Theodor W. Adorno's Jargon of Authenticity (1964) suggested that the poems are essentially evil: "The fact that the neoromantic lyric sometimes behaves like the jargon [of authenticity], or at least timidly readies the way for it, should not lead us to look for the evil of the poetry simply in its form. It is not simply grounded, as a much too innocent view might maintain, in the mixture of poetry and prose. The evil, in the neoromantic lyric, consists in the fitting out of the words with a theological overtone, which is belied by the condition of the lonely and secular subject who is speaking there: religion as ornament."[21] Adorno further believed the poems reinforced the German value of commitment that supported a cultural attraction towards the principles of Nazism.[22]