Valéry is only one familiar contemporary example of these modern French theories of poetry which have had such an abnormal and unwholesome influence on the younger poets of America and England. In Cummings’ defence it should be said that, though his poetry by its immediate effect of oddness does invite labels, it is possible to understand it without reference to labels. Particularly as regards the label _impressionism_--it is not necessary to associate him with it in order to explain the poem _Sunset_; although as an impressionist he makes a very good case for impressionism. But any fairly good poet can be used to justify any practicable theory of poetry, however inadequate a theory it may be by which to write poetry. Shakespeare, indeed, can be used to justify impressionism or any other poetic theory simply because he is such a good poet. It would be as reasonable to explain Shakespeare, who was independent of poetic theory, in terms of impressionism as by any of the poetic theories prevailing at his time. It would be wrong to overlook the influence on Shakespeare of contemporary theories, but it would be false to say that he wrote as he did from a conscious use of these theories. If Shakespeare had been critical in the way a good poet is generally supposed to be, then we should expect to find in Shakespeare merely evidences of well-chosen poetic theories. As a matter of fact, his work was such a clearing-house of good and bad elements in contemporary poetry and drama that they cannot have been introduced by any conscious critical choice.