have met with Ana Pauker, who was later one of the Romanian Communist Party's most prominent activists. Arp and Janco drifted away from the movement ca. 1919, when they created the Constructivist-inspired workshop Das Neue Leben. In Romania, Dada was awarded an ambiguous reception from Tzara's former associate Vinea. Although he was sympathetic to its goals, treasured Hugo Ball and Hennings and promised to adapt his own writings to its requirements, Vinea cautioned Tzara and the Jancos in favor of lucidity. When Vinea submitted his poem Doleanțe ("Grievances") to be published by Tzara and his associates, he was turned down, an incident which critics attribute to a contrast between the reserved tone of the piece and the revolutionary tenets of Dada. Paris Dada In late 1919, Tristan Tzara left Switzerland to join Breton, Soupault and Claude Rivière in editing the Paris-based magazine Littérature. Already a mentor for the French avant-garde, he was, according to Hans Richter, perceived as an "Anti-Messiah" and a "prophet". Reportedly, Dada mythology had it that he entered the French capital in a snow-white or lilac-colored car, passing down Boulevard Raspail through a triumphal arch made from his own pamphlets, being greeted by cheering crowds and a fireworks display. Richter dismisses this account, indicating that Tzara actually walked from Gare de l'Est to Picabia's home, without anyone expecting him to arrive. He is often described as the main figure in the Littérature circle, and credited with having more firmly set its artistic principles in the line of Dada. When Picabia began publishing a new series of 391 in Paris, Tzara seconded him and, Richter says, produced issues of the magazine "decked out [...] in all the colors of Dada." He was also issuing his Dada magazine, printed in Paris but using the same format, renaming it Bulletin Dada and later Dadaphone. At around that time, he met American author Gertrude Stein, who wrote about him in The Autobiography of Alice B. Toklas, and the artist couple Robert and Sonia Delaunay (with whom he worked in tandem for "poem-dresses" and other simultaneist literary pieces). Tzara became involved in a number of Dada experiments, on which he collaborated with Breton, Aragon, Soupault, Picabia or Paul Éluard. Other authors who came into contact with Dada at that stage were Jean Cocteau, Paul Dermée and Raymond Radiguet. The performances staged by Dada were often meant to popularize its principles, and Dada