He may have affiliated with a loose group known as the "National Party", championing an alliance between Moldavia's independence from the Ottoman Empire and support for the French Republic.

Beldiman's earliest contributions to cultural life probably date back to the 1790s, and originally included translations of French prose and verse drama.

He may have contributed an original play, while his brother, Dumitrache Beldiman, helped arrange some of the earliest Moldavian stage performances, as puppet shows.

By 1820, Alecu had become the most productive translator in Moldavia, directly contributing to Westernization and the spread of Enlightenment ideas, and also completing a Romanian version of the Odyssey.

Poems he wrote during that interval show him as a conservative critic of republican and nationalist propaganda, and display his pity for the lower classes; he was also becoming more supportive of rule by the Ottoman Empire.

[8] In 1711, following the Pruth River Campaign, the Cantemirs were chased out of the country; a Beldiman branch also left Moldavia and settled in the Russian Empire.

Literary historian George Călinescu reports that Beldiman's first wife, name unknown, was a member of the Romano clan; the second was Ileana, sister of the Logothete and poet Costache Conachi, making him in-laws with Nicolae Vogoride, future Kaymakam of Moldavia.

[22][23] Theater historian Ioan Massoff notes that Bedliman's earliest contributions to drama include his 1784 rendition of Pietro Metastasio's La clemenza di Tito—as Milosârdia lui Tit.

[37] According to historian Neagu Djuvara, Beldiman closely resembles the Wallachian intellectuals of his era, specifically Naum Râmniceanu, Dionisie Eclesiarhul, and Zilot Românul, in being virulently anti-Greek and anti-Phanariote.

[38] Scholar Pompiliu Eliade sees the Beldimans and the Sturdzas as affiliates of the "National Party", which favored independence from the Ottomans and sought direct protection from the French Republic.

[39] However, Iorga also highlights the limits of Beldiman's nationalism: although he opted to stay in "Turkish Moldavia", he "never wrote as much as a verse, as much as a single line of prose" against Russian occupation in Bessarabia.

[43] Likewise, culture critic George Panu proposes that Beldiman and Conachi must have been closely familiarized with, and imitators of, Johan Gabriel Oxenstierna.

[47] However, Eliade proposes that Beldiman was directly inspired to write for the stage by witnessing Moldavia's first first-ever theatrical experiment, produced in December 1816 by Gheorghe Asachi.

[50] In 1818, Beldiman also put out Învățătură sau povățuire pentru facerea pâinii ("A Guide or Advisor to Bread-making"), ultimately based on a text by Christian Albert Rückert, but directly translated from the Greek version penned by Dimitrios Samurkasis (Dimitrie Samurcaș).

As a result, Iorga attributed to Budai-Deleanu a manuscript-poem called Menehmii sau frații de gemene, later discovered to have been Beldiman's translation of Jean-François Regnard's Les Ménechmes.

One was Ioniță Sion, who took dictation from Beldiman in writing "all sorts of verse and stories"; he was not paid for the job, but was allowed to make and keep his own copies.

[59] Beldiman penned, but never printed, other renditions of tragedies and stories by Antoine François Prévost (with Manon Lescaut), Madame Cottin, René-Charles Guilbert de Pixérécourt, Louis d'Ussieux, and various unknown authors.

[61] The final stage of Beldiman's literary and political career was marked by the Greek War of Independence, part of which was fought on Moldavian soil.

It is most often called Tragodiea Moldovei ("Moldavia's Tragedy"), but is also known as Eterie sau jalnicele scene prilejuite în Moldova din resvrătirile grecilor, prin șeful lor Alexandru Ipsilanti venitu din Rusia la anul 1821 ("The Eteria or Awful Scenes Occurring in Moldavia Because of the Rebellions by Greeks under Their Leader Alexander Ypsilantis, Who Came in from Russia in 1821").

[66] According to Eliade, Tragodiea is a "long and tedious newspaper article, prosaic as no prose has ever been, amusing only because the author himself realizes that his work is so very difficult, and his ability so very limited.

[69] As Călinescu writes, an "entertaining jolt" in the epic came wherever Beldiman described his contempt for various of his contemporaries: the "godless dog" Vasileios Karavias and the haughty but "so very cowardly" Stefan Bogoridi.

As noted by Călinescu, Beldiman and Vladimirescu were both Romanian nationalists, but of different visions; the Moldavian poet described the Wallachian revolutionist as "deceitful", prone to demagoguery.

In November, he purchased the townhouse owned by a fellow boyar, the Wallachian Iordache Filipescu, in Păcurari neighborhood; it was here that he finished writing Tragodiea.

These are patriotic in tone, but noticeably skeptical of nationalism, explaining that, even though the Phanariotes had lost power, bad customs survived through native boyars; unusually in his context, he sided with the lower classes against the aristocrats.

[19] Buried at his family's favorite church of Talpalari,[1] Beldiman left a large number of manuscripts, which were reportedly sold by the pound to a local collector.

In this capacity, he failed to prevent Cuza's toppling by the "monstrous coalition" of February 1866, and came to oppose the regime of Carol I, founding the left-wing newspaper Adevărul.

[98] During the United Principalities era, he became a leading figure in Iași's conservative circles, helping Iacob Negruzzi establish the political review Constituțiunea.

[100] Beldiman's translations continued to be read by young intellectuals in all Romanian-speaking areas: Constantin N. Brăiloiu, who went abroad to study in 1828, ordered copies of Oreste and Istoria lui Numa Pompilie, "so as not to forget his language".

[104] By then, poet Vasile Alecsandri was actively campaigning for Beldiman to be included into the Romanian literary canon,[105] while historian Bogdan Petriceicu Hasdeu was drawing attention to him as the founder of Romania's epic literature.

[73] An unpublished set of Beldiman's poems, alongside similar samples by other Moldavians of his era, were collected for print by Paul Cornea and other literary scholars, and issued at Editura Minerva in 1982.