Surrealism, a poet placing his trust in "the negative-soteriological, liberating function of poetry". The impact of existentialist philosophy was even traced to the "cine-poems" by Martin Stanton (who called the pieces "amazing"). In contrast to the Surrealists, Fondane did not believe in a need to circulate poems as universal messages, but rather saw them as the basis for a very personal relationship with the reader: "This is not a time for print. Poetry is seeking its friends, not an audience. [...] Poetry will be for the few—or it will not be at all." Chitrit, who parallels Fondane's definitions with the similar views of Romanian poet and Holocaust survivor Paul Celan, concludes: "This is probably the closest that we can come to seeing contemporary poetry." Fondane's other literary works also evidence the impact of his philosophical preoccupations. With Le Féstin de Balthazar, the writer modified his earlier Monologul by adopting Shestivist themes (introducing allegorical characters who discuss Aristotelianism, capitalism and revolution) and by introducing some elements from the burlesque. Originally conceived in 1918 and completed in 1933, Philoctète reworked Sophocles' play of the same title, interpreting it through the style of Gide's dramas. Ulysse was an epic poem in free verse, the first such work in Fondane's career, and testing a format later adopted in Titanic and L'Exode. Although quite similar to Voronca's own work, which also used Homer's Odyssey as the pretext for a comment on social alienation, it included an additional allegory of Jewishness (according to critic Petre Răileanu, Voronca had stripped his own text of Jewish symbolism, in the hope of not entering a competition with Fondane). Fondane's 1933 text echoes his earlier intertextual Homeric references (present in poems he wrote back in 1914), but, to their adventurous escapism, it opposes the Ithaca metaphor—an ideal of stability in the assumption of one's destiny. Claude Sernet referred to Ulysse as "painful and sober, a cry of anxiety, of revolt and resignation, a fraternal and noble song to mankind". The poem is also Fondane's comment on the Wandering Jew story (the mythical figure is rescaled into an urban Ulysses), and, according to cultural historian Andrei Oișteanu, reinterprets the Christian prejudice about Jews being eternal "witnesses" of Christ's Passion. Together, such motifs intimated the writer's own experiences, leading various commentators to conclude that he too was "the Jewish Ulysses". Italian academic Gisèle Vanhese, who connects this lyrical discourse with Fondane's "experience