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Painting too. Writing, as with certain of the modern Russians whose work I have seen, would use unoriented sounds in place of conventional words. The-
poem then would be completely liberated when
there is identity of sound with something — perhaps,
the emotion.
I do not believe that writing is music. I do not believe writing would gain in quality or force by seeking to attain to the conditions of music.
I think the conditions of music are objects for the action of the writer's imagination just as a table or —
According to my present theme the writer of imagination would attain closest to the conditions- of music not when his words are disassociated from natural objects and specified meanings but when they are liberated from the usual quality of that meaning by transposition into another medium, the imagination.
Sometimes I speak of imagination as a force, an electricity or a medium, a place. It is immaterial which: for whether it is the condition of a place or a dynamization its effect is the same : to free the world of fact from the impositions of " art " (see Hartley's last chapter) and to liberate the man to act in whatever direction his disposition leads.
