There is stylistic development as well in that some of the new poems are lengthy; "Salvación de la primavera" amounts to 55 quatrains (220 lines) and "Más allá", which eventually became the very first book in the collection, consists of 50 quatrains. There are also more medium-length poems of around 40-50 lines, such as "Viento saltado" and "El desterrado", most of which were written or started during Guillén's period of residence at Oxford. The collection is grouped into 5 sections, frequently book-ended by these longer poems, so that it has a more formally pleasing shape. The versification is also more varied; there are many more "romances" (octosyllabic lines with assonance in the even-numbered lines); Guillén starts to write sonnets; he introduces longer lines and also the assonantal quatrains of the longer poems. The longer poems are inevitably less abstract and impersonal but they do not show any real break with his approach to poetry. In place of the concentrated focus on one object or small group of objects, the longer poems have scope for a more comprehensive assessment of exterior reality. Instead of flashes of ecstasy, the pursuit of plenitude and essence is an ongoing quest. The poetry continues to avoid anecdotal narrative but the greater circumstantial and temporal definition of the longer poems gives this edition an enhanced awareness of human contact with the real world. There is in addition a far more detailed examination of big themes such as love – "Salvación de la primavera" – and death – "Muerte a lo lejos" – although the poet takes a very detached view of death. It will happen one day and until then, he can enjoy life in the present. Some of the new poems have epigraphs from Walt Whitman, such as "El desterrado". He might have come across Whitman during his time in France but his interest seems to have been consolidated during his Oxford period. There are overlaps between Whitman's poetry and the thinking of Ortega as enshrined in his famous formula "Yo soy yo y mi circunstancia" from the "Meditaciones", in other words "I am the sum of my individual self and the things that surround me/that I perceive". This is perhaps explained most fully in "Viento saltado", which he began in Oxford in 1931.