Aylesford_, _Afoot_, _Kinship_, and _Recessional_; Duncan Campbell Scott’s _The End of the Day_, and _A Lover to His Lass_; and Pauline Johnson’s _In the Shadows_. Consider, too, that the satiric humor and comic characterization of Thomas Chandler Haliburton are not only in some respects unsurpassed by the art of Cervantes, Dickens, Daudet, and Mark Twain, and that Haliburton’s comic epigrams and moral maxims and certain of his comic characters have become part of the warp and woof of English literature. It is also indubitable that the two volumes of short stories of Duncan Campbell Scott—_In the Village of Viger_ and _The Witching of Elspie_—are not excelled either in originality of conception or in technical artistry, and certainly not in spiritual beauty and pathos, by the short stories of Maupassant in France, of Stevenson or Hewlett in England, of Cable or Mary Wilkins Freeman in the United States. In two other fields, the elegiac monody and poetic drama, Canadian poets have produced distinctive and impressive literature. It is admitted by British and United States critics that the threnodies of Campbell, Carman, Roberts, Duncan Campbell Scott, Marshall, and De Mille are distinctly noble in conception and imagery and artistically finished, and would be worthy of the genius even of Milton, Shelley, Keats, Arnold, and Emerson, and deserve to be placed in the company of the other fine threnodies written in the English language. It is also admitted by British and United States critics that the poetic dramas of Mair, Campbell, and Norwood, whether embodying Biblical, Arthurian, or Canadian legends and romantic characters, show authentic genius of dramatic conception and a notable distinction in technical structure and artistry while, to their credit, avoiding what Edmund Gosse has called the ‘violences and verbosities’ of the Elizabethan Tradition and of the Restoration and later poetic drama. In England, at least as early as the ‘nineties’ of the last century, the fact of a respectable Canadian literature received a sort of spasmodic recognition. A genuine interest in it, or at least in Canadian poetry, was evoked in the United Kingdom by the visit of the late Pauline Johnson to London and her recitals there in 1894. As a matter of fact, Pauline Johnson’s first volume of verse _The White Wampum_ was published originally in London in 1895. Again: with the permanent residence of Sir Gilbert Parker, and other Canadian men and women of letters, as, for instance, Miss Jean McIlwraith and Miss Lily Dougall, in England, the interest in Canadian Literature, on the part of the British people and critics, was very considerably intensified.