I don't think punctuation and "the dream-like flow" are fundamentally antagonistic factors. One work that I am particularly fond of recently is "Balakirev's dream" by Transtroemer, and it is well-punctuated and all dream. Paul Muldoon, on the other hand, often has piles of words carried on without any punctuation save the full stop at the end of the very last stanza, but his work can be cold and stoic, certainly very undream-like. William Carlos Williams's "The Red Wheelbarrow" is eight lines, no punctuation, and one of the best anti-dream-like (anti-like, too? I suppose) poems ever written. I gave it some thought: I think, as the level of punctuation decreases, it becomes increasingly eminent to pay attention to natural pauses, i.e., to coincide linebreaks with the natural rhythm of the language, otherwise the work suffers from weak linebreaks and confusing rhythm. Employing a higher level of punctuation at this point dilutes the dependency of natural pauses, and in a sense, offers a higher degree of freedom (read: allowance for errors) in linebreaks and punctuation, but it is only a fix, not a cure. The cure would still be to better observe the timings of natural pauses. -- ╭─────────────────╮╭──────╮╭─╮ │ 世界正崩毀離析，時間正傾倒頹壞。 ├┴╮ ╭┴┤ │ ╰─┬───────────────╯ ├────┤ ╰┬╯ ╰─────────────────╯ ╰──╯ --

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