Minulescu. The young author had a special appreciation for the 19th century national poet, Mihai Eminescu. Familiar with Eminescu's entire poetic work, he was one of the young poets who tried to reconcile Eminescu's Neoromantic, ruralizing, traditionalism with the urban phenomenon that was Symbolism. While Fondane continued to credit Minulescu's radical and jocular Symbolism as a main influence on his own poems, this encounter was overall less significant than his enthusiasm for Eminescu; in contrast, Bacovia's desolate and macabre poetry left enduring traces in Fondane's work, shaping his depiction of provincial environments and even transforming his worldview. Fondane's early affiliation with Ovid Densusianu's version of Romania's Symbolist current was, according to literary historian Dumitru Micu, superficial. Micu notes that the young Fondane sent his verse to be published by magazines with incompatible agendas, suggesting that his collaboration with Vieața Nouă was therefore incidental, but also that, around 1914, Fondane's own style was a "conventional Symbolism". Writing in 1915, the poet himself explained that his time with the magazine in question ought not be interpreted as anything other than conjectural. During his polemic with Tudor Teodorescu-Braniște, he defined himself as an advocate of an "insolent" Symbolism, a category defined by and around Remy de Gourmont. This perspective was further clarified in O lămurire..., which explained how Tăgăduința lui Petru was to be read: "A clear, although Symbolist, book. For it is, unmistakably, Symbolist. [...] Symbolism doesn't necessarily mean neologism, morbid, bizarre, decadent, confusing and badly written. But rather—if there is talent—original, commonsensical, depth, non-imitation, lack of standard, subconscious, new and sometimes healthy." From a regional point of view, the young Fondane is sometimes included with Bacovia in the Moldavian branch of Romanian Symbolism, or, more particularly, in the Jewish Moldavian subsection. The various stylistic directions of Fondane's early poetry came together in Priveliști. Mircea Martin reads in it the poet's emancipation from both Symbolism and traditionalism, despite it being opened with a dedication to Minulescu, and against Eugen Lovinescu's belief that such pastorals were exclusively traditionalist. According to Martin, Priveliști parts from its Romantic predecessors by abandoning the "descriptive" and "sentimentalist" in pastoral conventions: "Everything seems designed on purpose to confound and defy the traditional mindset." Similarly, writer-critic Gheorghe Crăciun found the Priveliști texts contiguous with other early forms of Romanian modernism. Nevertheless, much of the volume still adheres to lyricism and the conventional idyll format, primarily by identifying itself with