This meant that following the consummation of Confederation the people of Canada should find themselves pledged to and engaged in a distinctly new and novel political and social program. This program was chiefly one of political and social consolidation and of industrial and commercial expansion. It was most astutely and effectively, though slowly, carried out. With the ever-increasing political and social unification of the people and the intellectual and commercial expansion of the country, a genuine sentiment of Canadian nationality gradually developed, until by the time of the Great World War, 1914-1918, and largely in consequence of Canada’s part in that war, the sentiment of Canadian nationality suddenly acquired a pervasive intensity and evolved into a definite and profound sense of distinct nationhood. Now, with this development in political and social consolidation, and territorial, industrial, and commercial expansion, and the evolution of a sentiment of nationality and, later, nationhood, it was inevitable that there should be not only a change in the literary ideals, inspiration, and aims of Canadian men and women of letters, but also that, with this change in aesthetic and artistic conscience, the literature produced in Canada, after Confederation, should be different in substance, form, and technical artistry or craftsmanship from the literature produced prior to Confederation. It was also inevitable that immediately upon Confederation, when, naturally, political and social consolidation and the sentiment of nationality were virtually at zero point or at least were inchoate, the literary ideals of Canadian men and women of letters should be, in substance and form, for a decade or so, traditional and derivative, not indigenous and originally Canadian. It was indeed so: for at least a decade there was hardly any independent or original native Canadian literature, or in it even a simmering of the sentiment of Canadian nationality, though there was a considerable quantity of ‘journalistic’ and imaginative poetry and prose which possessed distinctive and even engaging aesthetic and artistic qualities, written both by permanently resident _émigrés_ and by native-born Canadians. In 1868, for instance, Charles Mair, a native-born Canadian, published his _Dreamland and Other Poems_; and in 1870 John Reade, an Irishman long resident in Canada, published a volume of verse, _The Prophecy of Merlin and Other Poems_: but while Mair’s poems contained Canadian sentiment and color they were the sentiment and color of _objective_ Nature in Canada; and while John Reade’s volume was written in Canada and though the poet really felt and was in sympathy with all the political, social, and spiritual aspirations of Canada, Reade’s poems themselves were based chiefly upon Arthurian legend and were written in a derivative English romantic manner of form, music, and color.