The work shows a young girl losing and then regaining her faith in true love, a daring young man, "who mistakes love for sport", being rejected by his female companions, and lastly a mature couple whose love has undergone the test of friendship. Clopoțel praised the text for its "seriousness", "finesse" and "reflections enlightened by knowledge and responsibility", concluding: "[This is] a literature of moral health." These characteristics were also discerned by critics in his various contributions to Latin American literature. Courtoisie found Diario de otoño, a book that is "miscellaneous, multithematic, [moving] between the poetic and the everyday", comparable to the Fermentario essays of Uruguay's Carlos Vaz Ferreira. According to critic William T. Starr, El hombre libre frente a la barbarie totalitaria and other such recollections reveal "more about Relgis than about Rolland". Poetry During his time at Fronda, Eugen Relgis and his fellow writers published collective, experimental and unsigned poems, largely echoing the influence of Arghezi and Minulescu, but, according to Cernat, "aesthetically monstrous". This perspective is echoed by Șerban, who notes that Relgis' debut as a poet was largely without "convincing results". In Triumful neființei, the main stylistic reference was, according to Lovinescu, the Romanian Symbolist prose poet Dimitrie Anghel, imitated to the point of "pastiche". With time, Relgis developed a style deemed "the poetry of professions" by George Călinescu. According to Călinescu's classification, Relgis the poet is similar in this respect to fellow Symbolists Alexandru Tudor-Miu and Barbu Solacolu, but also to Simona Basarab, Leon Feraru, Cristian Sârbu and Stelian Constantin-Stelian. The same critic notes that Relgis "attempted, with some beautiful poetic suggestions, to establish a modern-era mythology with abstract gods [...] and other machinist monsters." Lovinescu describes the poet in Relgis as one who "survived" through humanitarian propaganda, returning "in a compact Verhaeren form, rhetorical and accumulative." Lovinescu includes the resulting works in a category of "descriptive" and "social" poems, relating Relgis to Feraru, Alice Călugăru, Aron Cotruș, Vasile Demetrius, Camil Petrescu and I. Valerian. Relgis' poems, Călinescu notes, were individual portraits of industrial machinery ("The Elevator", "The Cement Mixer") or workers ("The Builder", "The Day Laborer"), as temples and deities; by "natural association", the critic suggests, Relgis applied the same technique in his lyrical homages to the very large animals ("The Giraffe", "The Elephant"), but "this requires greater means of suggestion". In one piece quoted by George Călinescu, Relgis showed a bricklayer contemplating the