a tendency for comparing nature with the artificial, the result of this being a "document" of his values. Macedonski's language alternated neologisms with barbarisms, many of which were coined by him personally. They include claviculat ("clavicled", applied to a shoulder), împălăriată ("enhatted", used to define a crowd of hat-wearing tourists), and ureichii (instead of urechii, "to the ear" or "of the ear"). His narratives nevertheless take an interest in recording direct speech, used as a method of characterization. However, Călinescu criticizes Macedonski for using a language which, "although grammatically correct [...], seems to have been learned only recently", as well as for not following other Romanian writers in creating a lasting poetic style. The writer's belief in the effects of sheer willpower, notably present in his comments on esoteric subjects, was itself a defining characteristic of his perspective on literature. In 1882, he wrote about progression in one's career: "We are all poets at birth, but only those who shape themselves through study will become poets." Vianu, who notes Macedonski's "exclusivity" and "fanaticism", places such statements in connection with Macedonski's personal ambition, "pride" and "the willingness to carry out ventured actions [...], in stated opposition with the entire surrounding and with contempt for the foreseeable reaction." Almost all periods of Macedonski's work reflect, in whole or in part, his public persona and the polemics he was involved in. George Călinescu's emits a verdict on the relation between his lifetime notoriety and the public's actual awareness of his work: "Macedonski [was] a poet well-known for being an unknown poet." According to literary critic Matei Călinescu, the innovative aspects of his impact on Romanian literature were not as much related to his "literary ideology", as much as to his "contradictory spirit" and "essential nonconformism". However, literary researcher Adrian Marino proposes that Macedonski was one of the first modern authors to illustrate the importance of "dialectic unity" through his views on art, in particular by having argued that poetry needed to be driven by "an idea". Having theorized once, while questioning Junimist rigor, that "the logic of poetry is absurdity itself [italics in the original]", the poet also said: "Poetry is the chaos of spirit and matter, of the cries of distress and mad laughter. From the sublime to the trivial, that is what it should be." He later revised part of this verdict, and, making explicit his adoption of aestheticism, spoke against