sonnet Sonuri și culori ("Sounds and Colors"), which was heavily indebted to Rimbaud's synaesthesia, assigning deeper meanings to isolated vowels. Such work, often eroticized, received a radical critique from the traditionalist intellectuals of Transylvania: a reviewer for Rĕvașul newspaper, claiming to speak for his entire region, called Demetriade's "orgiastic" poems "an ugly torrent". According to Davidescu, Demetrescu's poetry mainly stands out for its sensuality and eroticism, "preserving the author's very character, which cannot but evoke to mind [...] that tanned man, as restless as a squirrel, with his black beard and eyes, always open to new sensations, always a man of his word, at once impulsive and self-contained, and always generous". Contrarily, the literary historian Șerban Cioculescu describes Demetriade, overall, as "faint and subdued". Final years Demetriade continued to play the unconventional poet, well-integrated in the atmosphere of the era's literary cafes. He embraced the peculiar lifestyle of literary bohemia. Writing in 1902, Macedonski described him as a "jester" who could prove himself "bitter", also noting that Demetriade's day started "at 3 o'clock in the afternoon". Such depictions were puzzling for the reading public, who wondered whether Macedonski was not in fact mocking his disciple. However, Demetriade remained among the most loyal Macedonskians, to 1904 and beyond. The younger Symbolist Mihail Cruceanu, who met Demetriade in Macedonski's salon in 1905, recalls him as a "Mefisto", who readily imparted his erotic escapades with the Literatorul crowd. He notes: "We the young ones we were looking up to him with much curiosity and sympathy, as he appeared to us as an elegant and fortunate satyr whose astuteness we could never match. But seeing as we were fatigued by the stories' emotionalism, we left for home at midnight, leaving him alone with his complete menu, to consume till dawn. Or so they tell me, since I, the aspiring poet, always went to bed before that time." His final work in verse drama was Visul lui Ali ("Ali's Dream"). It premiered at the National Theater in autumn 1904. It was again taken up by the troupe in October 1912, and was put out in its definitive 1913 edition by nephew Eraclie Sterian. This writing was also heavily inspired by Macedonski's themes. It showed its hero, a destitute Muslim from Alexandria, rising to the position of Caliph—or merely imagining himself a Caliph. Călinescu finds the play, and other Demetriade fairy tales, to be hampered by