bad". Sebastian Gardner shows that the four seasons can be understood as fundamental to Stevens' poetic project, and that a corresponding philosophical project is implicit in his work, assigning different metaphysical import to the aspects of reality brought out in the poetry of each of the seasons. The Vivaldi of poets has also been accused of "some hazy notion of an analogy between music and poetry". Whether hazy or not, the notion colors such poems as Harmoniums "Peter Quince at the Clavier" and "Infanta Marina", which Vendler likens to a "double scherzo". She also observes that for Stevens "looking and hearing, imagery and musicality, occupy equal ground". Essayist Llewelyn Powys also pursues this notion, finding that "each unexpected verbal manipulation conceals some obscure harmony of sense and sound which not only provokes intellectual appreciation, but in the strangest possible way troubles the imagination". Anca Rosu gives priority to sound: "To Plato's metaphysics of sight Stevens responds with a metaphysics of sound." See Michael O. Stegman's "Checklist of Musical Compositions Relating to Stevens" for a considerable number of musical tributes to Stevens, such as John Gardner's "Five Partsongs to Poems by Wallace Stevens". Stevens the ironist should not be overlooked. Irony (arguably) suffuses "The Ordinary Women", "Invective Against Swans", "Nuances of a Theme by Williams" and other poems in Harmonium. Also a sense of humor is a significant characteristic of the collection, as indicated by many of the poem titles and in some cases by the content as well. Both title and content of "Cy Est Pourtraicte, Madame Ste Ursule, et Les Unze Mille Vierges" testify to this lighter side. Samuel French Morse, who categorized the years 1914–1930 as the Harmonium years, wrote that nothing Stevens was to write later would achieve "the particular comic quality of these early exercises" in Harmonium, though the tone of the poetry would deepen. Even Stevens' experimentation with perspective, coolly executed in "The Snow Man", is presented with bawdy humor in a poem like "A High-Toned Old Christian Woman". One vein of Stevens' poetic humour expresses his reaction against the conventions of the Victorian tradition. "Depression Before Spring" for instance refuses to gush about spring as a season of renewal; it compares a fair maiden's flaxen hair to cow spit; and it introduces such "unpoetic" lines as "Ho! Ho!" and But ki-ki-ri-ki Briings no rou-cou No rou-cou-cou. Another aspect of Stevens' sense of humor is