这是一本小说。为此，我一直排斥一切纯粹抒情诗的原因。但“故事”已经紧张到了最充分的应用。它包括叙事诗，所谓正确;故事场景划分成;和不太明显的讲故事的进口，其中之一可以说，剧中人物是空气，云彩，树木，房屋，街道，像这样几件事情。
    这一直是我喜欢的想法，VER的自由报的节奏`'并没有得到充分的探测此，在他们来说是有一个变化从未尚未提请实验中的光功率。我认为这是德彪西的钢琴作品与他们的奇怪短VERs的肖像，自由报诗，它首先表明我对音乐和诗歌的亲缘关系较近，而且我的头脑中闪现的使用有些相同的诗歌运动的设想使用方式的音乐家的音乐运动。
    这是很明显，这可能永远不会在一个严格的格律形式的模式进行，但流动的，波动的VER的节奏自由报似乎打开大门，以这样的实验。但是，首先，我认为同样的方法适用于对自然对象的更明显的移动。如果读者谈谈诗，“阿罗克斯伯里园”，他会发现在头两节，试图给一个圆箍沿地面运动的保龄球和向上和向下，一飞毽椭圆曲线。
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    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.