To many critics, including Karel Čapek, Stanislav Mráz represented the dead end of Parnassian lyricism and the artist’s self-concept as a being enclosed in his own artificial world. However, this poet, sacrificing as much as he could for his work, desperately tried to appeal to contemporary readers, whom he did not seek among old-fashioned aesthetes but among ordinary people. These efforts are reflected in his messages to the editors of Ženský obzor and Sokol magazines and on the covers of his books. Mráz did not succeed, and after his death, the poor citizens of the Košíře neighborhood used his unsold writings in their stoves, as recounted by Jiří Kuběna, one of the most prominent Czech poets, who, in contrast, appreciated Mráz’s work. Vladimír Holan, as indicated by his notes in the prints, was also among those who valued Mráz’s work.