Outside, a yellow maple tree, Shifting upon the silvery blue With tiny multitudinous sound, Rustled to let the sunlight through. It is, however, in the use of rhythmical onomatopœia that Carman is even more inventively masterly than in mere sound imitation. An outstanding example of the imitation of the ‘fife and drum’ marching rhythm, with an exact imitation of the fife in the word ‘whistle’ and of the rattle-roll of the drum in the word ‘rallied,’ is Carman’s lovely nature-lyric _Daisies_, second stanza:— Over the shoulders and slopes of the dune I saw the white daisies go down to the sea • • • • The bobolinks rallied them up from the dell, The orioles whistled them out of the wood; And all of their singing was, ‘Earth, it is well!’ And all of their dancing was, ‘Life, thou art good!’ Always, from his very first book, _Low Tide on Grand Pré_, to his latest, _April Airs_, published almost a quarter of a century later, Bliss Carman has been the master troubadour, the master melodist, constructing his melody chiefly by an exquisite but subtle use of vowel-tones, vowel-harmonies. But never has he aimed to be the consciously meticulous technical musician, laboring at involved and intricate metrical and stanzaic structure, assonance and alliteration. His verbal melody is in the word and vowel as his ear naturally picked these up from everyday speech, and is just as spontaneous and simple. His melody did not come by ‘working at’ it in the study. We may often note Roberts, and even Lampman, assiduously busied with constructing the perfect musical line. Carman’s melody wells out of him in the ‘great outdoors’—natural and spontaneous as the lark’s or linnet’s. By virtue, then, of this spontaneous lyrical melodiousness of Carman’s poetry, a melodiousness _newly based_ on the vowel-tones and harmonies in words, simple words of actual humanized speech, and not on modern intricacies of line or stanzaic structure and consonantal systems, Bliss Carman is one of the master-melodists of English poetry. Thus as a melodist in general. Canada, however, has produced no poet who is Carman’s equal as a lyrist of the Sea and of Love. It is indubitable that he has made a distinct and superb contribution to the authentic Sea Poetry in the English language. His sea ‘speech’ is the native speech of his soul, the expression of an innate personal sympathy with the moods, powers, and deeds of the Sea, a sympathy which is, in Carman, an _identity_ of the spirit in Nature with the spirit in the Man or Poet. Melodiously he declares this personal sympathy and identity with the Sea in his autobiographical poem, _A Son of the Sea_:— I was born for deep-sea faring; I was bred to put to sea; Stories of my father’s daring Filled me at my mother’s knee.