tried to strip the words of their proper meaning and use them in such a way as to give the verse a completely new, general, meaning [...]." Alongside pieces depicting a Jewish cemetery in which graves "crawl like worms" on the edge of a town, chestnut trees "heavy-laden like people returning from hospitals", or wind wailing "with all the hopelessness of an orphanage", Samyro's poetry includes Verișoară, fată de pension, which, Cernat argues, displays "playful detachment [for] the musicality of internal rhymes". It opens with the lyrics: The Gârceni pieces were treasured by the moderate wing of the Romanian avant-garde movement. In contrast to his previous rejection of Dada, Contimporanul collaborator Benjamin Fondane used them as an example of "pure poetry", and compared them to the elaborate writings of French poet Paul Valéry, thus recuperating them in line with the magazine's ideology. Dada synthesis and "simultaneism" Tzara the Dadaist was inspired by the contributions of his experimental modernist predecessors. Among them were the literary promoters of Cubism: in addition to Henri Barzun and Fernand Divoire, Tzara cherished the works of Guillaume Apollinaire. Despite Dada's condemnation of Futurism, various authors note the influence Filippo Tommaso Marinetti and his circle exercised on Tzara's group. In 1917, he was in correspondence with both Apollinaire and Marinetti. Traditionally, Tzara is also seen as indebted to the early avant-garde and black comedy writings of Romania's Urmuz. For a large part, Dada focused on performances and satire, with shows that often had Tzara, Marcel Janco and Huelsenbeck for their main protagonists. Often dressed up as Tyrolian peasants or wearing dark robes, they improvised poetry sessions at the Cabaret Voltaire, reciting the works of others or their spontaneous creations, which were or pretended to be in Esperanto or Māori language. Bernard Gendron describes these soirées as marked by "heterogeneity and eclecticism", and Richter notes that the songs, often punctuated by loud shrieks or other unsettling sounds, built on the legacy of noise music and Futurist compositions. With time, Tristan Tzara merged his performances and his literature, taking part in developing Dada's "simultaneist poetry", which was meant to be read out loud and involved a collaborative effort, being, according to Hans Arp, the first instance of Surrealist automatism. Ball stated that the subject of such pieces was "the value of the human voice." Together with Arp, Tzara and Walter Serner produced the German-language Die Hyperbel vom Krokodilcoiffeur und