There is a sylvan _earthly_ music in the poetry of Carman, Pauline Johnson, and Marjorie Pickthall. But the music of Duncan Campbell Scott’s poetry is the melody of a fairy fantasy, an _unearthly_ lyrical melody suffused with color which is imaginative rather than earth-born. Yet its vowel and alliterative melody, rhythmical refinement, and translucent or sensuous color are never unreal but only serve to etherealize real experience, to transport us with exquisite sensation of ineffable, unimagined beauty. To figure him under the title of one of his own most melodious and romantically imaginative poems, Duncan Campbell Scott is _The Piper of Arll_—and, like Debussy, regales us with:— The complaint of the wind In the plane-trees, The far away pulse of a horn, Ripples of fairy color, Rhythms of Spain, The overtones of cymbals, The sobs of tormented souls, Cries of delight and their echoes . . . . Fauns’ eyes in the vapor, Flutes of Dionysus, Haunting his ruined fane, Veils of rain, quenching the tulip gardens, Sea-light at the roots of islands . . . . And under all, the pedal-point Of the deep based ocean, Hidden under mists, Chanting, infinitely remote, At the foot of enchanted cliffs. It is a question difficult of settlement whether Duncan Campbell Scott is greater as a verbal colorist and nature-painter than as a melodist. But there can be no doubt that as a verbal colorist and nature-painter he has the eye both of the naturalist _and_ the impressionist. And it is indubitable that as a colorist or impressionist he has put more of the pageantry of Nature in Canada into his poetry than has even Bliss Carman. All the Canadian seasons are in it, and every phase of the light, color, and sound of the Canadian year is in it—done by ready, flexible, graphic stroke or exquisite touch, in rich or luminous and translucent coloring, with romantic eye and fantasy, and with singular ingenuity and power. It must be confessed that there is a seeming display of musical theory and technics, of musical learning, which almost savors of pedantry, in those of Scott’s poems which contain musical thought and imagery. This would be sophistication, were Scott not sincere and did he not sincerely use it all to enhance the poetic effect of his verse on the tonal sensibilities and the imagination. But there is no sophistication, no mere display of knowledge of pigments and the technic of painting in his work as a verbal colorist. He is a word-painter, a nature-colorist, an impressionist,—by innate genius. As a matter of fact, too, almost all his verbal melody is associated with color. So that, by genius rather than by art, Duncan Campbell Scott may be regarded as the supreme verbal colorist amongst Canadian poets. He is this for three reasons—inclusiveness of the seasons and phases of Nature in Canada, magic of pigmentation, and novelty and imaginative power of coloring and description.