the slow rhythms of country life. These traits were subsumed by literary historian George Călinescu into a special category, that of "traditionalist Symbolism", centered on "that which brings man closer to Creation's interior life". The same commentator suggested that the concept linked modernism and traditionalism through the common influence of Charles Baudelaire, whom Fondane himself credited as the "mystical power" behind Priveliști. The cycle also recalls Fondane's familiarity with another pastoral poet, Francis Jammes. Of special note is an ode, Lui Taliarh ("At Thaliarchus"), described by Călinescu as the masterpiece of Priveliști. Directly inspired by Horace's Odes I.9, and seen by Martin as Fondane's will to integrate death into life (or "plenary living"), it equates existence with the seasonal cycle: Arghezian modernism and Expressionist echoes From its traditionalist core, Priveliști created a modernist structure of uncertainty and violent language. According to Mircea Martin, the two tendencies were so intertwined that one could find both expressed within the same poem. The very preference for vitalism and the energy of wilderness, various critics assess, is a modernist reaction to the drama of World War I, rather than a return to Romantic ideals. In this interval, Fondane had also discovered the poetic revolution promoted by Tudor Arghezi, who united traditionalist discourse with modernist themes, creating new poetic formats. Martin notes that Fondane, more than any other, tried to replicate Arghezi's abrupt prosody and "tooth and nail" approach to the literary language, but lacked his mentor's "verbal magic." The same critic suggests that the main effect of Arghezi's influence on Fondane was not in poetic form, but in determining the disciple to "discover himself", to seek his own independent voice. Paul Cernat also sees Fondane as indebted to Arghezi's mix of "cruelty" and "formal discipline". In contrast to such assessments, Călinescu saw Fondane not as an Arghezian pupil, but as a traditionalist "spiritually related" to Ion Pillat's own post-Symbolist avatar. This verdict was implicitly or explicitly rejected by other commentators: Martin argued that Pillat's omnipresent "calm joy", modulated with "impeccable taste", clashed with Fondane's "tension", "surprises" and "intelligence superior to [his] talent"; Cernat assessed that Priveliști was at "the antipode" of Pillat and Jammes, that its themes pointed to social alienation and a patriarchal universe gone "off its rocker". Statements made by the young Fondane, in which he explains his indifference toward the landscape as it is, and his preference for the landscape as