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Preface
This is a book of stories. For that reason I have excluded all purely lyrical poems. But the word "stories" has been stretched to its fullest application. It includes both narrative poems, properly so called; tales divided into scenes; and a few pieces of less obvious story-telling import in which one might say that the dramatis personae are air, clouds, trees, houses, streets, and such like things.
It has long been a favourite idea of mine that the rhythms of 'vers libre' have not been sufficiently plumbed, that there is in them a power of variation which has never yet been brought to the light of experiment. I think it was the piano pieces of Debussy, with their strange likeness to short vers libre poems, which first showed me the close kinship of music and poetry, and there flashed into my mind the idea of using the movement of poetry in somewhat the same way that the musician uses the movement of music.
It was quite evident that this could never be done in the strict pattern of a metrical form, but the flowing, fluctuating rhythm of vers libre seemed to open the door 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.
This is a book of stories. For that reason I have excluded all purely lyrical poems. But the word "stories" has been stretched to its fullest application. It includes both narrative poems, properly so called; tales divided into scenes; and a few pieces of less obvious story-telling import in which one might say that the dramatis personae are air, clouds, trees, houses, streets, and such like things.
It has long been a favourite idea of mine that the rhythms of 'vers libre' have not been sufficiently plumbed, that there is in them a power of variation which has never yet been brought to the light of experiment. I think it was the piano pieces of Debussy, with their strange likeness to short vers libre poems, which first showed me the close kinship of music and poetry, and there flashed into my mind the idea of using the movement of poetry in somewhat the same way that the musician uses the movement of music.
It was quite evident that this could never be done in the strict pattern of a metrical form, but the flowing, fluctuating rhythm of vers libre seemed to open the door 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.