He ‘was not born for age.’ Ah no, For everlasting youth is his! And part of the lyric of the earth With spring and leaf and blade he is. In form, and in musical, colorful, simple yet subtle, spiritualization of the meaning and value of men in whom the lyric spirit of earth is supreme and vocal, there is not another elegiac monody in English like, or comparable to, Carman’s _A Seamark_. It, too, like Roberts’ _Ave!_ enhances both the quality and quantity of the Canadian and the English elegy. Wilfred Campbell was a myriad-minded man and had an inherited Keltic imagination which felt acutely the magic and mystery of earth and existence. He conceived, most beautifully and nobly, the passing of Archibald Lampman not as a bereavement suffered by mere persons but rather by the great and constant ‘companion’ of Lampman, namely, Nature. With a peculiar and lovely sense of the poetic significance of death, Campbell ennobled the spirit of Lampman, and perpetuated the meaning of his poetry, in an elegiac monody which bears the felicitous title _Bereavement of the Fields_. The poem is in a seven-lined pentameter stanza, and is infused with Canadian Nature-color throughout. The diction and the structure are simple, and there is no attempt at sublimated imagination. The poem is rather in the subdued and gentle manner of Lampman himself. That is to say, there is a gentle melancholy running through the poem, but the melancholy is relieved by a simple spiritual beauty which conveys the rare essence of the spirit of Lampman, who passed from earth:— Leaving behind him, like a summer shower, A fragrance of earth’s beauty, and the chime Of gentle and imperishable rhyme. If poetry can be accepted as literary criticism, then Campbell has estimated better than the best prose critic the significance and worth of Lampman as a poet and his place in the company of the great:— Outside this prison-house of all our tears, Enfranchised from our sorrow and our wrong, Beyond the failure of our days and years, Beyond the burden of our saddest song, He moves with those whose music filled his ears, And claimed his gentle spirit from the throng,— Wordsworth, Arnold, Keats, high masters of his song. Campbell’s threnody is simple, sensuous, and impassioned, without being impressionistic and rhetorical. It is a sincere and noble affirmation of the supremacy of the spirit of beauty in the world, wherein, as Lampman’s exemplar, Keats, once said, imperishably:— Beauty is Truth, Truth Beauty.