the poet himself creates it, have been a traditional source for critical commentary. As Martin notes, this attitude led the poet and travel writer to express an apathy, or even boredom, in regard to the wild landscape, to promote "withdrawal" rather than "adhesion", "solitude" rather than "communion". However, as a way of cultivating a cosmic level of poetry, Fondane's work veered into synesthesia and vitalism, being commended by critics for its tactile, aural or olfactory suggestions. In one such poem, cited by Călinescu as a sample of "exquisite freshness", the author imagines being turned into a ripe watermelon. These works also part with convention in matters of prosody (with a modern treatment of alexandrines) and vocabulary (a stated preference for Slavic versus Romance terminologies). In addition, Martin, who declared himself puzzled at noting that Fondane would not publish some of his most accomplished poems of youth, made special note of their occasional disregard for Romanian grammar and other artistic licenses (left uncorrected by Paul Daniel on Fondane's explicit request). Some of the Priveliști poems look upon nature with ostentatious sarcasm, focusing on its grotesque elements, its rawness and its repetitiveness, as well as attacking the idyllic portrayal of peasants in traditionalist literature. Martin notes in particular one of the untitled pieces about Hertsa region: Literary historian Ovid Crohmălniceanu was the first to suggest, in the 1960s, that the underlying traits of such imagery made the post-Symbolist Fondane an Expressionist poet, who had detected "the fundamental anarchy of the universe". The verdict was echoed and amended by those of other critics. Martin finds that it applies to many of Fondane's early poems, where "explosive" imagery is central, but opines that, generally toned down by melancholy, their message too blends into a new form of "crepuscular wisdom". Scholar Dan Grigorescu stresses that the Neo-romantic and Symbolist element is dominant throughout the Priveliști volume and, contrary to Crohmălniceanu's thesis, argues that Fondane's projection of the self into the nature is not Expressionist, but rather a convention borrowed from Romanticism (except for "perhaps, [...] the exacerbated dilatation" in scenes in which terrified cattle are driven into town). In Grigorescu's interpretation, the volume has some similarities with the pastoral Expressionism of Romanian writers Lucian Blaga and Adrian Maniu, as well as with the wilderness paintings of Franz Marc, but is at "the opposite pole" from the "morbid hallucination" Expressionism of H. Bonciu and Max Blecher.