Another feature which would recur in the rewriting is the slowing down of the rhythm in the last half of the poem, indicated by the shortening of the line and by the double spacing. In regular verse this would naturally mean line lengthening, the closing of a ten-syllabled line series with a twelve-syllabled couplet, for example. Though no end-rhymes occur in the poem as it stands, the rhyme element is undoubtedly strong. The only obvious rhyme sympathy is between _stinging_ and _ringing_, but many suppressed rhymes are present: not only _swinging_ accompanying the idea of bells but other new rhyme suggestions such as _bees_ and _seas_, _bells_ and _swells_, _spires_ and _fires_. In the rewritten poem a definite metrical scheme would have to be employed, but the choice would be governed by the character of the original poem. The rhythm would be gentle and simple, with few marked emphases. Monosyllables would prevail, with a noticeable recurrence of _ing_ words; and _bells_ would have to be repeated. Here, then, is a poem embodying the important elements of E. E. Cummings’ poem, but with each line starting with a capital, with normal spacing and punctuation, and with a regular verse-form. It contains no images not directly suggested by him, but links up grammatically what appeared to be an arrangement based on caprice. SUNSET PIECE _After reading Rémy De Gourmont_ White foam and vesper wind embrace. The salt air stings my dazzled face And sunset flecks the silvery seas With glints of gold like swarms of bees And lifts tall dreaming spires of light To the imaginary sight, So that I hear loud mellow bells Swinging as each great wave swells, Wafting God’s perfumes on the breeze, And chanting of sweet litanies Where jovial monks are on their knees, Bell-paunched and lifting glutton eyes To windows rosy as these skies. And this slow wind--how can my dreams forget-- Dragging the waters like a fishing-net.