"That which essentially unifies, during [the 1910s], the poetic output of Adrian Maniu, Ion Vinea and Tristan Tzara is an acute awareness of literary conventions, a satiety [...] in respect to calophile literature, which they perceived as exhausted." In Beitchman's view, the revolt against cultivated beauty was a constant in Tzara's years of maturity, and his visions of social change continued to be inspired by Arthur Rimbaud and the Comte de Lautréamont. According to Beitchman, Tzara uses the Symbolist message, "the birthright [of humans] has been sold for a mess of porridge", taking it "into the streets, cabarets and trains where he denounces the deal and asks for his birthright back." Collaboration with Vinea The transition to a more radical form of poetry seems to have taken place in 1913–1915, during the periods when Tzara and Vinea were vacationing together. The pieces share a number of characteristics and subjects, and the two poets even use them to allude to one another (or, in one case, to Tzara's sister). In addition to the lyrics were they both speak of provincial holidays and love affairs with local girls, both friends intended to reinterpret William Shakespeare's Hamlet from a modernist perspective, and wrote incomplete texts with this as their subject. However, Paul Cernat notes, the texts also evidence a difference in approach, with Vinea's work being "meditative and melancholic", while Tzara's is "hedonistic". Tzara often appealed to revolutionary and ironic images, portraying provincial and middle class environments as places of artificiality and decay, demystifying pastoral themes and evidencing a will to break free. His literature took a more radical perspective on life, and featured lyrics with subversive intent: In his Înserează (roughly, "Night Falling"), probably authored in Mangalia, Tzara writes: Vinea's similar poem, written in Tuzla and named after that village, reads: Cernat notes that Nocturnă ("Nocturne") and Înserează were the pieces originally performed at Cabaret Voltaire, identified by Hugo Ball as "Rumanian poetry", and that they were recited in Tzara's own spontaneous French translation. Although they are noted for their radical break with the traditional form of Romanian verse, Ball's diary entry of 5 February 1916, indicates that Tzara's works were still "conservative in style". In Călinescu's view, they announce Dadaism, given that "bypassing the relations which lead to a realistic vision, the poet associates unimaginably dissipated images that will surprise consciousness." In 1922, Tzara himself wrote: "As early as 1914, I