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1、Men,WomenandGhostsMen,WomenandGhostsbyAmyLowell1Men,WomenandGhostsPrefaceThisisabookofstories.ForthatreasonIhaveexcludedallpurelylyricalpoems.Buttheword"stories"hasbeenstretchedtoitsfullestapplication.Itincludesbothnarrativepoems,properlysocalled;talesdivi
2、dedintoscenes;andafewpiecesoflessobviousstory-tellingimportinwhichonemightsaythatthedramatispersonaeareair,clouds,trees,houses,streets,andsuchlikethings.Ithaslongbeenafavouriteideaofminethattherhythmsof`verslibre'havenotbeensufficientlyplumbed,thatthereisi
3、nthemapowerofvariationwhichhasneveryetbeenbroughttothelightofexperiment.IthinkitwasthepianopiecesofDebussy,withtheirstrangelikenesstoshortverslibrepoems,whichfirstshowedmetheclosekinshipofmusicandpoetry,andthereflashedintomymindtheideaofusingthemovementofp
4、oetryinsomewhatthesamewaythatthemusicianusesthemovementofmusic.Itwasquiteevidentthatthiscouldneverbedoneinthestrictpatternofametricalform,buttheflowing,fluctuatingrhythmofverslibreseemedtoopenthedoortosuchanexperiment.First,however,Iconsideredthesamemethod
5、asappliedtothemorepronouncedmovementsofnaturalobjects.Ifthereaderwillturntothepoem,"ARoxburyGarden",hewillfindinthefirsttwosectionsanattempttogivethecircularmovementofahoopbowlingalongtheground,andtheupanddown,ellipticalcurveofaflyingshuttlecock.Fromthesee
6、xperiments,itisbutasteptotheflowingrhythmofmusic.In"TheCremonaViolin",Ihavetriedtogivethisflowing,changingrhythmtothepartsinwhichtheviolinisbeingplayed.Theeffectisfartherheightened,becausetherestofthepoemiswritteninthesevenlineChaucerianstanza;and,bydesert
7、ingthisorderedpatternfortheundulatinglineofverslibre,Ihopedtoproducesomethingofthesuave,continuoustoneofaviolin.Again,intheviolinpartsthemselves,themovementconstantlychanges,aswillbequiteplaintoanyonereadingthesepassagesaloud.In"TheCremonaViolin",however,t
8、herhythmsarefairlyobviousand2Men,WomenandGhostsregular.IsetmyselfafarhardertaskintryingtotranscribethevariousmovementsofStravinsky's"ThreePieces`Grotesques',forStringQuartet".Severalmusicians,whohaveseenthepo
