Long time I looked and watched; with hideous grin He took each heedless face between his knees, And graved and scarred and bleached with boiling tears. I wondering turned to go, when lo, my skin Feels crumpled, and in glass my own face sees Itself all changed, scarred, careworn, white with years! So far as derivative influences may in general be observed in the poets of the Systematic School and Period of Canadian Literature, Roberts, Lampman, and Carman are Hellenistic and impressionistic in feeling and thought. They were devoted to creating poetry that would delight the aesthetic senses and sensibilities. But Frederick George Scott is Hebraic in feeling and thought. He created poetry to satisfy the heart and the religious imagination, and to sustain and console the human spirit in its sojourn on earth. He achieved these ends simply yet beautifully. His poetry is pervaded with the most elemental and enduring ‘heart’ qualities. They give it such a direct and compelling human appeal as to win a significant and distinctive place for it in the authentic native and national poetry of Canada. * * * * * The quotations in this chapter are from _A Lover’s Diary_ and _Embers_, by Sir Gilbert Parker, (Copp, Clark Co., Limited: Toronto); and from _Poems_, by Frederick George Scott, (Constable & Co.: London). CHAPTER XIV Minor Poets THE TERM ‘MINOR’ DEFINED—ETHELWYN WETHERALD—JEAN BLEWETT— FRANCIS SHERMAN—A. E. S. SMYTHE—S. FRANCES HARRISON—ARTHUR STRINGER—PETER MCARTHUR—ISABEL ECCLESTONE MACKAY.