The name, life, and poetry of Pauline Johnson affect the heart and imagination with the arresting pathos which attaches to the imperishable memory of a belated and beautiful spirit who came singing new and winning music of earth, and man, and love. She was the most elementally human of all Canadian poets. In some respects Pauline Johnson was the most original and engaging singer in the company of the Canadian lyrists who were born in 1860, 1861, and 1862—Roberts, Carman, Lampman, Campbell, and Duncan Campbell Scott. Pauline Johnson’s grandfather, who attained special glory for his valorous deed of setting fire, with his own hands, to the city of Buffalo in the War of 1812, was distinguished, in times of peace, by his tribesmen with the honorable and poetic sobriquet, ‘The Mohawk Warbler,’ not because he could actually ‘warble’ like a present-day lyric tenor, but because he possessed a ready flow of language which he used with impassioned and dramatic eloquence. The old warrior’s granddaughter, in her ballads and poems of Indian wrongs and Indian heroic deeds, wrote with the same dramatic intensity and the same gift for dramatic picture; and in her songs of Nature and of love sang with a lyrical lilt as natural, musical, free, and passionate as the warblings of the thrush or lark or linnet. The distinctive qualities of Pauline Johnson’s genius and poetry are here noted summarily. In general: As a story-telling balladist she must be ranked with the best Canadian poets who have essayed the same _genre_, though in some of her ballads there are lines which are rhetorical and melodramatic. On the whole, however, her story-telling ballads are unsurpassed by her Canadian _confrères_, in emotional intensity, rapid movement, terse phrasing, and dramatic pictorial vividness. As a verbal musician, and as a nature-painter and etcher, Pauline Johnson again must be given a very high place. Some of her poems are marked by absolutely avian _abandon_; others by haunting melody; and others by sweetly flowing rhythm and winning cadences, and by sensuous vowel-harmonies and faultless rhymes. Many of her poems disclose the gift to paint in words a picture from Nature with the impressionist’s mastery of sensation and color. Some of them are low-keyed and full of shadows, suggested sensations, and mystery. Others are dainty word-etchings, picturesquely or subtly drawn and subdued in tone. In particular: Pauline Johnson has yet, by other Canadian poets, to be equalled as a lyrist of the passion and pathos of romantic love, and as an inventor of picturesque, veracious, vivid, beautiful, and compelling poetic figures and images. Her love poems are full of the most poignant passion and pathos. It would be easy to make a catalogue of a half hundred or more poetic figures and images which are unique in descriptive aptness or in emotional ‘tang.’