The Imagist poet and critic John Gould Fletcher wrote in 1923 that because of his honesty Stevens stands "head and shoulders" above the internationally famous aesthetes like Eliot, the Sitwells, and Valéry. He defended Stevens' "obscurity" as deriving from "a wealth of meaning and allusion". He discerned a poet "definitely out of tune with life and with his surroundings, and...seeking an escape into a sphere of finer harmony between instinct and intelligence". "The Wind Shifts" is one poem that supports Fletcher's reading. He warned that Stevens faced "a clear choice of evils: he must either expand his range to take in more of human experience, or give up writing altogether. "Harmonium" is a sublimation which does not permit a sequel." Stevens seems to have grasped both horns of the dilemma, writing little for several years after "Harmonium" and then returning with "Ideas of Order" and subsequent collections that emphasize what Fletcher would classify as metaphysical poetry. Buttel prefers to view the later work as "a kind of exfoliation" of his earlier style, the later poems "adumbrated" in "Harmonium". Stevens' first idea for the title of "The Collected Poems" was "The Whole of Harmonium".)