Mihai Cimpoi’s writing is marked from the beginning by what Blaise Pascal called l’esprit de finesse. His radical aesthetic way to perceive literature and his way to place himself from it in a lyrical-romantic detachment firmly places him far away from the dogma of socialist realism obedient to the party directives. Instead of wooden language of the time he brings critical neological phrasing, the metaphor, the tone. A new feature of the criticism of that time is also the aesthetic impressionism of his commentary. Precise lines and „geometric” thinking are replaced by „free” dissociation, bringing a rhapsody spirit that is totally original for Bessarabian literary criticism. Basically, this is a reply given to proletcultism that is even called by our critic as „aesthetic rehabilitation.” There is a kind of Mihai Cimpoi’s specific way to admire without using adjectives hiding his superlativ manner of aesthetic appreciation and characterization of literature in fanciful style. The critic’s localization in ethereal space of the aesthetic is a kind of literary bovarysm, a form of daydreaming at some ideal heights. The critic flatters, but does not descend to a common minstrel service function. His taste works selectively, it ignores ideological scrap and only where it notices flashes of creativity his imagination goes in front of literature and fables in a happy oblivion of himself, spreading generously, in an act of impressionist aestheticization, mirages of stylistic volutes.