dem Spazierstock ("The Hyperbole of the Crocodile's Hairdresser and the Walking-Stick"), in which, Arp stated, "the poet crows, curses, sighs, stutters, yodels, as he pleases. His poems are like Nature [where] a tiny particle is as beautiful and important as a star." Another noted simultaneist poem was L'Amiral cherche une maison à louer ("The Admiral Is Looking for a House to Rent"), co-authored by Tzara, Marcel Janco and Huelsenbach. Art historian Roger Cardinal describes Tristan Tzara's Dada poetry as marked by "extreme semantic and syntactic incoherence". Tzara, who recommended destroying just as it is created, had devised a personal system for writing poetry, which implied a seemingly chaotic reassembling of words that had been randomly cut out of newspapers. Dada and anti-art The Romanian writer also spent the Dada period issuing a long series of manifestos, which were often authored as prose poetry, and, according to Cardinal, were characterized by "rumbustious tomfoolery and astringent wit", which reflected "the language of a sophisticated savage". Huelsenbeck credited Tzara with having discovered in them the format for "compress[ing] what we think and feel", and, according to Hans Richter, the genre "suited Tzara perfectly." Despite its production of seemingly theoretical works, Richter indicates, Dada lacked any form of program, and Tzara tried to perpetuate this state of affairs. His Dada manifesto of 1918 stated: "Dada means nothing", adding "Thought is produced in the mouth." Tzara indicated: "I am against systems; the most acceptable system is on principle to have none." In addition, Tzara, who once stated that "logic is always false", probably approved of Serner's vision of a "final dissolution". According to Philip Beitchman, a core concept in Tzara's thought was that "as long as we do things the way we think we once did them we will be unable to achieve any kind of livable society." Despite adopting such anti-artistic principles, Richter argues, Tzara, like many of his fellow Dadaists, did not initially discard the mission of "furthening the cause of art." He saw this evident in La Revue Dada 2, a poem "as exquisite as freshly-picked flowers", which included the lyrics: La Revue Dada 2, which also includes the onomatopoeic line tralalalalalalalalalalala, is one example where Tzara applies his principles of chance to sounds themselves. This sort of arrangement, treasured by many Dadaists, was probably connected with Apollinaire's calligrams, and with his announcement that "Man is in search of a new language."