Richard Aldington, William Carlos Williams, Ezra Pound and Wallace Stevens are the so-called authors of these poems. These might pass as legitimate instances of correspondence and not be suspect as parasitical inter-imitativeness, were any of the poems in themselves of separate poetic importance; were not all of these poems, and many more like them, closely dependent on one another--were they private individuals and not members of an institution; and were not the Imagist school, to which all of these poets at one time or another belonged, a notoriously self-advertising institution. These things being so, we are provoked to ask questions that we need not ask in the case of legitimate instances of correspondence. Such as: who was the inventor of the style of the first two pieces, Mr. Aldington or Mr. Williams? or yet H.D. or F. S. Flint? Is not Mr. Williams at least suspect for his later obvious imitation of T. S. Eliot, E. E. Cummings, Edith Sitwell? Is not Mr. Aldington at least suspect as the husband of H.D.? In the two last pieces who is responsible for the form? Who first thought of imitating the Japanese _hokku_ form? Or rather who first thought of imitating the French imitations of the _hokku_ form? Did Mr. Aldington suggest a slightly shorter poem to Mr. Stevens or Mr. Pound or did Mr. Pound suggest a slightly longer poem to Mr. Aldington, etc., or did Mr. Pound and Mr. Stevens and Mr. Aldington and Mr. Williams decide, as mutual pairs, to work as a school team, or did Mr. Williams and Mr. Stevens and Mr. Aldington and Mr. Pound pair off, as being by nationality more pairable--Mr. Pound, a transplanted American, counting as either English or French, as the need may be?... These are questions to concern the curious dustman, but not the plain reader, least of all the critic. The reader, even the critic, does not have to trouble to plot out a literary chart, to develop a carefully graded technical vocabulary. All that either of them needs is a simple and instinctive recognition of the real, which is easily discovered if all other personal or critical questions are brushed aside as irrelevant. When modernist poetry or what, not so long ago, passed for modernist poetry, can reach the stage where the following: PAPYRUS Spring ... Too long ... Gongula ...