r to such an experiment. First, however, I
considered the same method as applied to the more pronounced movements
of natural objects. If the reader will turn to the poem, "A Roxbury
Garden", he will find in the first two sections an attempt to give the
circular movement of a hoop bowling along the ground, and the up and
down, elliptical curve of a flying shuttlecock.

From these experiments, it is but a step to the flowing rhythm of music.
In "The Cremona Violin", I have tried to give this flowing, changing
rhythm to the parts in which the violin is being played. The effect is
farther heightened, because the rest of the poem is written in the seven
line Chaucerian stanza; and, by deserting this ordered pattern for the
undulating line of vers libre, I hoped to produce something of the
suave, continuous tone of a violin. Again, in the violin parts
themselves, the movement constantly changes, as will be quite plain to
any one reading these passages aloud.

In "The Cremona Violin", however, the rhythms are fairly obvious and
regular. I set myself a far harder task in trying to transcribe the
various movements of Stravinsky's "Three Pieces 'Grotesques', for String
Quartet". Several musicians, who have seen the poem, think the movement
accurately given.

These experiments lead me to believe that there is here much food for
thought and matter for study, and I hope many poets will follow me in
opening up the still hardly explored possibilities of vers libre.

A good many of the poems in this book are written in "polyphonic prose".
A form about which I have written and spoken so much that it seems
hardly necessary to explain it here. Let me hastily add, however, that
the word "prose" in its name refers only to the typographical
arrangement, for in no sense is this a prose form. Only read it aloud,
Gentle Reader, I beg, and you will see what you will see. For a purely
dramatic form, I know none better in the whole range of poetry. It
enables the poet to give his characters the vivid, real effect they have
in a play, while at the same time writing in the 'decor'.

One last innovation I have still to mention. It will be found in
"Spring Day", and more fully enlarged upon in the series, "Towns in
Colour". In these poems, I have endeavoured to give the colour, and
light, and shade, of certain places and hours, stressing the purely
pictorial effect, and with little or no reference to any other aspect of
the places describe