His lampoons also introduce the long-standing "ad hominem" of Rosetti "the frog eyes", in reference to his embarrassing exophthalmia. Such irony against the Rosettists inspired Rădulescu's disciple Grigore H. Grandea, who caricatured Rosetti as the extravagant "Poruchik" Baboi, a hanger-on among the "48-ists". As early as 1876, the enraged Mihai Eminescu responded to "Românul" criticism with virulently satirical poems, many of which were not published in Eminescu's own lifetime. Referring to the newspaper as "Pruncul" ("The Infant", from "Pruncul Român"), he introduces Bonifaciu Florescu as an "oakum-brained" dwarf, "Bonifaciu the homunculus", and V. A. Urechia as the "pooch" son of a decadent aristocrat, his mind a "lively ruin". Pantazi Ghica was also mentioned for his dilettantism, but also ridiculed for his "50-"oka"" of kyphosis. Against Florescu's praise of formal purity, Eminescu defends raw poetry, with an argument which took its definitive form in the 1884 piece "To My Critics": Eminescu's bile is specifically aimed at the "Românul" writers and the Rosettists in the better known "Third Letter", part of which is a versified version of Eminescu's xenophobic manifesto. In one draft of the poem, the Rosettist "Reds" are referred to as "the stupid mass" of "plebs" and "stârpitură" ("runts"). In later versions, focus falls on Pantazi Ghica as a hunchback and a cuckold, but especially so on C. A. Rosetti, portrayed as the absolute worst political manipulator. In Eminescu's diatribe, Rosetti, or "Reb Berlicoco", is the most seductive of National Liberal demagogues, a ruling class comprising "the mouth-breathers, the windbags, the nincompoops and the goitred". Taking its cue from Alecsandri, Eminescu's poem consecrates Rosetti's portrait as a "hideous fright" with "frog eyes". Although Rosetti did not bear Eminescu a grudge, an entire critical school, beginning with the leftist republican George Panu, condemned the poem's harshness.