- Julia Hasdeu writes on the first page of the notebook: "Sketchbook that belongs to Julia Hasdeu"
- Bourgeons d'Avril
- Théâtre. Légendes et contes
- Chevalerie
- Agapia Monastery. Julia and her father lived there during August 1888
- Agapia Monastery
- St. Sulpice Street from Paris. Julia Hasdeu and her mother lived there
- Building nr. 28, in which the two Julias lived in Paris I
- Building nr. 28, in which the two Julias lived in Paris II
- The door of the apartment where the two Julias lived in Paris
- Washstand in the house where the two Julias lived in Paris
- The stairs of the house where the two Julias lived in Paris
- Washstand in the house where the two Julias lived in Paris
- The stairs of the house where the two Julias lived in Paris
- Commemorative stone on the façade of the house where the two Julias lived in Paris. On it, there is written: "This house preserves the memory of a great spirit"
- Sévigné College, the Parisian high school where Julia Hasdeu studied
- The stove in the apartment where the two Julias lived in Paris
- Julia Hasdeu during her study period in Paris
- Julia Hasdeu at the age of five
- "Miss Julia Hasdeu on the catafalque" by Sava Hentia (after model)
- Julia Hasdeu during her study period in Paris
- Julia Hasdeu in her last day on Earth. Photo after the painting made by Diogène Maillart (1889)
- Julia Hasdeu's Bust by Ioan Georgescu (marble, 1890)
- "Julia Hasdeu in the library" by Diogène Maillart (oil on canvas, 1889)
- Julia Hasdeu at the age of five
- Julia Hasdeu on the cock horse
- Julia Hasdeu during her study period in Paris I
- Julia Hasdeu during her study period in Paris II
- B.P.Hasdeu between the two Julias, in Amsterdam, in 1886
- Page written by Julia Hasdeu
- Julia Hasdeu writes on the first page of the notebook: "Sketchbook that belongs to Julia Hasdeu"
- Gala Galaction (Grigore Pisculescu)'s letter to B.P.Hasdeu 1
- Gala Galaction (Grigore Pisculescu)'s letter to B.P.Hasdeu 2
- Gala Galaction (Grigore Pisculescu)'s letter to B.P.Hasdeu 3
- The first page of Julia Hasdeu's commemoration, written by Gala Galaction
- Song composed by Julia Hasdeu 1
- Song composed by Julia Hasdeu 2
- The first page of Julia Hasdeu's notebook
- Map drawn by Julia Hasdeu
- Julia Hasdeu's dreams
- Julia Hasdeu's dreams
- Julia Hasdeu's drawing 1
- Julia Hasdeu's drawing 2
- Julia Hasdeu's drawing 3
- Julia Hasdeu's drawing 4

 

Campina
B-dul Carol I nr. 199
Cod postal 105600

TEL: 0244 335.599
FAX: 0244 335.599
office@muzeulhasdeu.ro

 


We're open:
Monday: closed.
Tuesday - Sunday:
9.00 - 17.00
(March 1st - October 31st)
8.00 - 16.00
(November 1st - February 28th/29th)
  The Poetic Work

          Immediately after Julia’s death, in the pages of the periodical The New Revue, whose manager was B.P. Hasdeu, there were published some of her pois. An issue of the New Revue was sent by the scholar to his Parisian colleague and friend Michel Bréal, who hurried to answer him, confirming the receiving of the revue and the fact that the project of publishing the works of the young girl in Paris was received with great interest. During the year 1889, the publishing houses Hachette and Socec made possible the apparition of the three volumes of the collection Œuvres posthumes de Iulia B.P. Hasdeu. The first volume, which included pois, was published in March, 1889, with a title chosen by the poetess, Bourgeons d’Avril. Delighted by the volume, Michel Bréal wrote on April 20, the same year: „as she loved France so much, she deserves that we’d enshrine her name forever in honor and love”.

          After the foreword signed by B.P. Hasdeu, the readers were introduced in Iulia’s poetic universe by Count Angelo de Gubernatis, Italian philologist, a close friend of her father. Based on a biography sent by the Romanian scholar towards the end of the year 1888, he held a conference at the Philological Circle from Florence, in the evening of February 18, the next year. In a letter sent on January 15, Angelo de Gubernatis announced to Hasdeu the date of the conference „about his beloved daughter”, which would be later included into Revue Internationale [International Revue]. On March 13, 1889 the revue was published, and, one day later, Gubernatis sent it to his friend in Romania. A very large audience filled the hall on the occasion of the count’s conference. The president of the Philological Circle, the marquis Matteo Ricci, an iinent Hellenist, translator of Herodotus, read, on that occasion, B.P. Hasdeu’s letter.

          The volume was received with great interest by the scholar’s and even the poetess’ friends. On April 9, iile Boutroux also confirmed the reception of the book. On July 10, Maurice Albert, Iulia’s teacher of Greek, ensured B.P. Hasdeu he had received the second volume of the poetess, called Chevalerie. On Deciber 1, 1889, Charles Lavigne, another teacher, wrote to the scholar that he had received the third volume, which included also prose and dramatic sketches. The young girl’s maestro took upon himself a bit of the merit to have worked with such a student: „there is a bit of paternity in the heart of a teacher who saw the growing up of an elite child and who founded on a superior spirit some hopes that were partially accomplished”. „I saw the growing up of the child you’re weeping after”, the teacher Lavigne had written two months before, „I had a small contribution to the shaping of her spirit and I know better than anyone else what you could expect from this intelligence so bright and so vivid”. In his opinion, that death was a part of the „pains that don’t seek to be comforted”. Finally, he ensured the unhappy parents that Iulia’s miory „will last here, preserved faithfully, in the soul of the man who was her maestro”. On January 13, 1890, iile Picot signed a gratitude letter to B.P. Hasdeu, in which he admitted that both he and his wife were touched when receiving the three volumes of Iulia. As he confessed, they read „with a painful interest her pois, so delicate and harmonious”, the books being „a veritable revelation”. On Deciber 2, 1889, Max Müller also sent a gratification letter from Oxford, for the receiving of the two volumes.

          As he had lost two children, he confessed, he wasn’t able to speak about that experience. Regarding the Romanian poetess work, he considered as wonderful the „shape that Iulia knew how to give to childhood dreams, the prefect form of her aspirations”.

          On Noviber 7, 1888, Gaston Paris sent a letter to B.P. Hasdeu, declaring „how moved he was when noticing that she gave to our language (French – n.n. J.T.) the honor to be chosen for expressing her brightest thoughts and her most intimate feelings”. Louis Leger also expressed his admiration towards the poetess: „France was for Iulia the country of intelligence itself. Let’s preserve with devotion the miory of this foreign young girl, who dreamt of a place among our masters, and whose name deserves to be written near theirs”.

          Lazar Saineanu, during a travel in Paris, after graduation, in the spring of the year 1889, while visiting Louis Leger, could see the first volume, Bourgeons d’Avril, about whose pages he wrote that „reflect all the originality of a mature talent”. Regularly visiting the two Iulias in Paris, the young man had very well known Lilica (the poetess nickname). „I, who had the sad joy of being able to closely observe this wonderful spirit”, he wrote to B.P. Hasdeu, on May 3, 1889, „will never forget the irresistible charm of her conversation; French seied to have acquired a new grace in her sweet way of talking”. The publishing of Iulia’s works brought to the father that comfort he needed as the air, in order to keep living; that comfort was very high, especially because the scholar was certain about the importance of the literary heritage left by the daughter. Lazar Saineanu wrote to him that „You are right to find your comfort in gathering these delicate flowers, to whom the parents’ piety and their intrinsic value ensure the place they deserve in the poetic literature”. „It is indeed surprising to see the great disproportion between the child’s age and the quality, not to talk about the quantity, of her poetic creations”.

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