describe him as a devoted and considerate friend. In contrast, traditionalist poet Alexandru Vlahuță authored an 1889 sketch story in which Macedonski (referred to as Polidor) is the object of derision. Late recognition Actual recognition of the poet as a classic came only in the interwar period. A final volume of never before published poems, Poema rondelurilor, saw print in 1927. Macedonski's work was analyzed and popularized by a new generation of critics, among them Vianu and George Călinescu. The post-Junimist modernist critic Eugen Lovinescu also commented favorably on Macedonski's work, but overall, Călinescu asserts, his opinions on the subject gave little insight into what he actually thought about the poet. He also recounts that Macedonski himself treated Lovinescu with disdain, and once called him "a canary". The emerging avant-garde, although originating from Symbolism, progressively took its distance from Literatoruls legacy. Initially, Macedonski's contribution to experimental literature was continued within formal Symbolism by his disciples Demetriade, Iuliu Cezar Săvescu and Ion Minulescu. The latter was particularly indebted to Macedonski in matters of vision and language. In 1904, Tudor Arghezi also left behind the Literatorul circle and its tenets, eventually arriving to the fusion of modernist, traditionalist and avant-garde elements. However, he remained indebted to Macedonski's example in his descriptive prose. The 1912 Simbolul magazine, which moved between conventional Symbolism and the emerging avant-garde, also published an Imagist-inspired parody of Noaptea de mai, signed by Adrian Maniu. A co-founder of Dadaism during the late 1910s, Tristan Tzara is believed by Swedish researcher Tom Sandqvist to have been inspired more or less directly by Macedonski, and in particular by the latter's thoughts on the relation between absurdity and poetry. In his debut poems, Benjamin Fondane-Barbu Fundoianu occasionally followed Macedonski, but, by 1920, stated that the Symbolist doyen merely imitated French models to the point of "parasitism". Several avant-garde authors returned to Macedonski's literary guidelines by the late 1920s, as they themselves grew more moderate. This was the case of Maniu and Ion Vinea, both of whom published prose works in the line of Thalassa. The same work is also believed to have influenced two non-avant-garde authors, Davidescu and Mateiu Caragiale, who remained close to the tenets Symbolism. Mateiu was the illegitimate son of Ion Luca Caragiale, but, Vianu notes, could withstand comparisons with his father's rival: the eccentricities were complementary, although Mateiu Caragiale shied away from public affairs. In the same post-Symbolist