It is not necessary to illustrate the variety of Scott’s pigmentation. That is as remarkable as its luminous beauty. What is most compelling in his Nature-painting is the unique ingenuity, power, and romantic beauty of his color phrases, metaphors, and similes. The naturalistic and imaginative intensity of them is a poetic phenomenon by itself. Consider these phrases: ‘Sun, like a gold sword,’ ‘A blade of gladiolus, like a sword,’ ‘A burning pool of scent and heat,’ ‘Within the windless deeps of memory,’ ‘Bent like a shield between the silver seas,’ ‘With gulfs of blue and summits of rosy snow.’ Consider also these lines:— The west unrolled a feathery wind. • • • • The poignard lightning searched the air. • • • • Stars like wood daffodils grow golden in the night. • • • • and dawn Tolls out from the dark belfries of the spruces; and, finally, consider the compelling romantic fantasy of color and simile in this stanza from _The Piper of Arll_:— There were three pines above the cone That, when the sun flared and went down, _Grew like three warriors reaving home_ _The plunder of a burning town_. It was said that there is more of Canada in the poetry of Duncan Campbell Scott than in the verse of any other Canadian poet. So far this appears to be true of Scott’s painting of Nature in Canada. Scott, it must be observed, is a Nature _painter_, never a Nature _interpreter_, as were Lampman and Carman. Yet there is in Scott’s poetry a decided interpretative or philosophical element. It is on the side of his philosophical poetry that Scott’s verse contains more of the Canadian _spirit_ than does the verse of any other Canadian poet. As a philosophical poet Scott is, first, an interpreter of humanity and life in Canada—and his interpretations possess highly novel distinction and spiritual import. His philosophical poetry is contained in three volumes, _Labor and the Angel_ (1898), _New World Lyrics and Ballads_ (1905), and _Via Borealis_ (1906).