And slowly as we heard you, day by day, The stillness of enchanted reveries Bound brain and spirit with half-closèd eyes, In some divine sweet wonder-dream astray; To us no sorrow or upreared dismay Nor any discord come, but evermore The voices of mankind, the outer roar, Grew strange and murmurous, faint and far away. Morning and noon and midnight exquisitely, Rapt with your voices, this alone we knew, Cities might change and fall, and men might die, Secure were we, content to dream with you That change and air are shadows faint and fleet, And dreams are real, and life is only sweet. There we have, not talent cleverly performing an academic exercise, but serene and noble genius profoundly and finely interpreting and appreciating Beauty and Good in the universe and in existence. Indubitably Lampman is a master of the sonnet, a master whom those greatest masters of the sonnet, Keats and Wordsworth, would welcome to their company, and of whose company, as a nature-poet working in the sonnet or the lyric forms, he really is. But Lampman is more than a philosophical interpreter of the mystery and wonder of Nature and Life. He is also a consummate artist in revealing to others his vision of the natural magic and beauty of Nature in Canada. He is even a finer colorist and melodist than is Roberts. He is such because he has finer powers of observation, and notes not merely the general superficial beauty of the face of Nature but also the minutest details of Nature’s physiognomy and garb, and the gentler, more gracious of Nature’s moods. Unlike Roberts, Lampman is not a mere sensuous impressionist. He is an artist with the same gifts as those of Thomas Gray for discerning, appreciating, and envisaging in lyric verse the subtler and lovelier beauties of fields and woods and hills and streams and sky, and for interpreting to the spirit the meaning of pastoral beauty and life in Canadian woods. Roberts paints charmingly indeed at times the mere face of Nature. Lampman not only paints exquisitely and daintily the physical loveliness and garb of Nature but also conveys her most winsome moods and her daintiest messages for the refreshment and sustenance of the spirit. Moreover, Lampman has Gray’s gift in limning the human figure, of adding, with graphic nicety, a humanistic touch to his spiritual portraits. As a poet who paints and interprets Nature with the intimate vision and delicate brush of the artist, not with mere impressionism but with minute and lovely truth and realism, and also as a poet who humanizes Nature with graphic portraits and interprets Nature subtly and intimately to the spirit, Lampman is a master by himself.