From 1910 onwards to 1922, when Leacock’s _My Discovery of England_ was published, the humorist produced a dozen volumes of his special species of humor and attained a vogue which places him first amongst Canadian humorists of the 20th century. He works at it brilliantly, sometimes in the extreme burlesque manner of Mark Twain and sometimes in the quiet, humble and drier manner of the characteristic English humor which appears in _Punch_ in its department of ‘Charivaria.’ Unlike Haliburton, Leacock rather makes the reader behold the humorist himself figuring away bravely and sometimes futilely, to divert and amuse or entertain. That is to say, unlike Haliburton’s humor, which had an easy method of attack and drew attention to itself, Leacock’s humor gives the reader an impression of its being _strained_, an effort on the humorist’s part deliberately to make people smile or laugh, whether they will or not. It is ‘smart,’ as the word is used in Yankee slang, rather than human and profound. It ‘tickles’ the fancy and sensibility rather than illuminates the imagination and informs the moral reason. It is clever; but like all things that are merely clever it is ephemerally engaging or pleasing, and it is all a case of the half being greater than the whole. In short, Leacock’s humor is for a day, whereas Haliburton’s humor is for all time. Peter Donovan is a promising later humorist. His first book was _Imperfectly Proper_. After a short residence in England since the war, he published _Over ‘Ere and Back Home_ (1922). Mr. Donovan is a critic of society. He is not, however, a critic of constructive social thought but of conventional thinking and conventional manners. The arrows of his humor, which are neither sharp-pointed nor poisonous, are directed against what Matthew Arnold used to call ‘Philistines’—the ‘nice’ people who outwardly conform to all the conventionalities of the law of the land and of the church but who inwardly—when no one is looking—break these laws. Donovan directs his humor against shams in society—not the great shams but those shams which have become acquired habits, or against all that is the ‘fashion’ or the ‘rage’ of the year or day. What he really achieves, from the point of view of vision, is to make us see ourselves as others see us, and to cause us to ‘chuckle’ over his polite—for he is never rude or coarse—revealments. Norris Hodgins works much within the same range as Donovan—_Why Don’t You Get Married?_ (1923)—and is not often quite so hilariously funny, but he comes closer to the daily experiences of every man and every woman, and there is just a bit more solidity to his underlying structure of everyday philosophy.