According to Garabet Ibrăileanu, his rejection of antisemitic sights was owed possibly to his failure to relate with the middle class and its anti-Jewish stances, or to his «potent intelligence», which contrasted with the «instinctual, just about zoological nature» of the antisemitic discourse. His criticism of equally the nationalist discourse and liberal-influenced schooling created topics for quite a few of his shorter satirical writings. Like Junimea, he was amused by the cultural legacy of 1848 Wallachian revolutionaries, and by its picture in National Liberal discourse. At one point, he argued that, experienced they not died young, the leaders of 1848 could have identified by themselves finest represented by the Conservatives. Paul Zarifopol argued that, for most of his life, Caragiale, the opponent of didacticism, advocated Maiorescu’s concepts of artwork for art’s sake. Uniquely amid students of Caragiale’s operate, exo-Cam George Călinescu argued that the writer’s main interest was not in criticizing the liberals, but basically in an in general rejection of the most embedded Junimist tenets, which, in Călinescu’s view, had engendered «a absence of religion in the country’s personal powers».
Literary critic Matei Călinescu believes that he genuinely admired În orașul cu trei sute de biserici («In the City with Three Hundred Churches»), a cost-free verse poem by the Symbolist Ion Minulescu. It was also in the course of the time period that he printed his Din carnetul unui vechi sufleur, grouping shorter items about cultural figures such as Iorgu Caragiale, Pantazi Ghica, and Matei Millo. He often ridiculed the cult with which Rosetti surrounded figures of worldwide republicanism, this sort of as Giuseppe Garibaldi and Léon Gambetta, and indicated that the National Liberal community had very obscure and impractical notions of what a republican state really implied. Noting this, many critics imagine that, in his O scrisoare pierdută, which depicts the fight between two unnamed political camps, the dramatist alluded to the conflict among Brătianu’s moderates and Rosetti’s extremists (as indicated by the truth that all the main characters attend the exact same rallies). The bring about of death was indicated as myocardial infarction.
In January 1912, as he turned 60, Caragiale declined taking aspect in the official celebration arranged by Emil Gârleanu’s Romanian Writers’ Society. Caragiale in comparison writers who could not dissimulate their intent and create a fantastic story with «a cross-eyed who tells you which way to go: a single won’t regarded if he is to go down the highway he points to, or down the road he is looking at». Caragiale contrasted the other main writers of his generation, such as his mates Mihai Eminescu, Ioan Slavici, Barbu Ștefănescu Delavrancea, and Sămănătorul journal founder Alexandru Vlahuță, all of whom had been advocating a return to the rural sphere and peasant traditionalism. Caragiale also contributed to the Arad-based mostly journal Românul, starting to be buddies with other Romanian activists-Aurel Popovici, Alexandru Vaida-Voevod and Vasile Goldiș. With Alexandru Vlahuță, George Coșbuc and other people, he belonged to the to start with technology of Romanian authors to choose a pointed out desire in imposing professionalism.
During that period, soon after offering endorsement to a undertaking outlined by his fellow dramatist Alexandru Davila, he aided in the generation of a new privately operate Bucharest theater, and recorded its inauguration in his reportage Începem («We Begin»). Despite his quick association with the mainstream Conservatives, Caragiale was possibly by no means their partisan, and only hoped that the party could open the way for the reforms marketed by George Panu and Alexandru Lahovari. He is also identified to have been amused by the German election of 1907 and the resulting defeat registered by the Social Democratic Party. For Caragiale, the ensuing liberal-motivated literary will work had been spanac («spinach»). Vianu nonetheless pointed out the enormous distinction in style and solution concerning the Eminescu and Caragiale, noting that, to Eminescu’s metaphysical pursuits and «Romantic genius», the dramatist opposed his «great classical and realist endowment, a social, voluble and epicurean nature». He normally sketched out substitute endings to his stories, and picked the types he felt arrived most pure. Cioculescu attributed this to an «inferiority sophisticated» Caragiale felt in regard to his previous patrons. He resolved to support the poet and activist Octavian Goga, who, immediately after questioning ethnic policies in Transleithania, had been jailed by Hungarian authorities-crafting for Universul, Caragiale pressured that this kind of persecutions carried the chance of escalating tensions in the area.
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