Her poetry of the development of the Canadian national spirit and civilization, by which she marks a broadening in her own spiritual vision, is notably exemplified in two poems, _The Riders of the Plains_ and _Prairie Greyhounds_. In the former, however, she is more British than Canadian. But she is Canadian in her _Prairie Greyhounds_. In this poem she achieves an extraordinary virility of rhythm, employs apt and dramatic epithets and fills the picture with a vivid suggestiveness of the vastness of Canada and the vision of the greater autonomous and powerful Dominion that is to be. _Prairie Greyhounds_, moreover, is a supreme achievement in suggested or ideated sensations of motion. The reader feels himself as if actually aboard the west-bound and east-bound Canadian Pacific trains, experiencing, as does a living passenger on a ‘fast express,’ the swish, and roar, and onward rush of the trains. As a verbal musician Pauline Johnson must be given a very high place amongst Canadian poets. There is an avian _abandon_ and ecstasy, an avian lilt and warbling, in _The Birds’ Lullaby_ and in _The Songster_. There are flowing rhythm and haunting melody of rhyme, vowel-harmony, alliteration and cadences in _The Trail to Lillooet_:— Song of fall, and song of forest, come you here on haunting quest, Calling through the seas and silence, from God’s country of the west. Where the mountain pass is narrow, and the torrent white and strong, Down its rocky-throated canon, sings its golden-throated song. You are singing there together through the God-begotten nights, And the leaning stars are listening above the distant heights That lift like points of opal in the crescent coronet About whose golden setting sweeps the trail to Lillooet. Pauline Johnson has also achieved what may be noted in literary history as the first strictly Canadian ‘cradle-song’—Canadian in music and in setting—her _Lullaby of the Iroquois_. As a nature-colorist and etcher Pauline Johnson again must be given a very high place. For a _genre_ etching of the human figure against a background of nature her _Joe_, which she herself sub-titles ‘An Etching,’ is as vividly presented and as fetching as a _genre_ drawing by Murillo. Her _Lady Lorgnette_ is as daintily graphic and colorful and piquant and romantic as anything done by the brush of Romney or Gainsborough or by the later modern ‘society’ miniaturists. She had the pictorial artist’s eye to spy out a picture in Nature, as in _At Husking Time_. She had the impressionist’s mastery of sensuous pigmentation, as in _Under Canvas_. She could make a picture low-keyed, full of shadows and suggested sensations and mystery, as in _Nocturne_ and in _Moonset_.