Yet who shall say that the Jackson pendulum is powerful only at the extremes of its sweeping arc? In "Workin' Out" we discover a pastoral love-lyric which for quaintness and graphic humanness could not well be surpassed. Here the distinctive and spontaneous inventiveness of Miss Jackson's fancy is displayed with especial vividness. The rural youth, "workin' out" far from his loved Molly, enumerates the prosaic chores he can perform with easy heart; but mentions in each case some more poetic thing which stirs his emotions and gives him loneliness for the absent fair. He can cut and husk corn, but the golden-rod reminds him of his Molly's golden hair. He can milk cows, but the gentian reminds him of his Molly's blue eyes. Aside from their intrinsic ingeniousness, these images possess an unconscious lesson for the poet who can read it. They expose with concrete illustrations the fallacy of the so-called "new poetry," which disregards the natural division between beautiful and unbeautiful things and rhapsodises as effusively over a sewer-pipe as over the crescent moon. "The Token" exhibits Miss Jackson in her airiest lyrical mood; a mood original because it possesses the rare lyrism of pure music and fancy rather than the common lyrism of unsubtilised emotion. There is bounding music in thought and medium alike, whilst the naive plunge into the theme without introduction or explanation is a stroke savouring of the simplicity of genius. Equally effective is the simple metrical transition whereby the chorus assumes the trochaic measure of a childhood chant or carol: "Lightly O, brightly O, Down the long lane she will go! Dancing she, glancing she, Down the lane with eyes aglow!" In "Assurance" and "It's Lovetime," the author displays a lyrical fervour of more conventional type; adding the touch of originality by means of melodious simplicity and reiteration in the one case, and pure lyric ecstasy in the other. The metrical originality of Miss Jackson, displayed in all classes of her work, should not be slighted amidst the enthusiasm one entertains for her magical mastery of thoughts and images. No other conservative poet of the period is more versatile and individual in choice of numbers, or in adaptation of measure to mood. "Driftwood," a wonderfully original poem of imagination describing the fancies which arise from the smoke of logs wafted from far mysterious lands where once the trees grew under strange suns, moons, and rainbows, is as remarkable in form as in idea. One may judge by a sample pair of stanzas: "You warm your hands And smile Before the fire of driftwood. "I feel old lands' Wan guile That writhes in fire of driftwood."