Bliss carman is the only Canadian-born poet who reasonably and inevitably challenges comparison with English and United States poets of admitted distinction. He is, in the continental sense of the term, more American than he is Canadian; more English than American; and more a world-poet than Canadian, or American, or English, in the sense that famous poets writing in the English language, from Chaucer to Masefield, are world-poets. His genius and poetry, as do the genius and poetry of no other Canadian poet, challenge criticism to define the qualities of his mind and art. Unless, therefore, those who have written _con amore_ about Carman and have denoted him as the greatest Canadian poet distinguish in what respect or respects he is so to be designated, the distinction is unmeaning. Carman is not the greatest Canadian poet in versatility of genius, variety of themes and forms, and perfection of technic or craftsmanship. He is surpassed by Roberts in versatility of genius and variety of forms. He is not the greatest Canadian nature-colorist or impressionistic word-painter in verse. There again Roberts surpasses him. Carman is not the greatest Canadian poetic interpreter of nature in Canada and of the Canadian spirit. Lampman is his equal, and, in one respect, his superior. Nor is Carman the greatest Canadian artist in narrative verse. Pauline Johnson and Edward W. Thomson surpass him. Further, Carman is not, save in a special sense, the greatest Canadian melodist. Pauline Johnson and Marjorie Pickthall have a more dulcet singing lilt and sensuous music. Finally, Carman is not the greatest, that is, the nearest to perfection, in technical artistry, of Canadian poets. Duncan Campbell Scott is his unrivalled master in that respect.