In his second volume of poems, _In Divers Tones_, there is an advance in variety of inspiration, in his forms and metres, and in finish of technique. Still, on the whole, the themes and properties, rhythms, metres, and color are those of English neo-classical idyllism and impressionism. There is, however, some suggestion of a change away from his former too imitative adherence to the subject, manner, and style of the English idyllists. There is, for instance, a suggestion of a structural, but not ethical, influence from Browning. There is, in this regard, a Browningesque coinage of unconventional or awkward diction, an adoption of a Browningesque metre and an introduction of ‘medley’ as when he inserts, after the Browning manner, a lyrical interlude, unexpectedly and with no logical justification, into the text of a broader, more serious movement and more ethically informed subject. His second volume of poetry, _In Divers Tones_, shows that Roberts has talent, but is still unimaginative and artificial. Yet his second volume is much more significant than his first, not by its being more various in its themes and forms, but by its exhibiting new tendencies in the bent of the poet’s mind and imagination. There is a tendency towards ethical influences and to get away from his early preoccupation with English neo-classical idyllism and impressionism. There is also the merest show of a tendency to occupy his imagination with ideas of the Canadian ‘spirit’ and the beauty and wonder of Nature in Canada. There is, however, no distinctive embodiment of inspirational ideas or moods awakened by the Great Dominion or the New World. Notwithstanding, in his second volume Roberts is taking his first step on the way to the expression of the essential form and manner of his creative genius as a poet. He was born to lilt, in simple lyrical and descriptive verse, the aesthetic sensations and the emotional nuances of Canadian life and external nature. In short, Roberts was born to become, as he did become, the most engaging and artistic, though not the first, native-born Canadian idyllist. _In Divers Tones_ he first appears as a really significant creative Canadian poet. But whenever, in his later literary career, Roberts forsakes his light or simple idyllic and impressionistic treatment of Canadian life and external nature, as he forsakes it in the monody, in his poetry of city life, and in his poetry of modern eroticism, he may be engaging or arresting or impressive, but in nowise is he creatively significant.