[6] They spent some eight years abroad, during which time Mărgărita, a gifted but sickly child, acquired a standard classical culture and learned to speak six languages.

[7] All three women frequented the high end of literary societies, keeping company with V. A. Urechia, August Treboniu Laurian and, allegedly, Edmond de Goncourt.

[17] As Ariel, she held a permanent column in the Bucharest newspaper La Patrie, while contributing articles to the literary review Sămănătorul, for which she used the signature Dionis ("Dionysus").

[18] Additionally, Miller-Verghy became a vice president of the Maison d'Art club, a philanthropic society headed by Princess Elisabeth of Romania.

[19] Having helped organize the vocational education department at Elena Doamna, and exhibit its work at the Romanian Atheneum (1907), she published a brochure on the subject of arts and crafts (1908).

[30] With Izabela Sadoveanu-Evan, Bucura Dumbravă and other women writers, Miller-Verghy was also a founding member of the Româncele Cercetașe Association, an early branch of Romanian Scouting (created in 1915, ancestor of Asociația Ghidelor și Ghizilor din România).

[32] A year later, Miller-Verghy also contributed the Romanian version of Marie's story "Four Seasons from a Man's Life" (Patru anotimpuri din viața unui om), in an edition illustrated by painter Nicolae Grant.

[5] According to one critic's interpretation, Miller-Verghy inspired the character Arethy in Caragiale's prose work Sub pecetea tainei ("Under the Seal of Secrecy", 1930).

In the battle for Bucharest, the Elena Doamna School became an overcrowded military hospital, and Miller-Verghy a registered Romanian Red Cross nurse.

[18] Financed by charity shops, it continued to assist children in need even after the defeat of the Central Powers and the return of Bucharest into Romanian hands.

[39] Also then, Miller-Verghy completed a novel, eponymously titled after Theano, a character in Greek mythology, and the play Pentru tine ("For You"), published respectively with the names Dionis and Ilie Cambrea.

[19] She was returning to children's literature, and, as Ilie Cambrea, drafted the project for a screenplay and silent film, Fantomele trecutului ("Ghosts of the Past").

In 1925, she joined her old friend Adela Xenopol, by then a feminist militant, in creating Societatea Scriitoarelor Române ("The Romanian Women Writers' Society").

[27][42] She was contributing to its tribune, Revista Scriitoarei ("The Woman Writer's Review"), joining a writing staff which also included cultural figures Xenopol, Constanța Hodoș, Aida Vrioni, Ana Conta-Kernbach, Sofia Nădejde, Hortensia Papadat-Bengescu and Sadoveanu-Evan.

[27][45] Founded as an explicitly all-female venue, it came to terms with the SSR and male authors in 1928, when it changed its name to Revista Scriitoarelor și Scriitorilor Români ("The Women and Men Writers' Review").

[27] Miller-Verghy built relationships with various other literary figures, among them female novelist Lucia Demetrius, with whom she became close friends,[47] and Elena Văcărescu, who handed out the Maison d'Art scholarships.

"[51] Two years later, the National Theater Bucharest staged her adaptation of Eufrosina Pallă's tale, Prințul cu două chipuri ("The Two-faced Prince").

It was a production specifically aimed at children, but tackled complex subjects (moral dualism, lust, human sacrifice) and had lengthy monologues.

"[53] According to researcher Elena Zaharia-Filipaș, Evoluția scrisului feminin... contains "exceptional" detail on the object of its study, "and many times constitutes a unique source".

[55] In 1946, despite her blindness and her age-related illnesses, Miller-Verghy published her best-known work of fiction, Prințesa în crinolină ("The Princess in Crinoline").

[56] A self-defined "sensational mystery" carrying the dedication "to a friend forever hostile to detective novels", it introduced a style which was to influence a new generation of women writers.

[56] The book recounts the investigation of amateur detectives Diomed and Florin, who, together with their female colleague Clelia (disguised as a bricklayer), expose the killer of Moldavian-born Princess Ralü Muzuridi.

[56] The plot sees them traveling to the Northern Moldavian churches and the Transylvanian city of Brașov, attending high society parties, and meeting with the fictionalized version of English-born journalist Gordon Seymour.

[55] During the early years of the communist regime, she made her last contributions as a dramatist: Gura lumii ("People Talk") and Afin și Dafin ("Bilberry and Laurel").