Beginning with Canadian Literature, we remark that Haliburton’s influence in Canada is popularly conceived, not as literary, but as political. It is true that Haliburton’s themes or theses were highly social and political. It is also true that, so far as his humor is concerned, he was unappreciated and even unread in Canada. It is true, still further, that he has had no successors as a humorist in Canada (for Stephen Leacock is not a successor, neither being a native son nor following the method of Haliburton). Nevertheless, Haliburton achieved two important results for Canadian Literature. Along with Joseph Howe, Haliburton ushered in the Epoch of the New or Independent Prose Literature of Canada. Again: he not only produced an original prose literature but also wrote it with such originality and novelty of matter and style that Haliburton’s prose, that is, Canadian prose, has a significant and permanent place in English and World Literature. It may sound strange or startling to learn that Haliburton’s work in satiric humor and comic characterization actually _displaced_ in England the vogue of such popular American prose writers as Irving and Cooper. The fact is important, but the reason is more important. Between 1820 and 1840 Irving, with _The Sketch Book_ and _Bracebridge Hall_, and Cooper, with _The Spy_, _The Pioneers_, and his _Leatherstocking Tales_, won popular appreciation in England. By 1840 two Canadian authors, John Richardson, with his historical romance _Wacousta_, and Thomas Chandler Haliburton, with _The Clockmaker_ series, also won popular appreciation. But Haliburton’s work was appreciated for an altogether different reason from that which caused the vogue of Irving, Cooper, and Richardson. The English were caught by the _new matter_ in the work of Irving, Cooper and Richardson, but they felt that it was all in an _old manner_, the manner respectively of Goldsmith and Sir Walter Scott. They were reading, they felt, _English_ Literature, done by two Americans and one Canadian. Save in mere matter and ‘properties’ there was nothing in the work of Irving, Cooper, and Richardson that might not have been done by a visiting Englishman who had gone to the United States or to the Canadas for new material and local color. It was English, not strictly _original American_, literature. And so it had a mere vogue.