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1922 poet, eseist, dramaturg si traducator poet, essayist, playwright and translator

Cartea mareelor, 1964; Omul cu compasul, 1966; Semintia lui Laokoon, 1967; Ipostaze, 1968; Alter ego, 1970; Lampa lui Diogene, 1970; Poezie si moda poetica, 1972; Versuri, 1973; Papirus, 1974; Orfeu si tentatia realului, 1974; Anotimpul discret, 1975; Locuiesc intr-o inima, 1978; Hesperia, 1979; Lectura poeziei, 1980; Poeme, 1983; Vanatoare cu soim, 1985; Foamea de Unu, 1987; Mastile adevarului poetic, 1988; Interiorul unui poem, 1990; Arie si ecou, 1991; Brutus si fiii sai, 1996; Psalmi, 1997; Poeti straini, 1997; Ovidiu la Tomis, 1998; Poeti romani, 1999; Scriitori romani, 2000; T de la Trezor, proze, Fundatia Culturala Secolul XXI, 2001

L. Sciascia, Codicele egiptian, 1966; R. Dario, Versuri alese, 1967; G. Papini, Un om sfarsit, 1969; Sonete fundamentale, 1970; Hölderlin, Poezii (in colaborare), 1971; St. Mallarme, Poezii, 1972; J. Guillen, Poeme (in colaborare), 1980; Goethe, Faust, 1982; P. Valery, Poezii, 1989 atraducerii

The Man with Compasses, 1966; The Heirs of Laokoon, 1967; Hypostases, 1968; The Lamp of Diogenes, 1970; Orpheus and the Temptation of the Real, 1974; The Discreet Season, 1975; Hesperia, 1979; Reading Poetry, 1980; Hunting with Hawk, 1985; The Masks of the Poetic Truth, 1988; The Inner Side of a Poem, 1990; Aria and Echo, 1991; Brutus and His Sons, 1996; Psalms, 1997; Ovid in Tomis, 1998

Versurile de maturitate ale lui Stefan Aug. Doinas pun un si mai mare accent pe ceea ce poetica moderna numeste ecriture. Sunt versuri rotunde, muzicale, fara disonantele, rupturile pe care le reclama poemul modern. Nevoia de simetrie impune multe versuri de legatura, indicand o pauza a spiritului si un gol in constructie. De aici vine, poate, si impresia ca poemele, avand totdeauna volum, cer spatiu si o buna perspectiva pentru a putea fi privite. Nu cred sa ma insel spunand ca poezia lui Doinas este dominata de ideea monumentalului. (Eugen Simion)

The mature poetry of Stefan Aug. Doinas places an even heavier emphasis on what modern poetics calls ecriture. They are round, musical verses, without the dissonance, the breaks claimed by the modern poem. The need for symmetry imposes many connecting verse lines, indicating a pause of the spirit and a void in construction. This is perhaps the origin of the impression that the poems, which always have mass, require space and a good perspective in order to be seen. I do not think I am wrong in saying that Doinas poetry is dominated by the idea of the monumental. (Eugen Simion)