I think we have to remember that the verse line has to do with rhythm, and often with metre also. In a prose poem you draw on other aspects of poetic language, but give up the rhythmic patterning, well, at least up to a point. There can still be plenty of rhythm in prose, of course, and some people would classify some folk tales/fairy stories as a form of poem because of the use of patterning, like He huffed and he puffed, etc, the use of three of everything, and symmetry of the episodies in the story. Also it's worth remembering that poetry has not always been written down, and when written down not always laid out lines (Anglo-Saxon poetry is the most obvious example). On the downsdie, i.e. for 'advocates' of prose poetry, there are plenty of prose piece, short stories, which carry an emotional message very similar to poems, some of Chehov's stories, for example. And here we could think of the interest in narratives in contemporary poetry - as far back as whenever Robert Lowell made his remark that poems may be very like Chehov short stories. Then again, with free verse there is often a reliance on space on the page, which may not always 'replace' heard rhythms, but is not the same of that, and does form the basis of lineation. You often find that the rhythmical shape of a free verse poem cuts across the lineation, and the lineation now has a different - perhaps semantic - function to do with highlighting words. It's a good idea to keep feet on the ground here - or we will get over precious and see all sorts of emperor's clothes - and remember Michael Hamburger's comment (in The Truth of Poetry) that really free verse is a way of laying a short piece of writing that doesn't have any other clear category. More generously you could see the prose poem as a form in which you want to signal that readers are supposed to look INTO its language. But then with Joyce's Ulysses we'd do that anyway. My view for what it's worth - and not original - is that free verse is a feature of modernism which was valuable in shaking up the dominant paradign of poetry (that it should be metrical), but that (Eliot's point) it relies on the reader's having a sense of metre in the background, and it keeps up some approximate allusions (rhythmically) to metrical poetry. We've now come a long way since 1912 or so, and the freedom of free verse has cut loose and except for the layout it comes to the same thing as prose poetry (Some might say that my 'except for' is too big a one. Perhaps the really interesting question here is how far Pound's emphasis in his best known theorising on imagery and grammar - that is the concept he has of 'the image', and the idea of juxtaposition and suppressing connections - have contribution to the communicational problems many readers (including me) now have in reading poems whose field of allusion and reference is unfamiliar. Maybe not 'elitism' but certainly a problem at a simple 'let's read this poem' level. I agree that none of this matters that much as long as the text your read rewards you. But for the poet, composing in a metrical even if 'sprung' form, makes a hell of a lot of difference, and it ain't got nothing to do with freedom. John Haynes _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.