Editing Tristan Tzara (section)

===Early life and ''Simbolul'' years===
Tzara was born in [[Moinești]], [[Bacău County]], in the [[Historical regions of Romania|historical region]] of [[Western Moldavia]]. His parents were [[History of the Jews in Romania|Jewish Romanians]] who reportedly spoke [[Yiddish language|Yiddish]] as their first language;<ref>Cernat, pg. 35</ref> his father Filip and grandfather Ilie were entrepreneurs in the forestry business.<ref name="iliv241">Livezeanu, pg. 241</ref><ref name="vmttcl">{{in lang|ro}} Victor Macarie, [http://convorbiri-literare.dntis.ro/MACARIEnov4.html "Inedit: Tristan Tzara"] {{Webarchive|url=https://web.archive.org/web/20090309001230/http://convorbiri-literare.dntis.ro/MACARIEnov4.html |date=9 March 2009 }}, in ''[[Convorbiri Literare]]'', November 2004.</ref> Tzara's mother was Emilia Rosenstock ({{nee}} Zibalis).<ref name="vmttcl"/> Owing to the [[Kingdom of Romania|Romanian Kingdom]]'s discrimination laws, the Rosenstocks were not [[Jewish Emancipation|emancipated]], and thus Tzara was not a full citizen of the country until after 1918.<ref name="iliv241"/>

He moved to [[Bucharest]] at the age of eleven, and attended the Schemitz-Tierin [[boarding school]].<ref name="iliv241"/> It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the [[Saint Sava National College]]<ref name="iliv241"/> or as the Sfântul Gheorghe High School.<ref>Cernat, pp. 48-51</ref> In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing ''[[Simbolul]]''. Reputedly, Janco and Vinea provided the funds.<ref name="pcern99">Cernat, pg. 99</ref> Like Vinea, Tzara was also close to their young colleague [[Jacques G. Costin]], who was later his self-declared promoter and admirer.<ref>Cernat, pp. 186-194</ref>

Despite their young age, the three editors were able to attract collaborations from established [[Symbolism (arts)|Symbolist]] authors, active within [[Symbolist movement in Romania|Romania's own Symbolist movement]]. Alongside their close friend and mentor [[Adrian Maniu]] (an [[Imagism|Imagist]] who had been Vinea's tutor),<ref>Cernat, pg. 51</ref> they included [[N. Davidescu]], [[Alfred Hefter|Alfred Hefter-Hidalgo]], [[Emil Isac]], [[Claudia Millian]], [[Ion Minulescu]], [[I. M. Rașcu]], [[Eugeniu Sperantia]], [[Al. T. Stamatiad]], [[Eugeniu Ștefănescu-Est]], and [[Constantin T. Stoika]], as well as journalist and lawyer [[Poldi Chapier]].<ref name="pcern49">Cernat, pg. 49</ref> In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, [[Alexandru Macedonski]].<ref name="pcern49"/> ''Simbolul'' also featured illustrations by Maniu, Millian and [[Iosif Iser]].<ref>Cernat, pp. 50, 100.</ref>
[[File:Tzara, Maxy, Vinea, Costin (1915).jpg|thumb|300px|The ''[[Chemarea]]'' circle in 1915. From left: Tzara, [[M. H. Maxy]], [[Ion Vinea]], and [[Jacques G. Costin]]]]
Although the magazine ceased print in December 1912, it played an important part in shaping [[Literature of Romania|Romanian literature]] of the period. Literary historian [[Paul Cernat]] sees ''Simbolul'' as a main stage in Romania's [[modernism]], and credits it with having brought about the first changes from Symbolism to the radical avant-garde.<ref>Cernat, pp. 49-54, 397–398, 412</ref> Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as [[Ion Minulescu]] and [[Tudor Arghezi]].<ref>Cernat, pg. 47</ref> Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the [[Black Sea]] coast or at the Rosenstock family property in [[Gârceni]], [[Vaslui County]]; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one another.<ref>Cernat, pp. 116-121.</ref>