One of the most important Romanian writers of the interwar period, Lucian Blaga (1895 - 1961) has been well known as a poet and a philosopher, an exquisite translator, a subtle essayist and a beloved playwright. Had he been awarded the Nobel Prize for Literature in 1956, as it seemed likely at the time, his work would have been studied all over the world, as it deserves. Nevertheless, the situation was complicated by politics and the prize went instead to Juan Ramon Jimenez. Blaga remained relatively unknown to the Western reader and has since often been considered a marginal or peripheral author, his great accomplishments being ignored outside Romania. Believing mystery to be an integral part of human life, he used his poetry to illuminate its significance to individuals and society and his philosophic system proved to be, at least partially, a type of pantheism dominated by the search for an elusive metaphysical principle called the Great Anonymous.Discussing Lucian Blaga's place in the field of Romanian culture but also keeping in mind the general context of world literature, Marcel Cornis-Pop considers that this author holds a singular position in modern Romanian literature, comparable to that of Eliot and Pound in the English-speaking countries.2 In fact, Blaga was the first Romanian poet whose work synchronized with some essential European artistic forms, his most important achievement being, perhaps, that of adapting Expressionism to Romanian poetry3 but also reappraising the models and relieving the will to modernity in terms specific to Romanian culture.The period between the two World Wars was Romania's golden age of modernism4: Tudor Arghezi, Ion Barbu, Tristan Tzara, Eugen Ionescu, Mircea Eliade and E.M. Cioran are only some names representing a generation determined to change something in the Romanian culture. Some of them became more or less familiar to the Western world, especially after leaving their native country and established mainly in France. But mention should be made that, as Andrei Codrescu pointed out, twentieth-century ideas descended on our small Balkan country all at once and were quickly absorbed and transformed.5 Together with some of his contemporaries, Blaga represents a constructivist phase in Romanian modernism, mainly because, picking up the scattered pieces of Dadaism, futurism and Expressionism and avoiding the excess of the new French art (surrealism), their work participated, however indirectly, in a reconstruction of European art in a post-Dada age.6In addition to the aspects mentioned before, Blaga belongs to the family of modern creators destined to have a many-sided commanding influence over the culture they belong to, considers Edgar Papu, stressing that these types of scholars, heralded already by Nietzsche and who cannot be absent from a privileged place neither in the history of poetry nor in the history of thinking, have appeared in orderly succession from Miguel de Unamuno to Jean-Paul Sartre. Their fecund polyvalence cannot be separated from the unity of their own personality which, from all sides, radiates the same vivid originality and the same message.7 Blaga is somehow paradoxical within Romanian culture: very keen on penetrating deep into the of his native land and, at the same time, being eager to resonate with the modern ideas of his own time, the poet carried the resources of the Romanian spirit to a culminating convergence; he made up his own inner horizon and connected with the spiritual profile of his people in order to find all specific reflexes of the great horizons of this particular circuit. Unamuno surprised an essence of Spain and established its place in the world and Blaga did exactly the same for Romania. Besides, Blaga is the first to include the search for final traits in the philosophic register, by applying concepts and categories of the philosophy of culture especially to the Romanian subhistory, to the unrecorded strata of the visible known history. …