The most extraordinary case in [the] category of rhythmic innovations is Paul Celan. In addition to the abandoning of traditional meters, one can observe in his poetry the disintegration of syntax and word formation. Celan does not give up the relatedness to grammar completely, however, and thus points towards a metagrammar. This development culminates with the volume Niemandsrose (1964)….

Because of the danger of mannerism, in his later volumes Celan turned for the purpose of his metagrammatical intentions from the disintegration of grammar to the combination of incongruous images and to the juxtaposition of signifying and signified aspects of the words in conjunction with the rhythmic qualities of the words. (p. 142)

[The] reciprocal conditioning of rhythm and language, which takes place without regard to the everyday logic of language and establishes a totally genetic rhythm, corresponds to Celan's poetic intention to assert himself in the self-realization of the creative...