I meet you in the mystery of the night, A dear Dream Goddess on a crescent moon; An opalescent splendour like a noon Of lilies; and I wonder that the height Should darken for the depth to give me light— Light of your face, so lovely that I swoon With gazing, and then wake to find how soon Joy of the world fades when you fade from sight. Beholding you I am Endymion, Lost and immortal in Latmian dreams; With Dian bending down to look upon Her shepherd, whose aeonian slumber seems A moment, twinkling like a starry gem Among the jewels of her diadem. As an example of his power for spiritualizing Love, the following sonnet from the same sequence will suffice:— Last night I crossed the spaces to your side, As you lay sleeping in the sacred room Of our great moment. Like a lily’s bloom, Fragile and white were you, my spirit-bride, For pain and loneliness with you abide, And Death had thought to touch you with his doom, Until Love stood angelic at the tomb, Drew sword, smote him and Life’s door opened wide. I looked on you and breathed upon your hair— Your hair of such soft, brown, translucent gold! Nor did you know that I knelt down in prayer, Clasped hands, and worshipped you for the untold Magnificence of womanhood divine— God’s miracle of Water turned to Wine! In his exquisitely wrought, sensuously colored, yet spiritually elevating verse surely we discover something that has never before been in Canadian poetry. It is a fresh achievement in Canadian poetry, even though it is not always impeccable in rhythm and rhyme. It is, too, authentic poetry, as if Dante or Keats or Tennyson or Swinburne had returned to earth and their genius were reincarnated, in a notable degree, in the genius of Robert Norwood. Katherine Hale (Mrs. John Garvin) is a poet by herself. For she was a poet of considerable distinction for a decade before she published the volume which revealed her as having found her métier in creative poetry, as in her _Morning in the West_ (1923). The eye and the ear are supreme in her processes of perception. Music and pictorial art were her first aesthetic loves, and had most to do with determining her attitudes and appreciations of the spiritual world. So that, at length, the inner eye and the inner ear became the faculties by which she perceived beauty in the external world as well as in the heart of mankind. All her reactions to what she saw and heard in the external world were in terms of color beauty and tonal beauty, perhaps more in terms of color than of tone. She became a musical critic of distinction, and one of our foremost ‘color-writers.’