what do we do with them? And I ask the Jews to reply honestly: what do you do?" During the same year, Sân-Giorgiu's newspaper published influential essays by Mihail Manoilescu, who advocated corporatism and called for its implementation in the National Legionary State. Having survived the violent clash between the Iron Guard and their nominal partner, Conducător Ion Antonescu (events known as the Legionary Rebellion), he left Romania after Antonescu's regime and Romania's alliance to the Axis Powers crumbled in autumn 1944 (see Soviet occupation of Romania). He joined Sima's Vienna-based Legionary cabinet, holding a nominal office as Minister of Education. The justice system in Communist Romania tried him in absentia, and sentenced him to death. The writer died in exile. Sân-Giorgiu's daughter, Ioana, stayed behind in Romania. She later married Vintilă Corbul, a genre fiction author, screenwriter and former lawyer, who had faced political persecution in the 1950s. Ioana Sân-Giorgiu died of cancer in 1969; ten years later, Corbul defected and restarted his writing career in France (where he died in 2008). Work Sân-Giorgiu's early Sămănătorist works, influenced by Panait Cerna and Mihai Eminescu, were thought by Lovinescu to be "lacking in originality". As he gradually moved towards modernism, Lovinescu notes, the poet displayed "abuse of imagery", "the perkiness of free forms", "egocentrism" and "tumultuous sensualism." The earliest of his plays were characterized by Lovinescu as "Expressionist travesties, which do away with observation and even with talent, being content with ideas and theories". Masca showed the interactions between three amorous couples, all of whom are masked. One of the pairs, a female billionaire and her male artist lover, find themselves on the verge of an existential crisis as their masks are removed, and is on the verge of splitting up. According to Lovinescu: "It's fortunate that the author-theorist would intervene to put [their masks] up again, thus enabling them to go on lying to one another." In the 1925 drama Femeia cu două suflete ("The Woman with Two Souls"), Expressionism is toned down, but still present, particularly in the author's refusal to specify the setting and the characters' background—in reference to this aspect, Lovinescu writes: "Nothing [in it] is [...] seen, individualized, localized; everything is reduced to a possible subject." The plot deals with a forceful ménage à trois situation: the female singer Mona, obsessively loved by the sculptor Dionis, accepts the advances of Fink, a theater manager, and,