Călinescu proposed that Tzara willingly limited the impact of chance: taking as his example a short parody piece which depicts the love affair between cyclist and a Dadaist, which ends with their decapitation by a jealous husband, the critic notes that Tzara transparently intended to "shock the bourgeois". Late in his career, Huelsenbeck alleged that Tzara never actually applied the experimental methods he had devised. The Dada series makes ample use of contrast, ellipses, ridiculous imagery and nonsensical verdicts. Tzara was aware that the public could find it difficult to follow his intentions, and, in a piece titled Le géant blanc lépreux du paysage ("The White Leprous Giant in the Landscape") even alluded to the "skinny, idiotic, dirty" reader who "does not understand my poetry." He called some of his own poems lampisteries, from a French word designating storage areas for light fixtures. The Lettrist poet Isidore Isou included such pieces in a succession of experiments inaugurated by Charles Baudelaire with the "destruction of the anecdote for the form of the poem", a process which, with Tzara, became "destruction of the word for nothing". According to American literary historian Mary Ann Caws, Tzara's poems may be seen as having an "internal order", and read as "a simple spectacle, as creation complete in itself and completely obvious." Plays of the 1920s Tristan Tzara's first play, The Gas Heart, dates from the final period of Paris Dada. Created with what Enoch Brater calls a "peculiar verbal strategy", it is a dialogue between characters called Ear, Mouth, Eye, Nose, Neck, and Eyebrow. They seem unwilling to actually communicate to each other and their reliance on proverbs and idiotisms willingly creates confusion between metaphorical and literal speech. The play ends with a dance performance that recalls similar devices used by the proto-Dadaist Alfred Jarry. The text culminates in a series of doodles and illegible words. Brater describes The Gas Heart as a "parod[y] of theatrical conventions". In his 1924 play Handkerchief of Clouds, Tzara explores the relation between perception, the subconscious and memory. Largely through exchanges between commentators who act as third parties, the text presents the tribulations of a love triangle (a poet, a bored woman, and her banker husband, whose character traits borrow the clichés of conventional drama), and in part reproduces settings and lines from Hamlet. Tzara mocks classical theater, which demands from characters to be inspiring, believable, and to function