A 'symphonic poem,' such as the title poem of this volume, always reminds us of the close connection between poetry and music. "A Time to Dance" is composed like a symphony, with three movements; the themes of each movement are separate, and each movement is self-contained. The first describes an early trans-continental flight to Australia, and it illustrates abundantly the devotion of Day Lewis to a strictly contemporary poetic diction, which takes account of the machine and the effect of machinery upon modern life. There is mention, for example, of 'petrol pump,' 'hangar,' 'filter,' 'magneto,' and other technical expressions. Dr. Johnson's strictures on this kind of poetic diction appear in his discussion of Dryden's "Annus Mirabilis," and though they posses a universal validity, they do not apply, with any exactness, to Day Lewis, for that poet has worked them into his verses in such a way that they do not stand out as novel words which detract therefore, from the meaning of a passage as a whole!

The first movement contains the following passage which exhibits Day Lewis at his most characteristic:

"Orchestrate this theme, artificer-poet, Imagine

The roll, crackling percussion, quickening tempo of engine

For a start: the sound as they soar, an octave-upward slur

Scale of sky ascending:

Hours-held note of level flight, a beat unhurried.

Sustaining undertone of movement never-ending:

Wind shrill in the ailerons, flutes and fifes in a flurry

Devilish when they dive, plucking of tense stays.

These hardly heard it, who were the voice, the heavenly air

That sings above always."

The second movement is an elegy commemorating the death of the cricketer L. P. Hedges, the poet's friend; and the third, which consists of parodies and echoes of familiar styles, suggests the musical form of a theme and variations. Some of the parodies are especially good:

"Come, live with me and be my love

And we will all the pleasures prove