Some of Relgis' preferences were shaped from his time at "Fronda". Its art manifestos, described by Paul Cernat as "virtually illegible", announced radical ideals, such as art for art's sake through Neronian destruction: "Qualis artifex pereo". Leon Baconsky, a historian of Romanian Symbolism, notes that all "Frondistes" were at the time enthusiastic followers of French literary theorist Remy de Gourmont, to whom Cernat adds philosopher Henri Bergson and Epicurean thinker Jean-Marie Guyau (both of them dedicated "prolix-metaphoric commentary" in the review's pages). In matters of poetics, the group declared its deep admiration for the loose Symbolism of Tudor Arghezi (whose poems were amply reviewed by all three "Fronda" issues) and, to a lesser extent, Ion Minulescu—according to Baconsky, "Fronda" was the first-ever voice in literary criticism to comment on Arghezi's work as an integral phenomenon.