Editing Tristan Tzara (section)

===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).<ref>Cernat, p.117, 119</ref>

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.<ref>Cernat, p.109, 119, 160</ref> However, Paul Cernat notes, the texts also evidence a difference in approach, with Vinea's work being "meditative and melancholic", while Tzara's is "[[Hedonism|hedonistic]]".<ref name="pcern117">Cernat, p.117</ref> 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.<ref>Cernat, p.117-119</ref> His literature took a more radical perspective on life, and featured lyrics with subversive intent:
{{Verse translation|
{{lang|ro|să ne coborâm în râpa, 
care-i Dumnezeu când cască}}<ref>Cernat, p.119</ref>
|
let's descend into the precipice
that is God yawning}}

In his ''Înserează'' (roughly, "Night Falling"), probably authored in [[Mangalia]], Tzara writes:
{{Verse translation|
{{lang|ro|[...] deschide-te fereastră, prin urmare
și ieși noapte din odaie ca din piersică sâmburul, 
ca preotul din biserică
[...] hai în parcul communal
până o cânta cocoșul
să se scandalizeze orașul [...].}}<ref name="pcern117"/>
|
[...] open yourself therefore, window
and you night, spring out of the room like a kernel from the peach,
like a priest from the church
[...] let's go to the community park
before the rooster starts crowing
so that the city will be scandalized [...]}}

Vinea's similar poem, written in [[Tuzla, Constanța|Tuzla]] and named after that village, reads:
{{Verse translation|
{{lang|ro|seara bate semne pe far
peste goarnele vagi de apă
când se întorc pescarii cu stele pe mâini
și trec vapoarele și planetele}}<ref name="pcern117"/>
|
the evening stamps signs on the lighthouse
over the vague bugles of water
when fishermen return with stars on their arms
and ships and planets pass by}}

Cernat notes that ''Nocturnă'' ("Nocturne") and ''Înserează'' were the pieces originally performed at [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]], identified by [[Hugo Ball]] as "Rumanian poetry",<!-- sic --> and that they were recited in Tzara's own spontaneous French translation.<ref>Cernat, p.111, 120</ref> Although they are noted for their radical break with the traditional form of Romanian verse,<ref name="ddintoarc">{{in lang|ro}} [[Dennis Deletant]], [http://www.revista22.ro/html/index.php?nr=2007-01-12&art=3373 "Întoarcerea României în Europa: între politică și cultură"] {{webarchive|url=https://web.archive.org/web/20071021120445/http://www.revista22.ro/html/index.php?art=3373&nr=2007-01-12 |date=21 October 2007 }}, in ''[[Revista 22]]'', Nr. 879, January 2007</ref> Ball's diary entry of 5 February 1916, indicates that Tzara's works were still "conservative in style".<ref name="hrich16">Richter, p.16</ref> 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."<ref name="gcal887"/> In 1922, Tzara himself wrote: "As early as 1914, I 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 [...]."<ref name="ddintoarc"/>

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",<ref name="gcal887"/> Samyro's poetry includes ''Verișoară, fată de pension'', which, Cernat argues, displays "playful detachment [for] the musicality of [[internal rhyme]]s".<ref name="pcern49"/> It opens with the lyrics:
{{Verse translation|
{{lang|ro|Verișoară, fată de pension, îmbrăcată în negru, guler alb,
Te iubesc pentru că ești simplă și visezi
Și ești bună, plângi, și rupi scrisori ce nu au înțeles
Și-ți pare rău că ești departe de ai tăi și că înveți 
La Călugărițe unde noaptea nu e cald.}}<ref name="gcal887"/>
|
Little cousin, boarding school girl, dressed in black, white collar,
I love you because you are simple and you dream
And you are kind, you cry, you tear up letters that have no meaning
And you feel bad because you are far from yours and you study
At the Nuns where at night it's not warm.}}

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.<ref>Cernat, p.153, 288; Răileanu & Carassou, p.62-67</ref>