Here and there, the Nationalist newspapers and the Young Ireland societies have trained a writer who, though busy with the old models, has some imaginative energy; while Mr Lionel Johnson, Mrs Hinkson, Miss Nora Hopper, and A.E., the successors of Allingham and Ferguson and Mr de Vere, are more anxious to influence and understand Irish thought than any of their predecessors who did not take the substance of their poetry from politics. They are distinguished too by their deliberate art, and with their preoccupation with spiritual passions and memories. Mr Lionel Johnson and Mrs Hinkson are both Catholic and devout, but Mr Lionel Johnson's poetry is lofty and austere, and, like Mr de Vere's, never long forgets the greatness of his Church and the interior life whose expression it is, while Mrs Hinkson is happiest when she embodies emotions, that have the innocence of childhood, in symbols and metaphors from the green world about her. She has no reverie nor speculation, but a devout tenderness like that of S. Francis for weak instinctive things, old gardeners, old fishermen, birds among the leaves, birds tossed upon the waters. Miss Hopper belongs to that school of writers which embodies passions, that are not the less spiritual because no Church has put them into prayers, in stories and symbols from old Celtic poetry and mythology. The poetry of A.E., at its best, finds its symbols and its stories in the soul itself, and has a more disembodied ecstasy than any poetry of our time. He is the chief poet of the school of Irish mystics, which has shaped Mr Charles Weekes, who published recently, but withdrew immediately, a curious and subtle book, and Mr John Eglinton, who is best known for the orchestral harmonies of his 'Two Essays on the Remnant,' and certain younger writers who have heard the words, 'If ye know these things, happy are ye if ye do them,' and thought the labours that bring the mystic vision more important than the labours of any craft.