unsatisfactory nature of the reforms of the 1960s, led to the degradation of the peasantry situation, which represented over 90% of the country's population. This was a first goal to be achieved and called for an immediate and radical solution. With the formation of the modern Romanian state, the second desideratum appeared, which presupposed the integration of the new state with the Romanian territories outside the existing borders. Thus, all the instruments for bringing Transylvania to the borders of Romania were activated on a literary-artistic, cultural and political level. The two desideratum's manifested themselves in the field of art, culture and literature, in the form of a strong national current of a social-romantic nature, a fact confirmed by researchers in the field. The exponent of this current was Sămănătorism that defined itself as a romanticism degraded by anachronism and exaggeration. Ovid Densusianu characterized it as a minor romanticism and George Călinescu as a small provincial and rustic romanticism. Both Sămănătorism and Junimism, as well as Poporanism, which is no stranger to socialist ideas, were currents that followed the interests of small producers and landowners. They criticized capitalism, blaming it, and wanted Romania to bypass it by expressing its option for an eminently agrarian development. For these reasons, there has been an unparalleled orientation towards ethnicism and especially towards the repulsion displayed for the city, urbanization, as places of loss, collapse and alienation. Although the most stubborn sowers had the best intentions, "...the tradition turned into traditionalism, the evocation of the historical past, into passeism, compassion for the fate of the peasantry into a peasant mysticism that — paradoxically — eludes the social aspect of the action, the evocation of the state in it idealization, the national specificity in nationalism and chauvinism, the containment of the excess of translations, in severe cultural protectionism." By contrast with the agrarian currents, the symbolist movement has shyly appeared at first and then very vigorously and later was called as Art 1900. The symbolists campaigned for the synchronization of local art with Western art, for emancipation from the conservative formulas of tradition. Appearing as a reaction to the dissatisfaction generated by the defeat of the Paris Commune, as a decadent depressive state, the symbolist movement arrived in Romania as an explosive state that lacked the spark for detonation. Romania was prepared to receive symbolism, with Western models playing the role of promoter. An important role