connection and relation in a sentence are shown". The Futurists were not destroying syntax in that sense. Marinetti in truth advocated a number of "substantial, but nevertheless selective modifications to existing syntax" and that the "Russian Futurists' idea that they were 'shaking syntax loose'" is more accurate. Metrical reform Early Futurist poetry relied on free verse as their poetical vehicle. However, free verse "was too thoroughly bound up with tradition and too fond of producing…stale effects" to be effective. Furthermore, by using free verse, the Futurist realized they would be working under the rules of syntax and therefore interfering with intuition and inspiration. In order to break free of the shackles of meter, they resorted to what they called "parole in libertá (word autonomy)". Essentially, all ideas of meter were rejected and the word became the main unit of concern instead of the meter. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression. For example, in the poem entitled "Studio" by Soffici, he "describes the artist's studio—and by extension, modern man himself—as becoming a 'radiotelefantastic cabin open to all messages', the sense of wonder her being transmitted by the portmanteau neologism: 'readotelefantastica'". Here all notions of familiar language have been abandoned and in their place a new language has emerged with its own vocabulary. Onomatopoeia There were four forms of onomatopoeia that the Futurists advocated: direct, indirect, integral, and abstract. The first of these four is the usually onomatopoeia seen in typical poetry, e.g. boom, splash, tweet. They convey the most realistic translation of sound into language. Indirect onomatopoeia "expressed the subjective responses to external conditions". Integral onomatopoeia was "the introduction of any and every sound irrespective of its similarity to significant words". This meant that any collection of letters could represent a sound. The final form of onomatopoeia did not reference external sounds or movements like the aforementioned versions of onomatopoeia. Rather, they tried to capture the internal motions of the soul. Essential/synthetic lyricism In order to better provide stark, contrasting, analogies, the Futurist literature promoted a kind of hyper-conciseness. It was dubbed essential and synthetic lyricism. The former refers to a paring down of any and all superfluous objects while the latter expresses an unnatural compactness of the language unseen elsewhere. This idea explains where poetry became the preferred literary medium of Futurism and why