We have so far viewed poetry which would lead us to classify Miss Jackson as a delineator of moods rather than of character; yet knowing her versatility, we naturally expect to find among her works some potent character studies. Nor are we disappointed. "Joe," a song of the Maine woods, describes in admirably appropriate verbiage--as simple and as nearly monosyllabic as possible--the typical Anglo-Saxon stoic of far places, who faces comfort and disaster, life and death, with the same unemotional attitude which Miss Jackson sums up so skilfully in the one ejaculatory bit of colloquial indifference--"Dunno!" "The Song of Jonny Laughlin" is a highly unusual ballad relating the history of a peculiarly good and self-sacrificing river character. The story is simple, but the piece gains distinctiveness from its absolutely faithful reproduction of the spirit of frontier balladry. In words, swing, and weird refrain, there exists every internal evidence of traditional authenticity; and that such a bit of Nature could be composed by a cultivated feminine author is an overwhelming testimonial to Miss Jackson's unique gifts. That Miss Jackson can reflect the spirit of the most dissimilar characters is further proved by the two immensely powerful studies of the vagabond type entitled "The Call" and "John Worthington Speaks." These things are masterpieces of their kind; the self-revealing narratives of restless wanderers by land and sea, crammed to repletion with details and local colour which no one but their author could command without actual experience as a derelict of five continents and as many oceans. They leave the reader veritably breathless with wonder at the objectivity and imagination which can enable a New-England poetess to mirror with such compelling vividness in thought and language the sentiments of so utterly opposite a type. Not even the narrowly specialised genius of such rough-and-ready writers as Service and Knibbs, working in their own peculiar field, can surpass this one slight phase of Miss Jackson's universal genius. It remains to speak of the singular power of Miss Jackson in the realm of the gruesome and the terrible. With that same sensitiveness to the unseen and the unreal which lends witchery to her gayer productions, she has achieved in darker fields of verse results inviting comparison with the best prose work of Ambrose Bierce or Maurice Level. Among her older poems the ghastly and colourful phantasy "Insomnia" and the grimly realistic rustic tragedy "Chores" excited especial praise, a critic referring as follows to the latter piece: "It has all the compelling power which marks Miss Jackson's darker productions, and is conveyed in an arresting staccato measure which emphasises the homely horror of the theme. The phraseology, with its large proportion of rural and archaic words and constructions, adds vastly to the general effect and atmosphere."