If, then, in _Flint and Feather_ we discover no advance in the technique of Pauline Johnson’s art, wherein did her new experiences gained by travel, by meeting men and women of foreign lands and by learning the ways of the world, work changes worth while? Solely in the poet’s heart and imagination. Here was a development, not in craftsmanship and art, but in spiritual vision. It was, too, an evolution simple and natural in its stages, and is readily traceable in the poems contained in _Flint and Feather_. Mr. Melvin O. Hammond, an observant and judicious Canadian critic, in a review of _Flint and Feather_ (_The Globe_, Toronto, Nov. 9th, 1912), was the first to disclose these stages of Pauline Johnson’s development in spiritual vision. They are four:— First, Pauline Johnson appeared as the ‘voice’ of the Indian people, who before her coming had been dumb or inarticulate. Her point of view was, at this stage, Indian, and she passionately protested against the abuses the Indians of Canada have suffered (as in _The Cattle Thief_ and _A Cry from An Indian Wife_) or, as passionately, sang of Indian valor and love (as in her _Ojistoh_). Next, her point of view became Canadian. She turned from lamenting the free and glorious past of her Indian ancestors to paint in verse the land of her birth, ‘Canadian life and scenery in the broad outdoors of the North and West,’ not merely impressionistically picturing woods, skies, plains, but also apostrophizing and humanizing both natural creatures and objects, as if they were conscious of their estate, function, and value to man, and had moods of their own, as, for example, _The Sleeping Giant_ (Thunder Bay), and the dainty, fetching lyric _The Homing Bee_. The third stage in Miss Johnson’s development in vision was also Canadian. But, in this stage, her point of view became broadened in scope. She turned to remark the progress of the Canadian national spirit and the civilization which binds the Dominion from ocean to ocean. This she accomplished with extraordinary virility in rhythm, with apt descriptive epithet, and with pictorial suggestiveness in her _Prairie Greyhounds_—a song represented as sung by the trans-continental trains in their passage from East to West, and West to East. The poem gives the reader vivid ideated sensations of the swish and roar and onward rush of the trains, the sweep of the vast territory of the Dominion, and the vision of the Greater Canada that is to be. The final stage in Pauline Johnson’s increase in scope of spiritual vision was marked by cosmopolitanism, pure humanity, and by mysticism. She had lost the Indian and the Canadian points of view when she composed _Give us Barrabas_ (commemorative of the exile of Dreyfus). She was wholly a human being and sexless when she composed her subtly sympathetic _The City and the Sea_, and _Fasting_. She was genuinely mystical when she composed her _Penseroso_ wherein she sang persuasively:—