 the light source, the chill, comes first. More commonly, as in Pound’s “In a Station of the Metro,” it comes second. Critics often regard such poetic miniatures as limiting cases—in a nonprejudicial sense, degenerate cases—of metaphor or simile. Northrop Frye (1957, 123) speaks of “metaphor by juxtaposition”; he’d have us regard Pound’s semicolon as the ghost of a departed metaphor-forging form of the verb to be: