In the same volume, _In Divers Tones_, Roberts exhibits two manners. In some poems in the volume he clings to his old manner of English Classical Impressionism. In other poems in the same volume he essays his new manner of Canadian Impressionism. The first is distinguished by overweighted sensuousness, by over-burdened luxurious color of descriptive epithet and verbal music. An impressive example is _Off Pelorus_, the sensuous quality of which may be suggested by the following single stanza:— Idly took we thought, for still our eyes betray us, Lo, the white-limbed maids, with love-soft eyes aglow, Gleaming bosoms bare, loosed hair, sweet hands to slay us, Warm lips wild with song, and softer throat than snow! Roberts’ strictly Canadian Impressionism is colorful and musical, but the structure of the verse is simple, as, for instance, _On the Creek_, an idyllic lyric, full of Canadian color, and highly alliterative, beginning:— Dear heart, the noisy strife, And bitter harpings cease. Here is the lamp of life, Here are the lips of peace. Roberts developed other ‘manners’ or styles. But, unquestionably, this Canadian idyllic impressionism, simple in thought and form, yet colorful and musical, is his natural _forte_—his _natural, characteristic manner_. It is exemplified, in the same volume, by other Canadian idylls in the simple style of _On the Creek_, as, for instance, _In The Afternoon_, _Salt_, _Winter Geraniums_, _Birch and Paddle_; by distinct and deliberate suffusions of Canadian Nature in dactylic hexameters, as in _The Tantramar Revisited_, and in the sonnet-form (somewhat anticipating the nature-poetry of Lampman), as in Roberts’ genuinely noble sonnets _The Sower_, and _The Potato Harvest_. We may turn now to a general consideration of Roberts’ poetic treatment of Nature. In Roberts’ first volume, in his strictly Arcadian poetry, there is nothing of Canadian Nature, nothing of Canadian scenery, nor the color and sentiment of Canadian life in the habitat of the distinctive Canadian spirit. In the second volume, _In Divers Tones_, there is a definitive engagement, on his part, with Canadian Nature, or with Canadian life and sentiment pictured against Canadian backgrounds; and also a change in the form and style of Roberts’ poetic composition.