The poetry in the magazines for this past year has been of a general high standard. The long poems have been well sustained, and there has been a larger quantity of pure lyric pieces than in the past two or three years. The influence of Masefield has shown itself in American verse, notably in the two long poems by Harry Kemp, “The Harvest Hand” and “The Factory.” One of the noblest poems of the year is Henry van Dyke’s “Daybreak in the Grand Cañon of Arizona,” which breathes a fine national spirit, full of reverence for the greatness with which the American destiny is symbolized in the natural grandeur of our country. Mr. Markham has a long narrative in “The Shoes of Happiness,” full of his visionary and spiritual promptings. And in “The Vision of Gettysburg” Mr. Robert Underwood Johnson reflects also the national spirit with particular significance. The poetry of the year in volumes has not been as ample as last year. The three poets who have aroused most discussion are the Bengali poet Tagore, who brought to the Western world in “Gitanjali” a spiritual message full of mystic but exalted idealism; Francis Thompson, the great Catholic poet, because of the publication of his collected works; and Robert Bridges, who, by his appointment to the English laureateship, became known to a large number of readers who had hitherto been unfamiliar with his very perfect and delicate gift of lyric beauty. Of American poets the volumes by Fannie Stearns Davis, William Rose Benét, Josephine Preston Peabody, Margaret Root Garvin, and George Edward Woodberry are the most significant. The most important book of poems of the year by an American poet, however, is that of Nicholas Vachel Lindsay, “General William Booth Enters into Heaven and Other Poems.” Here is a man with a big vision, with a fine originality, and an art that is particularly his own. There has been no “Lyric Year” this autumn, but a little volume that serves in some sense its purpose is Miss Jessie B. Rittenhouse’s “Little Book of Modern Verse,” which is intended to represent the quality of contemporary American verse.