Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors.
Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama."
The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words."
He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works.

However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie.
At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe.
In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death.
Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc.
In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas.
Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people?
I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along."
Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars.

In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct."
In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset."
These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects.
Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism".

Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas.
At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own ex
Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works.
However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars.
In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism".
Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own ex
Mihail Sadoveanu