Mircea Anghelescu. At the other end of the political and cultural spectrum, Macedonski faced opposition from the intellectuals attracted to socialism, in particular Contemporanul editors Constantin Mille and Ioan Nădejde, with whom he was engaged in an extended polemic. In the meantime, Macedonski published his own play, which had Cuza for its main character and was eponymously titled Cuza-Vodă, and completed translations for Literatorul—from Maurice Rollinat, whom he helped impose as a main cultural reference in Romanian Symbolism, and from the Greek poet Akhillefs Paraskhos. In 1883, he also contributed his first sketch story, Casa cu nr. 10 ("The House at Number 10"). In early 1883, he married Ana Rallet-Slătineanu. Wealthy and supposedly related to Romanian aristocrats, she would bear him five children in all: the painter Alexis was the eldest, followed by Nikita; the three youngest were two sons (Panel and Constantin Macedonski) and a daughter, Anna (also known as Nina). His heterosexual lifestyle notwithstanding, Macedonski remained a self-avowed admirer of male beauties, and was rumored to be a closeted homosexual. In July 1883, Macedonski undertook one of his most controversial anti-Junimist actions. That month, Literatorul published an epigram signed with the pseudonym Duna, deriding an unnamed author who had lost his mind. Mihai Eminescu—whom many had already come to see as Romania's national poet—had by then developed a mental disorder which had become known to the general public. Ever since that moment, Macedonski has generally been believed to be Duna, and as a result, was faced with much criticism from both readers and commentators. The intense anti-Literatorul press campaign was initiated in August, when writer Grigore Ventura issued an article condemning Macedonski's attitude (published in the Bucharest-based newspaper L'Indépendance Roumaine), with Macedonski responding in the National Liberal organ Românul. During one evening, Macedonski is reported to have been assaulted by anonymous supporters of Eminescu. His previous conflict with Nădejde was also affected by this renewed controversy: while opposed to Junimist policies, the socialists at Contemporanul voiced their admiration for Eminescu's art. Late in 1883, Macedonski and his friends unveiled Ion Georgescu's statue of their mentor Bolintineanu in the National Theater lobby. The circumstances in which this took place rose suspicion of foul play; on this grounds, Macedonski was ridiculed by his former friend Zamfirescu in the journal România Liberă, which left him embittered. Călinescu proposes that, although such negative reactions were invoked by Macedonski's supporters as a sign