The diction of this hymn is simple, vernacular; of 160 words in the text only ten are of Latin origin, and even these are as short and familiar as our Anglo-Saxon diction. The rhythmic flow is thoroughly lyrical. But though simple in diction and lyrical structure, there is a universality of reach or sweep in its imagery that, at least relatively to most other hymns, raises Murray’s hymn to the dignity of poetry. There is no provincialism in it. There is no denominationalism in it. There is no narrow or bigoted ethics in it. It is thoroughly human and humane. It possesses universality and spiritual dignity. It is all that a true hymn should be. Murray’s hymn, moreover, in humanity and spiritual dignity, contrasts winningly with the original form of the British, which is also the Canadian, National Anthem. This so-called anthem has been revised so as to remove from it certain inane thoughts and sentiments and imagery that were not consistent with Christian charity and the ideal of human brotherhood. Canada has, too, its own indigenous National Song or Hymn which is the text to a sonorous organ-toned musical setting by Calixa Lavallée. The original text of the Canadian National Hymn is by Routhier. It is patriotic in the old exclusive sense, containing that kind of patriotism which is solicitous about the mere material success and aggrandizement of Canada. But Murray’s _From Ocean Unto Ocean_ is so human and so humane, so unracial, so unprovincial, so unsectarian, and by its imagery so informed with the free and all-embracing spirit of the Atlantic and Pacific Oceans, bounding the vast Canadian prairies and mountains and forests, that its spiritual sweep takes in the whole of Canada without respect to race or region or religion, or high degree or low degree of person, and is fitted to be, if not the National Anthem, at any rate the National Hymn, of Canada. It is at once both Christian and Universal—a distinctive and authentic hymn, and an original contribution to permanent Canadian hymnody. Murray was not a creative poet in the sense of being a systematic poet. But Canon Frederick George Scott, who is a member of the Systematic School of Canadian poets, has written hymns. They are strictly evangelical, rather than universal in thought and scope, and are in the traditional hymn form. They have a sweet simplicity and a spiritual dignity but, beyond their lyrical or rhythmic expressiveness, have no especial aesthetic and artistic qualities that call for particular critical consideration. The same appreciation suits a critical estimate of the hymns by Silas T. Rand, Edward Hartley Dewart, Charles Innis Cameron, Louisa Walker and other accepted Hymn Writers of Canada.