Now America has this advantage over most European countries that its inhabitants are mostly willing to accept a fresh view of things. The lack of a “tradition” has advantages as well as disadvantages. An American author, then, is less likely to see things in a conventional way, and is less likely to be deterred from any novel and personal method of expression. (For in 1911, when H. D. began to write the poems I am considering, vers libre was practically unheard of outside France.) If I were asked to define the chief quality of H. D.’s work I should say: “I can only explain it by a paradox; it is a kind of accurate mystery.” And I should go on to quote the ballad of Sir Patric Spens in which from a cloudy, vague, obscure atmosphere, where nothing is precise, where there is no “story,” no obvious relation between the ideas, certain objects stand out very sharply and clearly with a very keen effect, objects like “the bluid-red wine,” “the braid letter,” the young moon in the old moon’s arms, and the ladies with “their fans intil their hands.” And then I should go on to say that this “accurate mystery” came from the author’s brooding over—not locomotives and machinery—but little corners of gardens, a bit of a stream in some Pennsylvanian meadow, from memories of afternoons along the New Jersey coast, or of a bowl of flowers. Curious, mysterious, rather obscure sort of broodings with startling and very accurate renderings of detail. And then I should explain the author’s use of Hellenic terms and of the rough unaccented metres of Attic choruses and Melic lyrics—like those fragments of Alcaeus and Ibycus and Erinna—by pointing out that it is in those poems—the choruses in the Bacchae, for example—that this particular kind of brooding over nature found its best expression. Let me quote a portion of a poem to illustrate these qualities: the quality which I have called “accurate mystery,” the quality of brooding over nature and the quality of spontaneous kinship with certain aspects of Hellenic poetry. I take it that, if one liked to be specifically modern the poem could be called “Wind on the New Jersey Coast.” But the author’s innate sense of mystery, of aloofness, just like that of the anonymous author of Sir Patric Spens, makes her place the action in some vague, distant place and time. Though it be contrary to current opinion I hold that the poem gains by this. HERMES OF THE WAYS The hard sand breaks, And the grains of it are clear as wine. Far off over the leagues of it, The wind, Playing on the wide shore, Piles little ridges, And the great waves break over it. But more than the many-foamed ways Of the sea, I know him Of the triple path-ways, Hermes, Who awaiteth.