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The respect must be paid her of considering anything she wrote as a work of art. Viewed in that light it becomes evident that poems written for occasions come forth misshapen at their birth by the influence of propaganda. In work that was truly her own even her bitterest protests against the will to destroy were informed by a still abiding faith; such poems reveal her militant spirit at its most staunch. The weakness of "Justice Denied in Massachusetts" must be attributed to the fact that it was not nourished by an inner will but fed on the inadequate substitute of propaganda.

New York: Harper, 1934. Huntsman, What Quarry? New York: Harper, 1939. Make Bright the Arrows. New York. Harper, 1940. Invocation to the Muses. New York: Harper, 1941. Collected Sonnets. New York: Harper, 1941. Collected Lyrics. New York: Harper, 1943. Poem and Prayer for an Invading Army. New York: Harper, 1944. Mine the Harvest. New York: Harper, 1954. Collected Poems. New York: Harper, 1956. PLAYS Aria da Capo. New York: Harper, 1920. The Lamp and the Bell. New York: Harper, 1921. Two Slatterns and a King.

New York: Harper, 1941. Collected Sonnets. New York: Harper, 1941. Collected Lyrics. New York: Harper, 1943. Poem and Prayer for an Invading Army. New York: Harper, 1944. Mine the Harvest. New York: Harper, 1954. Collected Poems. New York: Harper, 1956. PLAYS Aria da Capo. New York: Harper, 1920. The Lamp and the Bell. New York: Harper, 1921. Two Slatterns and a King. New York: Harper, 1921. The King's Henchman. New York: Harper, 1927. The Princess Marries the Page. New York: Harper, 1932. Conversation at Midnight.

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