early works With Ion Catina, Vasile Păun and Grigore H. Grandea, young Macedonski belonged to late Romanian Romanticism, part of a Neoromantic generation which had for its mentors Heliade Rădulescu and Bolintineanu. Other early influences were Pierre-Jean de Béranger and Gottfried August Bürger, together with Romanian folklore, motifs from them being adapted by Macedonski into pastorals and ballades of ca. 1870–1880. The imprint of Romanticism and such other sources was evident in Prima verba, which groups pieces that Macedonski authored in his early youth, the earliest of them being written when he was just twelve. Critics generally argue that the volume is without value. The poems display his rebellious attitude, self-victimization and strong reliance on autobiographical elements, centering on such episodes as the death of his father. In one piece inspired by the ideology of Heliade Rădulescu, Vianu notes, Macedonski sings "the French Revolution's love for freedom and equality, otherwise proclaimed from his nobleman's perspective." It reads: In parallel, Macedonski used erotic themes, completing a series which, although written on the model of idylls, is noted for its brute details of sexual exploits. The poet probably acknowledged that posterity would reject them, and did not republish them in any of his collected poetry volumes. During his time at Oltul (1873–1875), Macedonski published a series of poems, most of which were not featured in definitive editions of his work. In addition to odes written in the Italian-based version of Romanian, it includes lyrics which satirize Carol I without mentioning his name. Following his arrest, Macedonski also completed Celula mea de la Văcărești ("My Cell in Văcărești"), which shows his attempt to joke about the situation. In contrast to this series, some of the pieces written during Macedonski's time in the Budjak and Northern Dobruja display a detachment from contemporary themes. At that stage, he was especially inspired by Lord Byron, whom Vianu calls "the sovereign poet of [Macedonski's] youth." In Calul arabului, Macedonski explores exotic and Levantine settings, using symbols which announce George Coșbuc's El-Zorab, and the Venetian-themed Ithalo, which centers on episodes of betrayal and murder. Others were epic and patriotic in tone, with subjects such as Romanian victories in the Russo-Turkish War or the Imperial Roman sites along the Danube. One of these pieces, titled Hinov after the village and stone quarry in Rasova, gives Macedonski a claim to being the first modern European poet to have used free