital for the Insane for three years. The experience was hard on her and she was forever changed. Sparhawk-Jones was terrified and lonely at the asylum, and may have been subject to opium or sedative drugs.She moved in with her mother after she was released from the hospital in 1916. Sparhawk-Jones dealt with the losses of her teacher William Merritt Chase, who died in 1916, and Morton Shamburg, who died in 1918. She said that she did not work as an artist for about 12 years. Relationships

Sparhawk-Jones appreciated the company of writers over other artists, and enjoyed the periods when she lived at artist retreats, like MacDowell Colony and Yaddo, which had resident writers, musicians, and artists. Edwin Arlington Robinson (1868–1935), a Pulitzer Prize winning poet, and Sparhawk-Jones visited the MacDowell Colony at the same times over a cumulative total of ten years. They had a romantic relationship in which she was in love with him, devoted to him, understood him, and did not press for a more intimate relationship. He called her Sparhawk and was courteous towards her.They had a

masks: Elizabeth Elizabeth Elizabeth


texts:
 relationship that D. H. Tracy described as "courtly, quiet, and intense." When he died, Sparhawk-Jones attended his vigil and then painted several paintings in his memory. She described him as a charming, sensitive, and emotionally grounded man with high moral values. Sparhawk-Jones was a friend of Nancy Cox-McCormack, with whom she corresponded between 1935 and 1956, Marsden Hartley, and Hudson Walker (of the Hudson Walker Gallery). Sparhawk-Jones was known for her humor and wit, but confided in a 1964 oral history interview that she always felt lonely, preferring a quiet lifestyle. Residences
Sparhawk-Jones lived part of her adult life in and around Philadelphia, including the rural Westtown, Pennsylvania. She visited Paris often for up to six months at a time, returning to spend time with her family.In the mid-1950s, she moved to Paris and lived there at least through the mid-1960s. She died in 1968 and is buried in the same cemetery as her sister and her parents in northern Baltimore County, Maryland. Education

Sparhawk-Jones studied at the Pennsylvania Academy of the Fine Arts (PAFA). From about 1900, when she was 15 through about 1903, when Thomas Anshutz, Charles Sheeler, and Morton Livingston Schamberg were there. Anshutz taught sketch classes with plaster cast models and dressed models. She received letters of encouragement and critiques by William Merritt Chase, who taught a portrait and life class. During one of the summers at PAFA, she studied in Paris at the Academie de la Grande Chaumiere, where she found the life drawing classes freer than in the United States.In Paris, models included adolescents and pretty young women, and there was an openness and comfort with nudity. Sparhawk-Jones attended Darby School of Painting at Fort Washington, under Anshutz, who was co-founder of the summer school and taught there through 1910. She learned modern art through Schamberg, who was a romantic interest at PAFA. Career

Early


texts:
 career

Sparhawk-Jones was supporting herself through the sales of her oil and watercolor paintings by the time she was eighteen. She painted scenes of women reading or shopping as well as mothers and children walking through a park. Her Impressionist works, known for their vivid colors, were exhibited internationally in 1908, like the Carnegie Institute's international exhibition where she was the only woman to win anything and the only artist from the United States to receive an honorable mention. That year, The New York Times called her "the find of the year", having found her painting The Porch to be the "most unforgettable canvas" in the exhibition that they reviewed.Her use of color and expressive brush strokes were compared by art critics to William Merritt Chase's style. She exhibited at the Pennsylvania Academy of the Fine Arts and in 1908 and 1912 was awarded the Mary Smith Prize. The 1908 prize was won for Roller Skates and the 1912 prize was won for a painting of a flower shop in Paris entitled In the Spring, noted for its radiant colors. Sparhawk-Jones's portrait, painted by Alice Kent Stoddard before 1911, is in the collection of the Pennsylvania Academy of the Fine Arts. Shoe Shop, which she painted in 1911, captures the chaotic shopping excursions of the cosmopolitan New Women of the 20th century. This is compared to the more sedate painting by William Glackens entitled The Shoppers (1907). Both paintings, though, capture wealthy women who have a new-found interest in shopping in the city, evidenced by the crowded figures in the paintings.The Journal of the American Medical Association, which used Shoe Shop as its March 24, 1999 cover, described Sparhawk-Jones as "witty, spirited, and talented". She received positive critical attention for her paintings, but Sparhawk-Jones did not enjoy and avoided promoting her work. Her painting Shop Girls  was exhibited at the Art Institute of Chicago as part of an intention to pick "eye-popping"


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 or "little masterpieces of compactness and stimulation" from American artists' works of the late 19th century and early 20th-century. Now in the Art Institute's collection, Shop Girls was the first woman's painting bought by the Friends of American Art of the Art Institute. It was purchased in 1913 from Sparhawk-Jones for $550. Women's paintings were not generally as revered as paintings by men, which could fetch several thousands of dollars per painting at that time. The painting was made into a poster in the 1980s by the New York Department of Labor, which had the following quotation:

Low point
She hit a low point in her career when she suffered from mental illness and was admitted to an asylum in 1913.She exhibited work in the mid 1910s, for example at the 1916 exhibition at the Pennsylvania Academy of the Fine Arts when she exhibited The Gardener. Artist colonies

She was one of the resident painters in the MacDowell Colony, run by Marian MacDowell in Peterborough, New Hampshire. Lilla Cabot Perry was another of the resident painters. The colony provided residence and a place for men and women to develop their literary, artistic, or musical talent. Sparhawk-Jones was identified as one of the "men and women who have gone on to enrich American life". Among the other named influential people were Puerto Rican Governor and poet Luis Muñoz Marín, novelists Willa Cather and Thornton Wilder, and poet Edwin Arlington Robinson. According to Starhawk-Jones, she was there for a sum total of about ten years, and Robinson was there during each of her stays.In 1928, she was a resident at Yaddo, a 400-acre estate and artist community in Saratoga Springs, New York founded by Spencer and Katrina Trask. She continued to receive invitations to visit Yaddo for one- to two-month stays over the years, and her works were exhibited with those of Yaddo residents after her stays, such as in 1956 when two of her watercolor paintings incorporated in a Yaddo exhibit at


texts:
 Schenectady Museum while she was living in Europe. Other former Yaddo residents include Langston Hughes, Katherine Anne Porter, Truman Capote, and Sylvia Plath. For two or three years, she lived and worked in Florida at the Research Institute (now Maitland Art Center), which was run by Mary Louise Curtis Bok, later the wife of Efrem Zimbalist, and Andre Smith. Her works were exhibited at the Research Studio Gallery in late March and early April 1940. Later career
She encouraged gallery and Pennsylvania Academy of the Fine Arts shows of the works of self-taught Horace Pippin, of whom she said: "For me he is one of the few real artists in our century, when he is at his best." In the 1940 book Pennsylvania; a Guide to the Keystone State, Sparhawk-Jones was identified as one of the state's "important young artists".William Alexander Newman Dorland also identified her as a talented woman painter, along with Cecilia Beaux and other American and English painters in his book The Sum of Feminine Achievement. She reestablished a successful career of modern works in the 1940s, during which she lived in Philadelphia. Sparhawk-Jones has particularly had a following in Chicago and Philadelphia. In 1940, she combined watercolor and oil in The Generations. Of her talent, realized in the painting, Marsden Hartley said, "It seems to be with something of a mental rapier that she conceives her subject matter for [her] pictures border on the exceptionally forceful and they are different in thought, as well as execution, from the work of most of the soft painters among men and women. She is a thinking painter with a rare sense of the drama of poetic and romantic incident." She painted with watercolor in the 1940s, producing works such as The Dreamer which is in the permanent collection of the Delaware Art Museum.Curator Heather Campbell Coyle compared it to Michelangelo's The Dream (c.1533) and Francisco Goya's Capricho 43: The Sleep of Reason Produces Monsters (1799).


texts: In Sparhawk-Jones' painting, the dreamer is a sleeping nude woman surrounded by images that seem to reflect her eerie nightmare. A skeleton lies against a stone in the foreground and above her nude women are carried by "winged creatures" into the darkness. Women are also carried away by men with wings, dressed in business suits. The painting has a composition similar to Michelangelo's painting, but Coyle states that, to her, the work is more similar to Goya's painting that also includes winged creatures above the sleeping subject of the painting. Sparhawk-Jones was called a phenomenon in 1944 in an American Artist magazine, in which the author questioned, "Strange, that she is not recognized far and wide as among the ablest, most distinguished women painters in the United States." Sparhawk-Jones may not have attained greater fame, because at that time there was a "glass ceiling" for women artists that prevented them from attaining significant notoriety, according to biographer Townsend Ludington.Jerry Saltz of the Village Voice, for example, found that modern women painters, born 1879 to 1969, only accounted for 5% of the paintings in the Museum of Modern Art's permanent collection, which includes one of her paintings, Startled Woman. Barbara Lehmen Smith postulated about additional theories. For instance, it could also have been because she didn't promote her paintings, further complicated by her destruction of paintings when she was ill. Another theory is that she was not taken seriously because of her periods of mental illness. An exhibition of her watercolor paintings was held at PAFA in April 1948. Beginning in the mid-1950s and into the mid-1960s, she lived and enjoyed painting in Paris at the Saint Roman hotel near Tuileries Garden and the Louvre. Her work was featured in a story in the summer 1954 issue of the  New Mexico Quarterly. Sparhawk-Jones was described as an emotional painter who created spiritual works of art in the 1960s.She was


texts:
 interviewed in 1964 for an oral history project by Ruth Gurin Bowman, curator of New York University's art collection, who gave the interview materials to the Archives of American Art. That year she won an award for her painting of a seascape at the Silvermine Guild of Artists show in New England. Papers about her career, including exhibition catalogs, sketches, artist's statements, and newspaper clippings are held at the Victor Building in the Smithsonian American Art Museum / National Portrait Gallery Library. In 2010, <mask>-Jones: The Artist Who Lived Twice, a biography of her life, was written and published by Barbara Leham Smith. Her research included four boxes of materials that had originally belonged to Sparhawk-Jones that were inadvertently included with Smith's boxes during an office move from La Paix, the former home of Margaret Sparhawk Jones Turnbull, to another St. Joseph Medical Center location about 1993. Collections

Actor Claude Rains was a collector of her works. Her works in private collections are valued up to $250,000 and are in the following public collections:
 Art Institute of Chicago
 Shoe Shop, , oil on canvas
 Shop Girls, , oil
 Delaware Art Museum – The Dreamer, , tempora on board
 Metropolitan Museum of Art – Caryatides, 1940 watercolor on linen
 Museum of Modern Art – Startled Woman, , oil on canvas
 Pennsylvania Academy of the Fine Arts
 The Market, before 1909, oil
 Woman with Fish, 1936 or 1937, oil on canvas
 Whitney Museum of American Art – The Sea Claims its Own, 1961, oil on canvas
 Wichita Art Museum – The Generations, , watercolor and oil on silk

Notes

References

Further reading

Exhibition catalogs

About Sparhawk-Jones

External links

1885 births
1968 deaths
20th-century American painters
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People from Baltimore County, Maryland
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Students of


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<mask>. O'Hair (born July 11, 1982) is an American professional golfer who plays on the PGA Tour. Early life

O'Hair was born in Lubbock, Texas. Rather than play college golf, O'Hair turned professional in 1999 after his junior year at high school at Brophy College Preparatory in Phoenix, Arizona, under the direction of his father, Marc O'Hair, who sold his share of the family shutter business in Lubbock for $2.75 million to develop <mask> into a touring pro. The elder O'Hair moved the family to Florida and enrolled <mask> in the David Leadbetter Golf Academy. A featured article by Steve Elling in the January 21, 2005 Golf World alleged:
Marc O'Hair, 52, signed management contracts with his son, says he invested $2 million in his boy's professional future and subjected <mask> to a physical and psychological regimen that would make most drill sergeants blush. <mask> broke free in 2002 and has not spoken to his father since a perfunctory greeting at <mask>'s wedding more than two years ago. Professional career
O'Hair entered PGA Tour Qualifying School regularly from 1999, but was unsuccessful at his first five attempts.He played on various developmental tours: the PGA Tour's official second-level developmental Nationwide Tour, the third-level Gateway Tour and the Cleveland Golf Pro Tour. He had limited success, making the cut in only four out of 18 starts at Nationwide Tour level. 2005
In 2004, O'Hair made it through all three stages of PGA Tour Qualifying School. His 2005 season was a dramatic success. He won his maiden PGA Tour event at the John Deere Classic and finished second at the EDS Byron Nelson Championship. He made 24 of 28 cuts for the season and finished with earnings of $2,461,482. He also won PGA Tour Rookie of the Year honors of the 2005 season.After he established himself as the front-runner for Rookie of the Year distinction with

masks:
Sean M
Sean
Sean
Sean
Sean
Sean


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 his strong finish at the EDS Byron Nelson Championship and victory at the John Deere Classic, his estranged relationship with his father, already highlighted on a 2002 episode of 60 Minutes, became well-publicized. It was also profiled by Sports Illustrateds Rick Reilly. 2006
In March 2006, O'Hair was the youngest man in the top 50 of the Official World Golf Rankings but his 2006 season was less successful. O'Hair made 20 of 30 cuts and only made half the amount of prize money he had earned in his maiden year on tour. He dropped out of the top 50—finishing no higher than fourth at the Buick Open in Michigan—but returned to the list with a third place at the Canadian Open. He did however produce some solid play at the major championships, finishing in the top-15 at The Open Championship and the PGA Championship. He also finished at +13, tied for 26th, at the 2006 U.S. Open at Winged Foot.2007

In 2007, caddied by his father-in-law Steve Lucas, O'Hair recorded his first top-10 of the year, a tie for seventh, at the Verizon Heritage. His second-round 66 matched his low round for the season. The seventh place was his best finish on the PGA Tour since the 2006 Canadian Open. On May 12, 2007, at The Players Championship at the TPC at Sawgrass, O'Hair led Phil Mickelson by a stroke after the 3rd round. A birdie two on the "Island Green" 17th hole after he had feared he had flown the green with a 9-iron, and a birdie-birdie-birdie finish for a round of 66, gave him a 9-under-par 207 after 54 holes. In the final round O'Hair, playing in the final pairing with Mickelson, was in second place when they came to the 17th, trailing by two strokes. Mickelson played safely to the center of the multi-tiered green but O'Hair, in an effort to cut into the lead with birdie, elected to go for the pin and hit his tee shot over the back of the green into the water


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 hazard.His third shot, from the drop area, also ended up in the water and he finished the hole with a quadruple bogey seven. O'Hair went on to bogey the 18th, dropping him from second to 11th place, which cost O'Hair approximately $747,000 in prize money. O'Hair did not have any more notable results until the fall season series of events where he recorded consecutive top-5 finishes at the Fry's Electronics Open and the Ginn sur Mer Classic. O'Hair ended the year 58th on the FedEx Cup list. Since late 2007, he has been caddied for by former PGA Tour golfer (and former caddy for Vijay Singh) Paul Tesori. 2008
On March 9, 2008, O'Hair came from three strokes back (behind Stewart Cink) to win the PODS Championship by two strokes from six other players at Innisbrook with a final score of 4-under-par. The following week, O'Hair finished in a tie for 3rd at the Arnold Palmer Invitational at Bay Hill.He shot a 63 in the third round to shoot up the leaderboard, but on the final day he finished three back of the champion Tiger Woods. O'Hair made just over $2million on the season and finished 75th in the FedEx Cup standings. 2009
O'Hair started the 2009 season well with a fourth-place finish at the season opening Mercedes-Benz Championship and then a couple months later had a top-10 finish at the AT&T Pebble Beach National Pro-Am. O'Hair then had his best showing at the WGC-Accenture Match Play Championship where he reached the quarter final stages, beating Adam Scott and Ian Poulter along the way, before losing to eventual finalist Paul Casey 4&3. At the Arnold Palmer Invitational, O'Hair entered the final round with a five stroke lead but lost by one stroke to Tiger Woods as Woods birdied the 72nd hole to win the tournament for the second year in a row. This was also the second year in a row that O'Hair was in contention having finished tied for third


texts:
 the previous season. On May 3, 2009, after starting the final round three strokes behind Zach Johnson, O'Hair won the Quail Hollow Championship by one stroke over Lucas Glover and Bubba Watson.O'Hair survived two late bogies during his final round of 69 to claim his third PGA Tour victory. After his win at Quail Hollow, O'Hair had a quiet spell during the middle of season but returned to form at the right time when the FedEx Cup playoffs came around. After missing the cut in the first playoff event, The Barclays, he then produced a top-10 finish in the next event, the Deutsche Bank Championship. This was followed by a fourth-place finish at the BMW Championship, the third playoff event, which earned him a place in the season finale The Tour Championship. At East Lake, O'Hair finished alone in third place, to earn over $500,000 and finish the year ranked 5th in the FedEx Cup standings. He also finished the season ranked sixth on the money list and had reached the top 15 of the Official World Golf Rankings for the first time in his career. 2010
O'Hair again opened the season with a solid performance in Hawaii at the Mercedes-Benz Championship, achieving a fourth-place finish.However he would not improve on this for the rest of the season and that finish was his best in a steady but unspectacular season. One highlight was his tied seventh-place finish at the 2010 Open Championship which was his career best at that major championship and his highest ever placing at any of the four majors. He also managed a top-5 result at the WGC-Bridgestone Invitational helped by a third round 64. O'Hair did not make into the tour finale at East Lake and finished the season ranked 47th on the FedEx Cup standings. However he did manage to maintain his ranking within the top 50 of the world despite limited success on the season. 2011
O'Hair had a number of issues to


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 deal with in 2011, one of which was the fact that he split from his swing coach <mask>. For the first half of the season, O'Hair missed 10 out of 17 cuts from the start of the season to mid July, which included five straight missed cuts in the middle of the season.He was ranked well outside the top 125 after The Open Championship in July and his season best at that point was a tie for 16th place at Colonial. However O'Hair won the RBC Canadian Open, the first event after The Open Championship in a playoff over American Kris Blanks for his first PGA Tour title in over two years. O'Hair fought back from a second round 73 on the par 70 course to shoot 66-68 on the weekend. Only eight players finished under par for the week and O'Hair was tied at -4 with Kris Blanks after regulation play. Replaying the 18th, both players found trouble from the tee, O'Hair decided to lay well back and in the fairway, whereas Blanks went for it and found the greenside bunker. O'Hair played his pitch safely onto the front of the green, but Blanks' bunker shot trickled off the back of the green and he then pitched up to six feet away. O'Hair two putted for his bogey but when Blanks missed his six footer coming back, O'Hair was declared champion at the first extra hole.As a result of this win, O'Hair moved up from 147th to 43rd on the FedEx Cup list. Also having dropped out of the world's top 100 earlier in the season, he regained that place by rising to 60th in the rankings on July 25. 2012
O'Hair finished T2 at the Sony Open in Hawaii. He made the cut 19 times in 24 events and finished 63rd in the FedEx Cup. 2013
O'Hair made 7 cuts in 22 events with only two top-25 finishes and three withdrawals. He played in the Web.com Tour Finals and finished 16th to retain his PGA Tour card for 2014. 2014
O'Hair played in 25 PGA Tour events, but only had one top 10 and finished


texts:
 160th in the FedEx Cup, which meant a return to the Web.com Tour Finals.He successfully regained his PGA Tour card. 2015
O'Hair was given a sponsor's exemption to the Valspar Championship in Tampa, Florida. He tied for the lead after shooting a final-round 4-under 67, which got him into a playoff with Jordan Spieth and Patrick Reed at 10-under 274. Spieth emerged victorious. O'Hair finished the season 58th on the money list to secure his card for 2016. 2016
O'Hair finished 59th on the money list and re-entering the top 100 in the World Rankings. Personal life
O'Hair and his wife Jackie married in December 2002.They have four children, Molly, Luke, Grady and Trevor. Professional wins (9)
PGA Tour wins (4)PGA Tour playoff record (1–1)New England Pro Golf Tour wins (2)
2003 Blackstone Open
2004 Sterling Open

Other wins (3)Other playoff record (0–1)'''

Results in major championships

CUT = missed the half-way cut
WD = withdrew
"T" = tied

Summary

Most consecutive cuts made – 12 (2007 Open Championship – 2010 Open Championship)
Longest streak of top-10s – 1 (twice)

Results in The Players Championship

CUT = missed the halfway cut
WD = withdrew
"T" indicates a tie for a place

Results in World Golf ChampionshipsResults not in chronological order before 2015.'' WD = Withdrew
QF, R16, R32, R64 = Round in which player lost in match play
"T" = tied
Note that the HSBC Champions did not become a WGC event until 2009. U.S. national team appearances
Presidents Cup: 2009 (winners)

See also
2004 PGA Tour Qualifying School graduates
2013 Web.com Tour Finals graduates
2014 Web.com Tour Finals graduates

References

External links

American male golfers
PGA Tour golfers
Korn Ferry Tour graduates
Golfers from Texas
Golfers from Pennsylvania
Sportspeople from Lubbock, Texas
People from West Chester, Pennsylvania
Sportspeople from the Delaware Valley
1982


texts: <mask> or <mask> (; born <mask>; , <mask>; transitional Cyrillic: Коⲛстантiⲛꙋ Aрiстia, <mask>; 1800 – 18 April 1880) was a  Wallachian-born poet, actor and translator, also noted for his activities as a soldier, schoolteacher, and philanthropist. A member of the Greek colony, his adolescence and early youth coincided with the peak of Hellenization in both Danubian Principalities. He first appeared on stage at Cișmeaua Roșie in Bucharest, and became a protege of Lady Rallou. She is claimed to have sponsored his voyage to France, where Aristia became an imitator of François-Joseph Talma. Upon his return, <mask> took up the cause of Greek nationalism, joining the Filiki Eteria and flying the "flag of liberty" for the Sacred Band. He fought on the Wallachian front during the Greek War of Independence, and was probably present for the defeat at Drăgășani. He escaped the country and moved between various European states, earning protection from the Earl of Guilford, before returning to Bucharest as a private tutor for the Ghica family.<mask> used this opportunity to teach drama and direct plays, and thus became one of the earliest contributors to Romanian theater. A trendsetter in art and fashion, he preserved his reputation even as Wallachians came to reject Greek domination. He adapted himself to their cultural Francization, publishing textbooks for learning French, and teaching both French and Demotic Greek at Saint Sava College. Under the Regulamentul Organic regime, <mask> blended Eterist tropes and Romanian nationalism. He became a follower of Ion Heliade

masks:
Costache
Kostake Aristia
Constantin Chiriacos Aristia
Konstantinos Kyriakos Aristias
Constantinŭ Aristia
Aristia
Aristia
Aristia


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 Rădulescu, and helped set up the Philharmonic Society, which produced a new generation of Wallachian actors—including <mask> Caragiale and Ioan Curie. He contributed to the effort of modernizing the language, though his own proposals in this field were widely criticized and ultimately rejected. <mask> was made popular by his translation of Vittorio Alfieri's Saul, which doubled as a nationalist manifesto, and earned accolades for his rendition of the Iliad; however, he was derided for eulogizing Prince Gheorghe Bibescu.He also contributed to cultural life in the Kingdom of Greece, where, in 1840, he published his only work of drama. <mask> participated in the Wallachian Revolution of 1848, when, as leader of the National Guard, he arrested rival conservatives and publicly burned copies of Regulamentul Organic. During the backlash, he was himself a prisoner of the Ottoman Empire, and was finally expelled from Wallachia. He returned in 1851, having reconciled with the conservative regime of Barbu Dimitrie Știrbei, and remained a citizen of the United Principalities. He kept out of politics for the remainder of his life, concentrating on his work at Saint Sava, and then at the University of Bucharest, and on producing another version of the Iliad. Among his last published works are Bible translations, taken up under contract with the British and Foreign Bible Society. Biography

<mask> is generally believed to have been born in Bucharest, the Wallachian capital, in 1800.The date was pushed back to 1797 in some sources, but Aristia's relatives denied that

masks:
Costache
Aristia
Aristia
Youth Aristia


texts: this was accurate. In 1952, folklorist Dimitrios Economides, who conducted interviews with the Aristia family, argued that <mask> was born in Istanbul, capital of the Ottoman Empire, "around the year 1800". At the time of his birth, Wallachia and Moldavia (the two Danubian Principalities) were autonomous entities of the Ottoman realm; Greek cultural dominance and Hellenization, represented primarily by Phanariotes, were at their "great acme". Though seen by scholar Petre Gheorghe Bârlea as Aromanian by origin, <mask> himself noted that, on his paternal side at least, he was a "good Greek". He described his relationship with Wallachia in terms of voluntary assimilation, as advised by his father: Fii grec și român zdravăn, fii recunoscător ("Be steadfast as a Greek and a Romanian, be thankful"). Immersed in Greek culture, he still had virtually no understanding of written Romanian until 1828. <mask> entered Bucharest's Greek School during the reign of Prince John Caradja, a Phanariote.His teachers there included philologist Constantin Vardalah. According to one late report by researcher Octav Minar, <mask> also debuted as a teacher of drama upon his return to Bucharest, at some point before 1815. His first-generation students supposedly included Stephanos "Natis" Caragiale, grandfather of the Romanian dramatist Ion Luca Caragiale. Before graduating, <mask> himself was an actor for the open-air venue at Cișmeaua Roșie. Scholar Walter Puchner, who dates these events to "the spring and autumn of 1817", questions the accuracy of historical records, noting that

masks: Costache Aristia Costache Aristia Aristia


texts: they contradict each other on the details; according to memoirist and researcher Dimitrie Papazoglu, Cișmeaua was in fact managed by "director <mask>". At that stage, acting in Wallachia was an all-male enterprise, and <mask> appeared as a female lead, in drag. The Cișmeaua troupe was sponsored by Caradja's daughter, Lady Rallou.According to various accounts, she was impressed by <mask>'s talent, and reportedly sent him abroad, to the Kingdom of France, for <mask> to study under François-Joseph Talma. The details of this claim are disputed. Researcher Ioan Massoff notes that <mask> was never a member of Talma's acting class, but only a regular spectator to his shows, and after that his imitator. Puchner questions whether this trip ever took place, since "no evidence has surfaced for [<mask>ias rallied to the cause of Greek nationalism shortly before the Greek uprising of 1821. Young Aristia joined Alexander Ypsilantis's secret society, the Filiki Eteria, which slowly engineered the nationalist expedition in Moldavia and Wallachia. In late 1818 and early 1819, a new Prince, Alexandros Soutzos, allowed Aristia and his troupe to perform works of political theater, portraying the "hatred of tyranny and self-sacrifice for the fatherland"—from La Mort de César and Mérope, by Voltaire, to Iakovakis Rizos Neroulos' Aspasia.They were met with "frenetic applause, exuberance and overflowing emotions". Soutzos was troubled by this reception, and decided to ban all plays that could be construed as critiques of religion and political affairs. He was ignored by the

masks: Aristias Aristia Aristia Aristia Aristia Aristiast


texts: troupe, who answered more directly to a group of Eterist conspirators; they continued with provocative stagings of plays by Voltaire and Vittorio Alfieri, until May 1820, by which time local Greeks were in full preparation for the revolution. Aristia awaited the Eterists in Bucharest, which had been occupied by troops loyal to Tudor Vladimirescu, who led a parallel uprising of Romanians. In mid March 1821, Greeks in Bucharest, led by Giorgakis Olympios, pledged to support Ypsilantis rather than Vladimirescu. The event was marked by a large display of Greek nationalism in downtown Bucharest, the details of which were committed to writing by Constantin D. Aricescu from his interview with Aristia. The actor carried the "flag of liberty", an Eterist symbol showing Constantine the Great and Helena, alongside a cross and the slogan "In this, conquer"; the obverse showed a phoenix rising from its ashes.The ceremony ended with the banner being planted on the Bellu gate, announced to the crowds as prefiguring the future reconquest of Byzantium. Reportedly, "the flag that was carried by Mr. <mask>" was later also adopted by Sava Fochianos, who deserted to Ypsilantis' Sacred Band alongside the Bucharest garrison. In April–August, Ypsilantis' forces were encircled and crushed by the Ottoman Army. According to various accounts, Aristia fought alongside the Sacred Band of Wallachia in their final stand at Drăgășani, side by side with a fellow actor, Spiros Drakoulis. He was seriously wounded on that battlefield, before receiving sanctuary in the Austrian Empire. He


texts: eventually settled in the Papal States, where he reportedly continued his education and became familiar with Italian theater. Performing in charity shows for destitute children, in or around 1824 he met Louis Dupré, who drew his portrait.Also at Rome, <mask> met the Earl of Guilford, and later claimed to have received his quasi-parental protection. Meanwhile, <mask>'s actual father had enlisted to fight for the First Hellenic Republic, and was later killed at the Siege of Missolonghi. Returning to his native Wallachia, <mask> found work as a private tutor for young members of the Ghica family—whose patriarch, Grigore IV Ghica, had taken the Wallachian throne in 1822. His patron, Smărăndița Ghica, also asked him to stage Neoclassical plays in Greek at her Bucharest home. Regulars included the future politician and memoirist, Ion Ghica, who was also directly tutored by <mask>. According to Ghica, <mask> reserved the title roles for himself, while Smărăndița and Scarlat Ghica had supporting roles; their costumes were improvised from bed linen and old dresses. Ghica describes his teacher as an "epic" and "fiery" character, noting in passing that Aristia was also promoting the modern Western fashion, including the tailcoat, having discarded all Ottoman clothing after 1822.This period also witnessed the first coordination between <mask> and a Wallachian writer, Ion Heliade Rădulescu. Inspired by the latter, in 1825 Aristia produced and performed in Molière's George Dandin, turning it into an anti-Phanariote manifesto. It remains the only work by Molière ever

masks: Aristia Costache Aristia Aristia Aristia Aristia


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 to be brought on stage in Wallachia, despite many translations of his other plays. Also in 1825, <mask> traveled to British Corfu, performing in his own Greek rendition of Voltaire's Mahomet. Sponsored by Guilford, he finally graduated from the Ionian Academy. During his time there, he staged Alfieri's Oreste, Agamemnon, and Antigone, Pietro Metastasio's Demofoonte, and Jean Racine's Andromaque. Puchner also mentions that Aristia eventually taught classes at the Academy.Economides suggests that <mask> had returned to Bucharest in 1827, joining the staff of Saint Sava College as a teacher of French; other records have him in Paris, where <mask> completed an hymn celebrating the Hellenic Republic. It was first published by Firmin Didot in 1829. Meanwhile, the anti-Ottoman trend received endorsement following the Russo-Turkish War of 1828–1829, which placed Wallachia and Moldavia under a modernizing regime, defined by the Regulamentul Organic constitution. His hymn was published as a brochure by Heliade's newspaper Curierul Românesc, which thus hinted at Romanian national emancipation. One account by Iosif Hodoșiu suggests that <mask> returned to his activities on the stage during the actual occupation, in the interval following Grigore Ghica's ouster. His "timid attempt" included shows of Alfieri's Bruto and Oreste, the latter with C. A. Rosetti as Aegisthus (displaying "such natural ferocity that he frightened the public, and even his teacher, <mask>"). Philharmonic Society

Aristia's conversion to Romanian nationalism, or the "ideals of the Romanian

masks: Aristia Aristia Aristia Aristia Aristia


texts: national community", is noted by historian Nicolae Isar as being exemplary for a generation of assimilated Greeks.The poet was initially threatened by the overwhelming prestige of French culture, which marginalized Greek influence: he reportedly lost students to the new French school, founded by Jean Alexandre Vaillant. However, he compensated by exploiting his own French literary background. He is thus credited as a contributor to Heliade's Romanian version of Mahomet, which appeared in 1831. Despite his acculturation, Aristia continued to publicize the staples of "Eterist dramatic repertoire", which included both Mahomet and Lord Byron's Siege of Corinth. From November 1832, headmaster Petrache Poenaru employed <mask> to teach French and Demotic Greek at Saint Sava. He also gave informal classes in drama and had a series of student productions involving Rosetti and Ion Emanuel Florescu; during these, Rosetti "revealed himself as a very gifted thespian". Aristia also discovered and promoted a Bucharest-born tragedian, Ioan Tudor Curie.He continued to have an influence on fashion: most students, above all Curie and <mask> Mihăileanu, imitated their teacher's every mannerism. Because of <mask>, a generation of actors "trilled and swagged", wore their hair long, and put on "garish" neckties. Students from those years included Natis Caragiale's son, <mask> Caragiale, who debuted in 1835 as Curie's understudy. As reported by Curie himself, it was <mask> who took the initiative in transforming irregular theatrical classes into a more structured drama club:

masks: Aristia Costache Aristia Costache Aristia


texts: "He was famous artist, a good painter, an architect, a sculptor, a poet. He had great, solid ideas about each and everything. He wanted a classical theater; he proceeded by searching through the libraries of Greek monks, those who were present at Bucharest, for those books showing Arab and Jewish costumes and from these antique models he created the theater's wardrobe, sewing them together himself, out of fine cloth, [and] creating a historically accurate scene". <mask> received encouragement from the boyar nobility, who had heard of his "performing wonders" as an educator, but also from the Russian Governor-general, Pavel Kiselyov.Kiselyov visited Aristia to make sure that the gatherings were non-political in content, after which he gave his personal blessing. By 1833, <mask> had become a regular in liberal circles, meeting with his pupil Ghica and other young intellectuals. Together with Heliade, they established a Philharmonic Society. He organized classes in acting and declamation at the Dramatic School, a branch of the Philharmonic Society. This was the first learning institution for professional acting to exist in the Balkans. Alumni included three of Wallachia's pioneer actresses, Caliopi Caragiale, Ralița Mihăileanu, and Eufrosina Popescu, as well as the future playwright Dimitrie C. Ollănescu-Ascanio. From November 1, 1835, <mask> and his mentor Heliade were editors of its mouthpiece, Gazeta Teatrului.That year, he also published a textbook on French grammar, reprinted in 1839 as Prescurtare de grammatică françozească. It was closely based on

masks: Aristia Aristia Aristia


texts: Charles Pierre Chapsal and François-Joseph-Michel Noël's Nouvelle Grammaire Française. He followed up with a series of French-language courses, including a phrase book and a translation of J. Wilm's book of moral tales. The Philharmonic put up plays by foreigners—the only exception to this rule was a reported staging of <mask> Faca's Comodia vremii, in 1835. Mahomet was a favorite with the public—<mask> did not appear in it, but served as a prompter. According to Hodoșiu, the Philarmonic had "incalculable" success with this play, which ensured that the group could count on a 2,000-ducat budget. Other productions riled up conservative sensitivities, as was the case with August von Kotzebue's Misanthropy and Repentance.It prompted Barbu Catargiu to report that the Philarmonic had failed in its stated mission of serving as the "school of morals". Aristia's subsequent work was a translation of Alfieri's Saul and Virginia, initially commissioned and produced by the same Society. It was never printed, but served as the basis for a show on December 1, 1836. He prepared, but never managed to print, Molière's Forced Marriage. In 1837, Aristia also published his version of Homer's Iliad, which included his short biography of the author. The published version also featured Aristia's notes, outlining answers to his earliest critics, whom he called "Thersites". Wallachia's ruler Alexandru II Ghica was enthusiastic about the work, and presented Aristia with congratulations, expressed for all his subjects.This is sometimes described as the first Iliad translation into

masks: Costache Aristia


texts: Romanian; some evidence suggests that Moldavia's Alecu Beldiman had produced another one ca. 1820, around the time when Iordache Golescu also penned a fragmentary version. Saul was the Society's other major success: it doubled as a patriotic play, with messages that theatergoers understood to be subversively aimed at occupation by the Russian Empire. Russian envoys took offense, and the production was suspended. Its noticeable opposition to Alexandru II, and financial setbacks, put an end to the Philharmonic Society during the early months of 1837. Aristia's pupils attempted to take up similar projects, but generally failed to build themselves actual careers. Exceptions included <mask> Caragiale, who was able to find employment at Botoșani in Moldavia, as well as Eufrosina Popescu and Ralița Mihăileanu, who were leading ladies in Bucharest until the late 1870s.By May 1837, <mask> himself had traveled to Moldavia, accompanying Heliade on a networking trip and hoping to coordinate efforts between dissenting intellectuals from both Principalities. Samples of his poetry were taken up in Mihail Kogălniceanu's review, Alăuta Românească. At home, the Ghica regime continued to bestow accolades upon the poet. In 1838, he was received into boyardom after being created a Serdar; in January 1836, he had married the Romanian Lucsița Mărgăritescu. Around that time, <mask> was inhabiting a townhouse to one side of Bucharest's Lutheran Church (Luterană Street), where he also hosted the city's first state-sanctioned girls' school. His father in law, Serdar Ioan

masks: Costache Aristia Aristia


texts:
 Mărgăritescu, granted the couple a vineyard in the unincorporated neighborhood of Giulești, and various assets worth 35,000 thaler. Costache and Lucsița's first-born was a son, found dead at the age of three; a daughter, Aristeea <mask>, was born to them in 1842.Aristia's school of acting, still heavily reliant on Talma, was nominally realistic, or "somewhat naturalistic", in that it relied on substitution. However, he pushed his pupils to exaggerate, causing them "nervous wear and tear" to the point of compete exhaustion. Curie was recalled to play the lead in Saul during December 1837, and acted with such pathos that he fainted. Doctors intervened to draw blood, prompting Heliade to remark that Curie had "shed his blood for the honor of Romanian theater". Reportedly, some at Ghica's court were impressed by the event, and inquired about "the emperor" Curie's health. Although the play could go back into production from January 1838, and also taken up by Caragiale's troupe in Moldavia, Heliade and Aristia's activity was interrupted by major setbacks. As reported by Hodoșiu, "indirect persecutions", showing Alexandru II's mounting jealousy, but also conflicts within the Society itself, again brought Aristia's work to a standstill.The Philharmonic ceased functioning when Ieronimo Momolo ended their lease on his theater hall. Athens sojourn and 1848 Revolution

By 1839, Prince Ghica had engineered Heliade's political marginalization; the only two Heliade loyalists to still declare publicly were Poenaru and Aristia. During those months, the conservative


texts: schoolteacher Ioan Maiorescu published a detailed critique of Wallachia's educational system, prompting Aristia to take up its defense. Around that time, Aristia and Curie went on a theatrical tour of the Kingdom of Greece, where the former set up a Philodramatic Society. His cultural manifesto, addressed to the Greek people, was published on 25 September 1840. It won him instant support from other former Eterists relocated to Athens, including his mentor Rizos Neroulos, as well as from the deposed Prince John Caradja. Aristia's text was a critique of melodrama as favored by the foreign courtiers of King Otto, attracting their opposition to his projects; they promoted Aristia's rival, Theodoros Orfanidis.Aristia and is troupe are only known to have performed a single play in Athens. This was Aristodemo, by Vincenzo Monti, which he himself translated into Greek; it premiered on 24 November 1840. According to one anecdote, <mask> "so very much scared those dames of reborn Hellada with the realism of his acting, that some just fainted." Also in 1840, a printing press in Athens put out Aristia's only original work of drama, the tragedy Αρμόδιος και Ἀριστογείτων ("Harmodius and Aristogeiton"). Dissatisfied with the Ottonian regime, the author privately confessed that he longed to make his definitive return to Wallachia, "among those good Dacians". He did so before October 1843, and served as co-editor of Poenaru's newspaper, Învățătorul Satului. This was the first publication specifically aimed at educating Wallachia's peasants, and was distributed by rural


texts: schools.<mask> held his own column in the form of "moralizing tales", Datoriile omului ("Man's Duties"), sometimes inspired by historical episodes from the times of Mircea the Elder and Matei Basarab. These alternated "careful pledges of submission to law and the authorities" with "critical notes against injustice and abuse by those in power." Curie, meanwhile, opted not to return to his homeland, signing for the French Foreign Legion; he later settled in Moldavia. Those years also witnessed <mask>'s enthusiasm for political change in Wallachia: also in 1843, he published Prințul român ("The Romanian Prince"), which comprises encomiums for Gheorghe Bibescu, winner of the recent princely election. This was followed in 1847 by a similar work on Marițica Bibescu, published as Doamna Maria ("Lady Maria"). In 1845, he had also produced a third and expanded edition of his work on French grammar. He was nevertheless struggling to make ends meet.By 1847, his two Bucharest homes had been taken by his creditors, and Lucsița had prevented his access to her dowry. Despite his participation in the princely cult, <mask> was being driven into the camp opposing Bibescu's relative conservatism. He now "totally integrated" within the Romanian national movement, emerging as a member of the liberal conspiratorial society, Frăția. Historian Mircea Birtz hypothesizes that he was also initiated into the Romanian Freemasonry, but notes that the organization itself never claimed him. According to historian Dumitru Popovici, <mask> was aware of how his non-Romanianness clashed

masks: Aristia Aristia Aristia Aristia


texts: with revolutionary ideals; like Caragiale and Cezar Bolliac, he compensated with "grandiloquent gestures" that would display his affinities with locals. The poet reached his political prominence in June 1848, with the momentary victory of the Wallachian Revolution. During the original uprising, he agitated among Bucharest's citizens, reciting "revolutionary hymns".Following Bibescu's ouster, the Provisional Government established a National Guard, and organized a contest to select its commander. Papazoglu recalls that <mask> was the first Guard commander, elected by the Bucharest citizenry with an acclamation on the field of Filaret. Other accounts suggest that <mask> presented himself as a candidate, but lost to government favorite Scarlat Crețulescu, and was only appointed a regular member for one Bucharest's five defense committees. According to Aricescu, <mask> and Nicolae Teologu were supported by the populace, who gathered at Filaret to protest against Crețulescu's selection. This prompted the authorities to censure them with a proclamation against "anarchy"; as read by Aricescu, the document proved that <mask> and Teologu, as Heliade disciples, were less left-wing than Rosetti and other "demagogues", who made up most of the revolutionary cabinet. On July 7 (Old Style: June 25), Crețulescu resigned, freeing his seat for Aristia. According to Papazoglu, entire sections of the National Guard existed only on paper.Those that did exist comprised regular members of the city guilds in their work uniforms, who amused the populace with their poor military


texts: training. During his period as a revolutionary officer, <mask> himself helped carry out the clampdown on Bibescu loyalists. According to Heliade, the reactionary leader Ioan Solomon was captured by "Constantin <mask>, a colonel in the national guard, who enjoyed the People's great confidence". Heliade claims that <mask> saved Solomon from a near-lynching, ordering his protective imprisonment at Cernica. Another target of revolutionary vengeance was Grigore Lăcusteanu, whose memoirs recall an encounter with "<mask> (hitherto a demented acting coach) and one Apoloni, armed to their teeth, their hats festooned with feathers." Lăcusteanu also claims that he easily tricked <mask> into allowing him to lodge with a friend, Constantin A. Crețulescu, instead of being moved into an actual prison. Shortly after, <mask> resigned and was replaced with Teologu.He remained enlisted with the Guard, helping its new commander with the reorganization. According to one later record, <mask> also served as a revolutionary Prefect of Ilfov County (which included Bucharest). Învățătorul Satului, directed by the radical Nicolae Bălcescu from July 1848, employed the poet on its editorial team. Over three issues, it published his unabashed political essay, Despre libertate ("On Liberty"). In September, the Revolution itself took a more radical turn: at a public rally on September 18 (O. S.: September 6), Regulamentul Organic and Arhondologia (the register of titles and ranks) were publicly burned. <mask> and Bolliac participated in this event and gave "firebrand speeches." As

masks: Aristia Aristias Aristia Aristia Aristia Aristia Aristia Aristia


texts:
 reported by Colonel Voinescu, the conservative memoirist, the "ridiculous parody" was entirely organized by "a Greek man, namely C. <mask>".Voinescu muses: "What should we call such an act? Which nation has ever set fire to its own laws before even making herself some new ones! but there is some consolation in the knowledge that the chief leader of this display was a Greek." Imprisonment, deportation, and return
The drift into radicalism was finally curbed by a new Ottoman intervention, which ended the Revolution altogether. As leader of the occupation force, Mehmed Fuad Pasha ordered a roundup of revolutionaries. <mask> was imprisoned at Cotroceni Monastery, part of a prison population which also included Bălcescu, Bolliac, Rosetti, Ion C. Brătianu, Ștefan Golescu, Iosafat Snagoveanu, and various others; people less implicated in the events, such as Dimitrie Ghica, were released back into society. On September 24, Fuad and Constantin Cantacuzino signed an order to banish Aristia and other rebels from Wallachia.The early leg of his deportation journey was a boat trip up the Danube, alongside his fellow poet-revolutionary Dimitrie Bolintineanu, as well Bolliac, Snagoveanu, Ștefan Golescu, Nicolae Golescu, Alexandru Golescu-Albu, and Grigore Grădișteanu. Outside Vidin, <mask> wanted to pass the time by reciting from Saul, before being struck down by his Turkish guard—unfamiliar with theater, he feared that Aristia had gone insane. According to one account, <mask> was due to be executed alongside other radicals, but got hold of the firman and was able to


texts: modify its text before it reached his would-be executioners. Other reports note the intervention of United Kingdom diplomats, including Effingham Grant, who feared that Aristia and the others would end up as Ottoman prisoners in Istanbul, or handed over to the Russians. In October, Grant met the hostages near Vidin, noting that they were "in a most wretched state". Aristia was finally taken with the other exiles to Ada Kaleh, some 160 kilometers upstream, where the revolutionaries negotiated crossing into Austrian territory by way of Semlin—in effect, an escape from custody. Eventually, the group came ashore into a rural part of the Banat, controlled by local Romanians, who defended the Austrian cause against the breakaway Hungarian revolutionaries; Snagoveanu was able to persuade the peasants that the new arrivals, though revolutionary exiles, were not friends of the Hungarians, and that they could be granted safe conduct.The second part of the journey took <mask> into Austrian Transylvania, alongside Ion Ionescu de la Brad. The latter recalled in 1850: "I had the misfortune of spending 40 days on the Danube with this creature [Aristia], and then on our way to Brașov we almost wrestled over me jibing at Heliade and the Phanariotes." A committed supporter of Heliade's post-revolutionary faction, <mask> successively lived in Brașov, Paris, Istanbul, and Athens. In February 1849, "Provisional Government members and delegates of the Romanian emigration", including Heliade and Aristia, signed a letter of protest addressed primarily to the Frankfurt

masks: Aristia Aristia


texts: Parliament, asking for an international opposition to Russian intrusion into Wallachian political life. They asserted: "As tributaries of the Sublime Porte and [in that] autonomous, Romanians, having fulfilled all their obligations toward the Ottoman Court, can now only place themselves under the protections of those powers interested in Turkish independence." <mask> took Heliade's part in his conflict with fellow exile Bălcescu, accusing the latter of having squandered funds collected for the revolutionary cause. In July 1849, a common resolution by the Russian and Ottoman governments named him among the 34 individuals "who have taken part in the disorders of Wallachia", and whose entry in either Principality was to be prevented by force.A report by Alexandru Golescu-Arăpilă informs that in May 1850 <mask> was stranded in Vienna, unable to continue his European journeys after a financial "blunder". As noted by the same Arăpilă, such episodes did not prevent <mask> from presenting the financial situation of revolutionary cells in unrealistic terms, and to promise wonders (monts et merveilles). The poet had refused an offer of naturalization by Greece, and instead was seeking to follow Heliade's example and begin serving the Ottomans; for this reason, he traveled to Ruschuk. <mask> also made ample efforts to be allowed back into Wallachia—Bibescu's brother, Barbu Dimitrie Știrbei, was by then the country's reigning Prince. By July 1850, <mask> had written several letters to both Știrbei and his Ottoman supervisors asking that he and his wife be forgiven.


texts: These letters show that he had buried two children and had one living daughter, Aristeea Aristia, as "my only fortune in this world." Știrbei gave his approval, and on September 13 a decree was issued allowing him and his family to cross the border; they did so in 1851.He now helped establish the prototype National Theater Bucharest. Together with <mask> Caragiale, he participated in the very first production of a play by that institution, on December 31, 1851. The family moved back into their home at Giulești, where they began tending to their vineyard and opened a number of sand mines. The property increased from various purchases, but <mask> donated some of the plots to low-income families. <mask> returned to print in 1853 with a series of moral tales, Săteanul creștin ("The Christian Villager"). It carried a dedication to the Princess-consort, Elisabeta Cantacuzino-Știrbei. <mask> continued to be active during Știrbei's second reign, which began in October 1854.That year, his scattered poems were collected in an almanac put out by the Romanians of Großwardein. For a while in September 1855, the Prince considered making Aristia his State Librarian. Becoming a Caimacam (Regent) in 1856, after the Crimean War had put an end to Russian interventions, Alexandru II Ghica finally awarded him that same office. In 1857–1858, he and Carol Valștain, as employees of the fledgling Wallachian National Museum, worked to recover and store art bequeathed by Barbu Iscovescu, a painter and revolutionary figure who had died in exile at Pera. Săteanul creștin was

masks: Costache Aristia Aristia Aristia


texts:
 followed in 1857 by a first volume from Plutarch's Parallel Lives, including a biographical essay by Dominique Ricard. As he explained in an announcement put out by Foaia pentru Minte, Anima si Literatura, this activity had consumed him for the previous four years. He also credited its success to grants awarded by two Wallachian Ministers of Education—his former enemy Scarlat Crețulescu, and his one-time Philharmonic colleague, Ioan Câmpineanu.Final activities

Though resuming his literary activities, <mask> declared himself frustrated in his work as a translator by the lack of a literary standard, including in matters of Romanian Cyrillic orthography. He considered giving up on this activity. Also in 1857, after being contacted by the British and Foreign Bible Society (BFBS), <mask>ias". He used the "latest Greek edition", verified against the Masoretic Text. Three volumes, comprising all text between Genesis and Isaiah, was published in 1859 as Biblia Sacra. In parallel, his Iliad had reached he Duchy of Bukovina, acquired by Eudoxiu Hurmuzachi; in this version, it served to familiarize Mihai Eminescu, the future poet, with Homer's work. However, Aristia rejected his own translation, and had by then produced a new one, ultimately published in 1858.In January 1859, Wallachia was effectively merged with Moldavia into the United Principalities, as the nucleus of modern Romania. Under this new regime, <mask> was again confirmed as a teacher of French and Greek at Saint Sava, though some records also suggest that he only taught Greek at Gheorghe Lazăr

masks: Aristia Aristiast Aristia


texts: Gymnasium, from 1860 to 1865. Also in 1859, <mask> published his final original work of verse, Cântare. Written from the point of view of children in an orphanage, it honored the musician and philanthropist Elisa Blaremberg. His status was declining: by the 1850s, his and Talma's style of acting were being purged from theaters by a more realistic school, whose leading exponents were Matei Millo and Mihail Pascaly. In 1860, the BFBS ended its contract with Aristia, who was demanding ever-increasing funds, and whose libertine lifestyle was viewed as distasteful by local missionaries. P. Teulescu of the National Archives employed him as a translator of Greek Wallachian documents from the age of Constantine Mavrocordatos.As noted by historian Nicolae Iorga, the activity fit in with <mask>'s talents, as "something he was good at" (Iorga's italics). In 1864, <mask> and Lucsița Aristia were living on Stejar Street. They declared themselves "of Hellenic origin, of Romanian birth, [and] of Christian Orthodox religion". His daughter Aristeea married the biologist Dimitrie Ananescu that same year; the younger Alexandrina was from 1871 the wife of Alexandru Radu Vardalah. Following the transformation of Saint Sava, <mask> was assigned a chair at the new University of Bucharest, but resigned in favor of his pupil Epaminonda Francudi. In the 1870s part of his Giulești vineyard was taken over by the Romanian state. Aristia was largely inactive during the final two decades of his life.In April 1867, he endorsed Constantin Dimitriade's effort to introduce more rigorous

masks: Aristia Aristia Costache Costache


texts: acting through a translation of Joaquín Bastús' manual, Tratado de Declamación. It appeared that same year, but proved to be "tedious, complicated, and quickly outdated." One other exception was an 1868 article for Ateneul Român, where he campaigned for the adaptation of Romanian poetry to classical hexameters. That same year, Bolliac's newspaper, Trompetta Carpaților, asked Romanian authorities to sponsor Aristia's complete translation of the Iliad, including its eventual publication. This stance was being largely ignored by the new cultural mainstream, formed around Junimea, which favored the shedding of Latin prosody in favor of more natural patterns. In a February 1876 issue of Convorbiri Literare, Junimist Ștefan Vârgolici described some of Aristia's lyrics as "very poorly written and very badly cadenced". The group also promoted a less pretentious version of the Iliad, as provided by its member, Ioan D. Caragiani.Completely blind from 1872, Aristia dictated his final poem, written in memory of philanthropist Ana Davila, accidentally poisoned in 1874. In May 1876, he received from the Romanian state the Bene Merenti Medal, First class, at the same time as Grigore Alexandrescu, Dora d'Istria, and Aaron Florian. Beginning that year, the Aristias rented a home on Sfinții Voievozi Street, west of Podul Mogoșoaiei, where <mask> hosted a literary salon. As noted by his grandson Constantin D. Ananescu, the aging and debilitated poet still rejoiced upon witnessing Romania's full emancipation from the Ottoman Empire with the 1877–1878 War of Independence. He


texts: died in his Sfinții Voievozi home on April 18, 1880, after an "apoplexy". His body was taken for burial at Sfânta Vineri Cemetery. The state treasury provided 1000 lei for his "very austere" funeral.The poet was survived by Aristeea Ananescu, his other daughter having died before him. Bucharesters preserved a record of the deceased writer in the name they assigned to his former property, as Gropile Aristia or Gropile lui Aristia ("Aristia's Pits"). In 1891, a sanitation committee, presided upon by Alfred Bernard-Lendway, found that the remaining pits had gathered toxic water and were a source of malaria; the area was condemned and the pits were covered up. Lucsița sold off the remainder of her husband's vineyard and mines to an entrepreneur named Viting, but her inheritors litigated the matter until ca. 1940. By then, the family house had been demolished to build a hospital for the State Railways Company, though the general area was still known for its namesake writer. Writing in January 1914, Ananescu noted that no arrangements had ever been made for his grandfather's centennial in 1900.This gaffe, he notes, was remedied in 1903, when Ollănescu-Ascanio produced a short historical play in which <mask> was a leading role. The Aristia archive was by then mostly lost, as were most copies of Biblia Sacra, but his Saul was recovered and partly published by scholar Ramiro Ortiz in 1916. By 1919, the boys' school on Bucharest's Francmasonă (or Farmazonă) Street had been renamed after the poet. <mask> appears as a character in Camil Petrescu's 1953 novel, Un om


texts:
 între oameni—his "sentimental biography" provides the author with a pretext for discussing the world of theater and its political leanings and morals before and during 1848. Literary work
Aristia was widely seen as an important figure in the early modernizing stages of Romanian literature. Speaking out against Junimea in 1902, poet Alexandru Macedonski asserted the role played by Heliade and his "constellation", including Aristia, with activating the "rejuvenation age" in Wallachia and Romania. Among his later commentators, Walter Puchner argues that Aristia was personally responsible for unifying the early traditions of modern Greek and Romanian theater.A similar point is made by comparatist Cornelia Papacostea-Danielopolu, according to whom <mask>'s activity in Greece "revived theatrical productions during the revolutionary period", while his work with the Ghica children signified the "origin of modern Romanian theater." Philologist Federico Donatiello notes that Heliade and Aristia had a "keen interest" in transposing the theatrical canon of the Age of Enlightenment into Romanian adaptations. Despite <mask>'s Neoclassical references, literary historian George Călinescu lists him as one of Wallachia's first Romantic poets—alongside Heliade, Rosetti, Alexandrescu, Vasile Cârlova, and Grigore Pleșoianu. Theatrologist Florin Tornea also describes <mask>'s acting as "murky [and] romantic". While his talents as an animator garnered praise, his lyrical work was a topic of debate and scandal. Early on, his poetry in Greek raised a political issue. Writing in


texts: 1853, philologist Alexandre Timoni noted that Aristia's hymn to Greece "lacked inspiration", but nonetheless had a "remarkable style."Dedicated to Adamantios Korais, this poem called on the great powers to intervene and rescue the country from Ottoman subjection. Aristia produced the image of Greece as a source of civilization, a sun around which all other countries revolved as "planets". According to Timoni, the hymn was an unfortunate choice of words: "it is this new kind of sun which, for all its splendor, rotates around [the planets]." Aristia's other work in Greek, Αρμόδιος και Ἀριστογείτων, expanded upon a lyrical fragment from the work of Andreas Kalvos, and similarly alluded to Greek liberation; it was dedicated to the Eterist Georgios Leventis. Aristia wrote during the modernization of the Romanian vernacular, but before the definition of standard literary language and Latin-based alphabet. Before his temporary disenchantment and pause, he considered Romanian especially apt for translating literature, for being "robust" as well as "receptive of new things". In addition to being politically divisive, Aristia's version of Saul was stylistically controversial.Its language was defended with an erudite chronicle by Heliade himself, and was much treasured by the aspiring Moldavian novelist, Constantin Negruzzi. <mask>, who declared himself interested in rendering the language particular to the "pontiffs of poetry", innovated the Romanian lexis. Saul had a mixture of archaic terms, especially from Christian sermons, and new borrowings from the other


texts: Romance languages. At this stage, <mask> focused on accuracy and precision, and refrained from adhering to Heliade's more heavily Italienized idiom; his version of the Romanian Cyrillic alphabet was also simplified, with the removal of any superfluous characters. According to Călinescu, the end result was still somewhat prolix, and the vocabulary "bizarre", mainly because "Aristia has not mastered Romanian". Literary historian N. Roman dismisses Prințul român as "confusing and embarrassing verse". In "pompous style", it depicted the minutiae of Bibescu's coronation, and defined Bibescu as the paragon of patriotism, on par with Theseus, Lycurgus of Sparta, Marcus Furius Camillus, and Attila.A fragment suggested the "main direction of princely propaganda", by identifying Bibescu with a 16th-century national hero, Michael the Brave. An unknown Russian chronicler in Das Ausland magazine ridiculed the poet for "unleash[ing] all his poetic energy on Bibescu's horse", and claimed that this aspect also annoyed the Prince himself. Aristia expected the book to be known and praised by his Moldavian colleagues, to whom he sent free copies. Instead, Prințul român was "mercilessly" panned by the celebrated Moldavian poet, Vasile Alecsandri, in an 1844 review for Propășirea. It read: "Clap your hands, my fellow Romanians, for at long last, after a long, long wait [Alecsandri's italics] that took some thousands of years, you have proven yourselves worthy of receiving an epic poem! [...] This golden age of yours has arrived as an 8º tome that's packed full of wriggled


texts: verse and of ideas even more wriggled." The first drafts of the Iliad in Aristia's interpretation were criticized for their coinage of composite words—ridiculed examples include pedeveloce ("fast-running") and braț-alba ("white-armed"); more such words also appeared in the 1850s version: coiflucerinde ("helmet-shining"), pedager ("quick-footed"), and cai-domitoriu ("horse-taming").His inventions also included the vocative zee, for "O goddess", in the very first line of the epic. Petre Gheorghe Bârlea describes zee as a precious contribution, superior to the Slavic-sounding zeițo, which was retained in the version penned in 1920 by George Murnu. He notes that, overall, Aristia "decided to cut off literary Romanian from vast and heterogeneous field of everyday language". Linguist Lazăr Șăineanu likens the artificial project to that undertaken in 16th-century French literature by Du Bartas and La Pléiade. Aristia's revised Iliad is viewed as "unintelligible" to more modern readers, "in a language that is new, harmonious, enchanting, but is not Romanian." According to the critic Ioan Duma, Aristia's care in answering his detractors was misdirected, since his translation remained "vacuous"; scholar N. Bănescu also highlights the issue of Aristia "tortur[ing] language". Călinescu sees Aristia's text as a "masterpiece in extravagance", a "caricature-like answer" to more professional translations by Nikolay Gnedich and Johann Heinrich Voss.The effort was criticized on such grounds by Heliade himself, who "still preserved his common sense." However, as scholar


texts: Gheorghe Bogdan-Duică notes, <mask>'s applied talents "did wonders" for advancing the Romanian literary effort. Bârlea defends Aristia against his "many critics", especially those who, like Nicolae Iorga, spoke from "literary pride, having tried, in various takes, their own Homeric translations." <mask>'s efforts in enriching the Romanian lexis were also directed to non-lyrical pursuits, as with his version of Plutarch and its 24-page glossary. The standard proposed here was profusely Italienized, with some Greek calques added. The preface also included a first instance of the word viaticum, borrowed from Latin in its original meaning, "provision for a journey". Aristia's project in Bible translation may have been inspired by Heliade's earlier attempts.According to Birtz, he refrained from following Heliade's heretical speculation, and was thus deemed palatable by the Wallachian Orthodox Church. His overall involvement in Christian literature was touched by additional controversy, particularly regarding its depiction of Longinus as both a Romanian and the "first Christian". Scholar Mihail Kogălniceanu identified this as a "maniacal" exaggeration which "does not befit a Romanian", and which was prone to make nationalism look


texts:
<mask> (born 11 September 1986 in Tzaneen, South Africa), is a rugby union player for the  in Super Rugby and in the Currie Cup. His usual position is at hooker. Career

Youth rugby

As a pupil at Pretoria Boys High School, Ralepelle played for the South African Schools team in 2002 and 2003 and went on to play for the South African Under-19 side in 2004. He once again played for the Under-19s in 2005 and also made the step up to the national Under-21 team in the same year. <mask> captained the Under-21s at the 2006 Under 21 Rugby World Championship in France. South Africa made it to the final of the tournament, but were defeated by 13–24 the hosts. 2005–06

While still eligible to play Under-19 rugby in 2005, Ralepelle was included in the  squad for the 2005 Vodacom Cup.He didn't make any appearances in the competition, but did captain the  side in the Under-19 Provincial Championship. He made his first class debut for the  in their opening match of the 2006 Super 14 season, coming on as a last-minute replacement in their 30–18 victory against the  in Bloemfontein. One more appearance from the bench followed in their home match against the , before Ralepelle moved to the Vodacom Cup squad. He made five appearances for the  in the 2006 Vodacom Cup and scored his first senior try in their match against the  in a 30–6 victory. Despite having less than ten minutes of Super Rugby experience and five Vodacom Cup matches to his name, <mask> was included in the Springboks squad for the 2006 Tri Nations Series. Head coach Jake White named <mask> on the bench for the second test against  in Sydney, but he failed to make an appearance. In their next match against  in Pretoria on 26 August 2006, he came on as a late substitute to make his Springbok

masks:
Mahlatse Chiliboy Ralepelle
Ralepelle
Ralepelle
Ralepelle


texts:
 debut, aged just 19.He also was an unused replacement in the final two Tri Nations games. <mask> was then included in the South African squad for the 2006 tour to the Northern Hemisphere. He was an unused bench replacement in the match against  and for the first Test against . <mask> appeared as a substitute in the second Test at Twickenham. For the last match of the tour, <mask> was named as captain for the match against the World XV at Walkers Stadium in Leicester, becoming the first black player - and the youngest - to captain the national team. 2007–08

He made a single appearance in 2007, in a Super 14 match against the . He then picked up a serious knee injury that ruled him out of rugby for the remainder of the year.He made his return in pre-season matches prior to the 2008, but once again injured his knee during the captain's run prior to a warm-up match against the  in George. After 18 months out of action with knee injuries, he returned to the field in August 2008 in the 2008 Currie Cup Premier Division, making his Currie Cup debut two-and-a-half years after he made his Super Rugby debut. He came on as a second-half replacement for Bandise Maku in their match against the  in Brakpan, helping them to a 50–7 win. With his injury problems now behind him, he made eight appearances in the Currie Cup as he helped the Blue Bulls reach the final of the competition. He played off the bench in the final, but could not prevent Durban-based side the  running out 14–9 winners. He won back his place in the  squad, being included in their tour of Great Britain in November 2008, making one appearance in their 42–6 victory against . 2009–10

He made fifteen appearances for the  in the 2009 Super 14 season, also scoring his first try in this

masks: Ralepelle Ralepelle Ralepelle


texts: competition in their match against the .He helped the Bulls reach the final of the competition, a match in which Ralepelle featured as a second-half replacement to help the Bulls to a 61–17 victory against the . He was included in the  squad for the 2009 British & Irish Lions tour to South Africa, making one appearance, by starting the Third Test match against the Lions. He also made four appearances for the national side during the 2009 Tri Nations Series, helping South Africa win the competition for the third time. He captained a  XV in their match against Leicester Tigers during the 2009 end-of-year rugby union internationals, with the Premiership side running out 22–17 winners, but sustained a foot injury which required a foot operation and kept him out of action for three months. He made five appearances for the  during the 2010 Vodacom Cup, but made just one appearance against the  in Cape Town during the 2010 Super 14 season. This didn't affect his national team prospects, however, as he featured in the 2010 mid-year rugby union internationals, playing in matches against ,  and . He also made five appearances during the 2010 Tri Nations Series and a further eight appearances in domestic action for the  during the 2010 Currie Cup Premier Division.He was once again selected in the  squad that toured Great Britain and Ireland during the 2010 end-of-year rugby union internationals. However, on 15 November 2010, Ralepelle (along with winger Bjorn Basson) was suspended and sent back to South Africa following a positive drugs test after their match against , with traces of banned substance methylhexanamine found in his system. After an investigation, the South African Rugby Union found both players innocent of all charges and issued a public