His presence on the local literary scene meant successive affiliations with various competing venues: having debuted with the traditionalist and nationalist magazine Sămănătorul, he later connected the eclectically conservative Convorbiri Critice group of Mihail Dragomirescu with the Romanian Symbolist movement leaders Alexandru Macedonski and Ion Minulescu, before moving close to the modernist trend of Eugen Lovinescu and his Sburătorul.
[7] Previously a follower of the conservative literary society Junimea, Dragomirescu had been directing his efforts toward assembling together some of his former colleagues, alongside writers from traditionalist and neo-romantic groups like Făt Frumos (Emil Gârleanu, Anastasie Mândru, Corneliu Moldovanu and D. Nanu among them), and more eclectic ones—Panait Cerna, Gheorghe Vâlsan, as well as Dragoslav himself.
[8] In addition to these authors, people who frequented Dragomirescu's circle before its 1910 disestablishment included Symbolist figures (Minulescu, Dimitrie Anghel, Al. T. Stamatiad) or writers of various other orientations (Cincinat Pavelescu, Liviu Rebreanu), joined by visual artists Iosif Iser, Costin Petrescu and George Talaz.
[2] Dragoslav made frequent trips outside Fălticeni "with a giant satchel of manuscripts", seeking out fellow writers and addressing them, coarsely, as măi frate-miu ("brother o' mine").
[2] Dragoslav pursued a diverse activity in the literary press, and also published his work in, among others, Făt Frumos, Flacăra, Luceafărul, Ramuri, Universul daily and Viața Literară.
[1] In 1909, having published Fata popei ("The Priest's Daughter") and Povestea copilăriei ("The Story of Childhood"),[1][5] he joined the Romanian Writers' Society, a professional association founded by Anghel, Gârleanu and Pavelescu in 1908.
"[13] Together with Stamatiad and Mândru, Dragoslav was instrumental in bridging the gap between Macedonski's Literatorul and Convorbiri Literare, successfully urging Dragomirescu to give his colleague a positive review.
[1] At an early stage of World War I, when Romania had not yet joined up with the Entente, Dragoslav affiliated with Libertatea, a gazette put out by the controversial agitator and Symbolist poet Alexandru Bogdan-Pitești, which campaigned in favor of the Central Powers and was reportedly financed by the German Empire.
[1][2] His prose is thought to have been heavily influenced by Ion Creangă, a celebrated late 19th century raconteur, who, like Dragoslav, borrowed inspiration from rural culture and Romanian folklore.
"[2] Including Dragoslav's work among an "eclectic" tendency, he rejected most of it as "garrulous" and "adulterous" versions from themes provided by other authors, and called the memoir Povestea copilăriei a "disgraceful pastiche" of Creangă's Childhood Memories.
[2] Lovinescu provides a similar verdict, noting that Dragoslav was an inauthentic peasant, who tried to adapt a "popular epic" to modern urban subjects, using the comedic work of Ion Luca Caragiale as a template.