German, Stramm's war poems give an immediate impression of the front. By eschewing a self-conscious persona, and treating the poem itself as a reality, Stramm thrusts intense images of the war directly before the reader. Exploiting all his newly perfected techniques, he precisely conveys the exact moments, the various horrors of war: the terror of being under fire in Im Feuer, shelling in Granaten, hesitation in Zagen, the difficult advance in Signal, combat in Haidekampf, or single combat in Urtod ("Primal Death"). But there are also rare moments of beauty, as in the evening atmosphere of Abend, when the poet glimpses a higher being, the distant Du." Legacy Adler has also written that August Stramm's "essential innovation (still too little recognized in Germany) was to create a new, non-representational kind of poetry," which is, "comparable," to Pablo Picasso's creation of abstract art and to Arnold Schönberg's revolution in the writing of Classical music. In his 1985 book, The German Poets of the First World War, Patrick Bridgwater dubbed the literary movement inspired by Stramm's poetry, "the German variety of Imagism." Shortly before the outbreak of war in 1914, T.E. Hulme heard the kind of poetry that Stramm created and inspired being read aloud at the Cabaret Gnu in Berlin. Hulme later wrote, "Very short sentences are used, sometimes so terse and elliptical as to produce a blunt and jerky effect ... It is clear that a definite attempt is being made to use the language in a new way, an attempt to cure it of certain vices." Even though, according to Jeremy Adler, "Stramm's rigorous, demanding style," never gained him the popular appeal of Georg Trakl, Stramm, "has had a significant influence on German poetry." First his verse was a model for the poets of the Sturm-Kreis ("Sturm-Circle") which included Kurt Heynicke, Otto Nebel, and Franz Behrens. Then, Dadaism and Kurt Schwitters took Stramm as their starting point. After the Second World War, Stramm's poetry inspired experimental writers like Gerhard Rühm and Paul Celan. Writing in 1988, Adler commented that, "several younger writers openly acknowledge," that they have been influenced by August Stramm and that his, "place as a modern classic seems to be assured." In 1921, Paul Hindemith, a German composer of Classical music and fellow veteran of the Great War, turned Stramm's play Sancta Susanna, about a nun who breaks her vow of chastity, into an opera with