Among the first direct ideological successors of "Sămănătorul" was Iorga's own Democratic Nationalist Party. According to Veiga: "In this new phase, Iorga did not resort to very different arguments, but merely sought to render a more politically explicit expression to the literary aesthetics of "Sămănătorul"." In Stanomir's account, the "avatars" represented by the Democratic Nationalist program and "Neamul Românesc" are, like "Sămănătorul", episodes in a "series marked by the recovery and valorization of the Eminescian assets". Despite its intention of addressing the peasantry, "Sămănătorul" is thought to have mostly appealed to white-collar workers. Călinescu, who contrasted its approach with the elitism and professionalization advocated by "Junimea", concluded: "["Semănătorul"] primarily gathered writers of little culture, officers, young men who did not complete their education [and] autodidacts [...]. The magazine made itself well liked by schoolteachers, provincial professors, Romanians outside the borders, and, in spreading throughout these environments, it educated the masses in view of accepting proper literature. It is true that the very same readers were left with horror for all things 'alien', 'unhealthy', but when did it ever happen that the multitudes reach a level required for the understanding of more refined art? One could say that "Semănătorul" and all the other like-minded publications assumed the thankless mission of promoting "Junimist" ideas all around, while renouncing the [art for art's sake principle] at the risk of compromising themselves in front of literary historians less sympathetic to a magazine's goals." Sandqvist also notes that the main group to be attracted by traditionalism, particularly after the 1907 revolt, mostly comprised "underpaid classicists, historians, and lawyers who composed the nation's overstaffed bureaucracy".