6. Finally, most of us believe that concentration is of the very essence of poetry.

The subject of free-verse is too complicated to be discussed here. We may say briefly, that we attach the term to all that increasing amount of writing whose cadence is more marked, more definite, and closer knit than that of prose, but which is not so violently nor so obviously accented as the so-called "regular verse." We refer those interested in the question to the Greek Melic poets, and to the many excellent French studies on the subject by such distinguished and well-equipped authors as Remy de Gourmont, Gustave Kahn, Georges Duhamel, Charles Vildrac, Henri Ghéon, Robert de Souza, André Spire, etc.

We wish it to be clearly understood that we do not represent an exclusive artistic sect; we publish our work together because of mutual artistic sympathy, and we propose to bring out our coöperative volume each year for a short term of years, until we have made a place for ourselves and our principles such as we desire.

CONTENTS

Richard Aldington
Childhood[3]
The Poplar[10]
Round-Pond[12]
Daisy[13]
Epigrams[15]
The Faun sees Snow for the First Time[16]
Lemures[17]
H. D.
The Pool[21]
The Garden[22]
Sea Lily[24]
Sea Iris[25]
Sea Rose[27]
Oread[28]
Orion Dead[29]
John Gould Fletcher
The Blue Symphony[33]
London Excursion[39]
F. S. Flint
Trees[53]
Lunch[55]
Malady[56]
Accident[58]
Fragment[60]
Houses[62]
Eau-Forte[63]
D. H. Lawrence
Ballad of Another Ophelia[67]
Illicit[69]
Fireflies in the Corn[70]
A Woman and Her Dead Husband[72]
The Mowers[75]
Scent of Irises[76]
Green[78]
Amy Lowell
Venus Transiens[81]
The Travelling Bear[83]
The Letter[85]
Grotesque[86]
Bullion[87]
Solitaire[88]
The Bombardment[89]
Bibliography[93]

Thanks are due to the editors of Poetry, The Smart Set, Poetry and Drama, and The Egoist for their courteous permission to reprint certain of these poems which have been copyrighted to them.