Thus, in outline, as regards the Canadian influences on Scott’s genius and poetry. It is necessary also to note the influence of Old World culture on his genius and art. For, like Bliss Carman’s, there is a challenging quality in Scott’s poetry which compels favorable comparison of it with the verse of English and United States poets of distinction. But while influences of certain English poets are remarked, this does not mean that Scott is derivative in inspiration or method of treatment, but that the influence was either on his ideals of what poetry is or on his meticulous practice of technical artistry in verse; or, in a phrase, their influences have been those of inspiring him to distinction in Style and Technic. In Scott’s noble monody in memory of his father, _In the Country Churchyard_, the formal structure and the elegiac elevation of thought fill the heart with a serene beauty which discloses the influence of Gray. There is a distinct Wordsworthian spirit and flavor to _Above St. Irénée_. A haunting beauty, which is of the quality of Tennyson, pervades Scott’s title poem of his first volume, _The Magic House_. Unmistakable is the influence of Rossetti on the form and tone-color of Scott’s sonnet sequence, _In the House of Dreams_, but there is enough of Scott’s own originality and ingenuity in inventing Western-world metaphors and in vowel-melody and alliteration to distinguish it as Scott’s or as Canadian or Western. The sonnet form is Rossettian, the mediaeval atmosphere and setting are Pre-Raphaelite, as are also the personages:— The Lady Lillian knelt upon the sward, Between the arbor and the almond leaves; Beyond the barley gathered into sheaves; A blade of gladiolus, like a sword, Flamed fierce against the gold; and down toward The limpid west, a pallid poplar wove A spell of shadow; through the meadow drove A deep unbroken brook without a ford. The first line of the octave is, of course, Rossettian, but the fourth line (‘A blade of gladiolus, like a sword’) is not only Western but the phrase ‘like a sword’ is a common simile with Scott. In the sestet, quite Western is the picture in the second and third lines:— On the soft grass a frosted serpent lay, With oval spots of opal over all. The extraordinary ingenuity of the tone-unisons (not harmonies) in the third line (‘With oval spots of opal over all’) must have struck the fancy of the poet himself, because he repeats the very same vowel unisons, thus turning art into artifice, in _Spring on Mattagami_ (from _Via Borealis_, 1906, reprinted in _Lundy’s Lane and Other Poems_, 1916):— While like spray from the iridescent fountain, Opal fires weave over all the oval of the lake.