was teacher at his mother and wife's boarding school on Brutus Street (where he also resided). Stahl resumed his close contacts with Iorga: Iorga regularly visited Stahl's home and office, where he freely dictated his books for Stahl to write down. Stahl also joined the staff of Iorga's summer school in Vălenii de Munte, where, in 1908, he was teaching stenography courses. Iorga's academic press of Vălenii put out his 1909 Curs complect de stenografie cu vocale ("Complete Course of Stenography, Vowels Included"). Also that year, he put out a French-language introduction to French and German stenography, lithographed in Bucharest. In addition to such contributions, Stahl preserved a passion for oral history and the history of Bucharest. He walked through the city, made notes of its interesting features, created stone rubs from old inscriptions, and interviewed senior citizens. His son Henri Jr, who followed him on such excursions, recalls: "He had the special gift of being able to converse with simple people, old and young alike, winning them over with his own matching simplicity, addressing them in their own language, in the very spirit of their mentality." As literary critic Dan C. Mihăilescu notes, Stahl and Iorga were both conservative adversaries of 20th-century modernization, who disliked popular culture and feared the growth of the petite bourgeoisie. Henri Jr also sees his father as a disciple of Iorga's traditionalist doctrine, or Sămănătorism. Occasionally, Stahl returned to fiction writing, producing Un român în lună, the found manuscript of space exploration: a newspaperman chances upon a mysterious text, which turns out to be the stenographic account of a Romanian voyage to the Moon. Stahl described his novel as more of a "popular treatise in astronomy", a "well-written" and accessible illustration of scientific facts. In his 1915 review of the novel, Mihail Sevastos of Viața Românească noted: "Mr. Stahl imagined himself a Flammarion of the Romanians". According to philologist Petru Iamandi, the book's "rather obvious positivism" is balanced by "enthusiasm" and "funny remarks", but "the lack of a genuine conflict [is] the main shortcoming of Stahl's book". As noted in 1998 by cultural journalist Cristian Tudor Popescu, Un român în lună can indeed be considered important for the emergence of Romanian science fiction, but it is also "negligent" and "inferior" to its Western models, from Edgar Allan Poe to Jules Verne. The unique element, Popescu suggests, is the explorer's motivation: he has left Earth